Sultan Garhi Cultural & Recreational Centre

CULTURAL & RECREATIONAL CENTRE PALAK VERMA | A/2958/2016

ARCHITECTURAL THESIS 2021 School of Planning and Architecture, Delhi

Cultural & Recreational Hub

PALAK VERMA A/2958/2016 | 5-A

THESIS GUIDES: AR. SAMBUDDHA SEN, AR. SUSHIL AGGARWAL THESIS COORDINATOR: DR. ARUNA RAMANI GROVER

DECLARATION BY CANDIDATE

The thesis titled 'Sultan Garhi Cultural and Recreational Centre' ; a requisite of the Bachelors Program in the Department of Architecture, School of Planning and Architecture, New Delhi – 110002, was completed by the undersigned in January — May 2021. The supervisors were Ar. Sambuddha Sen and Ar. Sushil Aggarwal.

The undersigned hereby declares that this is her original work and has not been plagiarized in part or full from any source.

Furthermore this work has not been submitted for any degree in this or any other University.

Palak Verma A/2958/2016 Section A

04

Chapter 0 | Thesis Preface

CERTIFICATE BY THESIS GUIDES

We certify that the Thesis titled 'Sultan Garhi Cultural and Recreational Centre' by Palak Verma, roll no A/2958/2016, was guided by us in January – June 2021 and placed in front of the Jury by the candidate on 19th and 20th May 2021. On completion of the report in all respects including the last chapter by the candidate and based on the declaration by the candidate hereinabove, we forward the report to the Department to be placed in the library of the School of Planning and Architecture, New Delhi.

Ar. Sambuddha Sen

Ar. Sushil Aggarwal

(Design & Research)

(Design & Technology)

Sultan Garhi Cult. & Rec. Hub | Palak Verma

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ACKNOWLEDGEMENT There are many who helped me along the way on this journey of completing my thesis — be it directly or indirectly — and have motivated me to move towards the completion of this report. This project was done during unprecedented times, and it would have been an impossible task without the unwavering support offered to me by countless people. I would like to take this opportunity to thank a few of them.

First and foremost, I want to show my appreciation towards my parents, my brother, and my didi. These were tough times, and it was for their immense support, care, motivation, and of course, blessings that enabled me to complete the project.

Their insights and reinforcement at each step helped me progress and lifted my spirits whenever I felt down — something which happened more frequently than I would have wanted. I am forever grateful for their patience and understanding.

I would like to express my sincere gratitude to my knowledgeable and understanding guides, Ar. Sambuddha Sen and Ar. Sushil Aggarwal, who have given me valuable guidance and supported me throughout this thesis project. I am extremely grateful for the way they encouraged and inspired me, which made completing my thesis in this online semester — with the unrest brought by the Covid pandemic surrounding us — a much easier task.

I would like to extend my gratitude to my Urban Design guide, Ar. Rajeev Agarwal. He might have taught me for one semester, but he prepared us for a lot more. His guidance and insights in the Urban Design semester were some of the key reasons why I was able to attempt this online thesis successfully. Along with that, his, as well as Prof. Mandeep Singh's special lectures, were great learning experiences.

I would also like to thank my coordinator, Prof. Dr Aruna Ramani Grover for the doubt sessions she held throughout the semester. Her knowledge and support provided a constant frame of reference which helped immensely in creating this work. In extension, I am also forever indebted to all my teachers who have taught me over the course of my architecture degree and helped me grow to become the person I am today.

06

Chapter 0 | Thesis Preface

I am very thankful to the many people who helped provide vital information that improved my understanding of the site and the project. A special thank you to Mayank Sahai, a stranger online who willingly supplied me with site images, reports, drawings and reliable information from his project at a time when I was unable to obtain these from any other source. I am also grateful to my seniors for their advice and timely guidance — especially Maitri Bhateja for being my forever constant database of knowledge whenever I had any doubts or just needed someone to talk to. The thesis projects of many seniors from SPA served as valuable points of reference and inspiration, for which I am grateful, especially those of Anashwara, Rajat Verma, Arnav Jain, Anam Nasim and Aniruddh Sharan.

The much sought after conversations with Paras Girdhar provided the gladly received mental respite I needed in these difficult and trying times, while encouragement from Santrupthy Das helped me believe in myself and my work. A special thanks to Venkatesh and Ashwini for always being there and for helping me stay in touch with the world that exists outside academia.

A huge part of this thesis is the 'thesis help' — the people who gladly assisted me with my work and helped share the burden. I would really like to express my deepest gratitude to first and foremost Shashwat Prakhar for constantly having my back. This thesis would not be the same without his help and guidance at every step. I am also extremely grateful to Mukhil, Akash, Somya and Anam for their tremendous work and effort.

Last but definitely not least, I would like to thank my friends who were my constant source of motivation and happiness.

Working on this thesis in complete isolation was something that seemed impossible, but was made possible by the constant support of Vibhuti Kathpalia and Gargi Gambhir. Working together while staying on video call was one of the key reasons I was able to work dedicatedly and achieve a decent thesis design, which was only enhanced by the stimulating discussions and feedback as well as the happy distractions provided by them in between.

- Palak Verma

Sultan Garhi Cult. & Rec. Hub | Palak Verma

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सारांश आज जीवन बहुत नीरस हो गया है, जबकि संस्कृति भूली हुई लगती है, लोग काम और घर के बीच चक्कर काट रहे हैं। ऐसे में जरूरत है 'आत्म-अभिव्यक्ति' के महत्व को पहचानने की, जो कला का सार है। यह थीसिस परियोजना दिल्ली शहर में कला के बीज बोकर कला को शहरी जीवन के करीब लाने का प्रस्ताव करती है। सुल्तान गढ़ी मकबरे के बगल में स्थित, भारत में पहला इस्लामी मकबरा, सांस्कृतिक। कम प्रसिद्ध सुल्तान गढ़ी मकबरे के महत्व को पहचानने के बाद, इस्लामी वास्तुकला के दर्शन और विरासत संरचना में अनुसंधान परियोजना की नींव रखता है। सार्वजनिक स्थानों की घटना और कला के साथ संबंध। परियोजना स्थल प्रकृति और विरासत से निकटता से जुड़ा हुआ है, जो तीन तरफ से विशाल हरियाली से घिरा हुआ है, जबकि इसके ठीक बगल में सुल्तान गढ़ी मकबरा भी है। परियोजना इन्हें साइट के निर्देशों के रूप में मानती है, जो इस प्रकार परियोजना के चरण-वार विकास का मार्गदर्शन करती है, इसे साइट की प्रोग्रामेटिक आवश्यकताओं और आवश्यकताओं के अनुरूप ढालती है। संस्कृति को परिसर में एकीकृत करने के इरादे से, इस परियोजना में विभिन्न डिजाइन चालें हैं जो विविध समुदायों को एक साथ लाती हैं। सुल्तान गढ़ी कॉरिडोर रचनात्मक रूप से केंद्रीय अदालत और डूबे हुए खुदरा प्लाजा के चारों ओर घुमावदार, कला केंद्र के सीखने, प्रदर्शनी और प्रदर्शन रिक्त स्थान को कार्यालयों और खुदरा के वाणिज्यिक परिसर में चरणबद्ध छतों की एक श्रृंखला के साथ जोड़ता है। डिजाइन विकास चरणों के माध्यम से, परियोजना सुल्तान गढ़ी मकबरे से एक महत्वपूर्ण संबंध बनाती है, इस प्रकार विरासत संरचना परिसर को सक्रिय करती है। टिकाऊ स्थानीय सामग्रियों और बड़े स्पैन निर्माण प्रणालियों का समावेश प्रौद्योगिकी अनुसंधान का एक प्रमुख घटक है। इस प्रकार इस परियोजना का उद्देश्य प्रकृति और विरासत के साथ एक जीवंत, कलात्मक शहरी वातावरण के लिए प्रेरणा बनकर आज दिल्ली शहर के दक्षिणी हिस्सों में मौजूद जीवन की गुणवत्ता को बढ़ाना है।

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Chapter 0 | Thesis Preface

SYNOPSIS Life today has become very monotonous while culture seems forgotten, with people shuttling between work and home. In such a situation, there is a need to recognise the importance of 'self-expression', which forms the essence of art. This thesis project proposes to bring art closer to urban life by sowing the seeds of art in the city of Delhi. Located next to the Sultan Garhi tomb, the first Islamic mausoleum in India, the Cultural & Recreational Hub aspires to enhance the quality of urban life and strength the cultural roots.

Having recognised the importance of the lesser-known Sultan Garhi tomb, research into the philosophies of Islamic architecture and the heritage structure lays the foundation for the project. The phenomenon of public spaces and the relationship with art & culture is then studied, followed by outlining the history of performance spaces in the country. The research is concluding by an understanding of the typologies in the mixed-use project.

The project site is closely linked to nature and heritage, surrounded by expansive greens on three sides while also having the Sultan Garhi tomb right next to it. The project treats these as directives of the site, which thus guide the stage-wise development of the project, moulding it to suit the programmatic needs and requirements of the site. Intending to integrate culture into the complex, the project features various design moves which bring the diverse communities together. The Sultan Garhi corridor weaves creatively through the built, winding around the central court and the sunken retail plaza, connecting the learning, exhibition and performance spaces of the arts centre to the commercial complex of offices and retail along with a series of stepped terraces.

Through the design development stages, the project creates a key connection to the Sultan Garhi tomb, thus activating the heritage structure complex. The incorporation of sustainable local materials and large span construction systems form a major component of the technology research.

The project thus passionately aims to enhance the quality of life existing in the southern parts of the city of Delhi today, by becoming an inspiration for a vibrant, artistic urban environment in unison with nature and heritage.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

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CONTENTS

01

02

Introduction

Vision & Proposition

Introduction 18 Background Study

19

Proposition 20 Areas of Research

21

Literature Study Research & Case Studies

Research Framework

03 24

10

Chapter 0 | Thesis Preface

Information & Analysis

Site Analysis

Information & Analysis

Defining the User

80

Site Context

94

Areas of Research 25

Broad Programatic Components

81

Site Details

96

Islamic Architecture

26

Program Components

82

Sultan Garhi Tomb

27

Area Program

84

Connectivity & Movement System

100

Public Spaces

30

Program Analysis

90

Site Images

102

Cultural Activities

34

Occupancy Load

91

Site Plan

104

Creative Placemaking

36

Climate Analysis

106

Performance & Recreational Spaces

37

Auditorium & Blackbox

42

Art Gallery

44

Case Studies 46

Declaration 04 Certificate 05 Acknowledgement 06 Synopsis 09 List of Figures 12

04

Program Analysis

Key Parameters

47

Triveni Kala Sangam

48

Lewis Arts Complex

54

India International Centre (IIC)

70

Key Inferences

76

Context 98

05

06

Technology

Research & Calculations

Structural & Construction Systems

110

Material palette

114

Foundation 116 Strap/Cantilever Footing

117

Living Green Roofs

118

07

Determinants

Concept & Drivers

08

Development

Iterations & Analysis

120

Daylight Harvesting Technologies

120

130

Design Iteration 1

138

Proposition 148

SWOT Analysis

132

Design Iteration 2

140

Program 150

Design Determinants

134

Design Iteration 3

142

Design Ideation

Concept Evolution

135

Design Iteration 4

144

Drawings 155

Water Management

122

Power Calculations & Waste Management

124

Water Calculations

126

Rainwater Harvesting

127

152

Tech Research

167

3D Views

177

Jury Comments

181

SPINAL INJURIES DDA FLATS

DDA FLATS

MAIN ENTRANCE

Lighting 121

Final Design Drawings

Inference, Learnings

Lighting 120 Energy Efficient Lighting

Portfolio

Bibliography 182

SUN PATH

RANGPURI

ARAVALLI BIODIVERSITY PARK

SITE

4.6 HA

RESERVE FOREST

SULTAN GARHI TOMB

Sultan Garhi Cult. & Rec. Hub | Palak Verma

11

LIST OF FIGURES Figure 1.1 Pillars of the vision.

Source: thenounproject.com

18

Figure 1.2 Sultan Garhi Tomb. left: entrance to the tomb; right: octagonal tomb (garh).

Source: vmis.in

20

Figure 1.3 Interrelated elements for placemaking.

Source: Author.

21

Figure 2.1 Research Framework.

Source: Author

24

Figure 2.2 Areas of Research.

Source: Author

25

Figure 2.3 Key elements of Islamic Architecture.

Source: Author

26

Figure 2.4 Key elements of Islamic Architecture.

Source: Author

26

Figure 2.5 Sultan Garhi tomb.

Source: thespeakingarch.com

Figure 2.21 Performing arts & crafts.

Source: Stock Images

37

Figure 2.22 Devadasis in 1920s.

Source: WikimediaCommons

38

Figure 2.23 Nautch dancer musicians.

Source: WikimediaCommons

39

Figure 2.24 Mujra in aristocratic home.

Source: wordpress.com

40 41

30

Figure 2.25 Proscenium stage.

Source: i.pinimg.com

42

Figure 2.14 Relationship between built and open when public space surrounds built.

Source: Author

31

Figure 2.27 The viewing angle determines the auditorium width and wings division on the stage.

Source: Neufert Figure 2.26 Seating angle determination.

Source: Neufert

42

31

Figure 2.28 Row width and aisle dimensions.

Source: Neufert

42

27

Figure 2.15 Relationship between built and open when built surrounds public space.

Source: Author

Figure 2.6 Marble gateway.

Source: commons.wikimedia.org

28

Figure 2.16 What makes a great place.

Source: pps.org

33

Figure 2.29 Flexible seating in a blackbox theatre.

Source: Neufert

43

Figure 2.7 Octagonal roof over the tomb.

Source: commons.wikimedia.org

28

Figure 2.17 Forms of music.

Source: Author

34

Figure 2.30 Flexible seating system.

Source: audiencesystems.com

43

34

Figure 2.8 The entrance archway, with the flight of steps leading up to the central court.

Source: thespeakingarch.com

29

Figure 2.18 Forms of dance.

Source: Author

43

Figure 2.19 Forms of drama & theatre.

Source: Author

35

Figure 2.31 Multiple event arrangements.

Source: architypereview.com

35

Figure 2.32 Spaces in an Art Gallery.

Source: erco.com

44

Figure 2.20 Types of exhibitions.

Source: Author

Figure 2.33 Dif arrangement for lighting.

Source: Neufert

44

Figure 2.9 Marble Mihrab.

Source: commons.wikimedia.org

12

Chapter 0 | Thesis Preface

29

Figure 2.10 A corner bastion punctured by a corbelled ‘false’ arch.

Source: thespeakingarch.com

29

Figure 2.11 The central portico of the ‘liwan’ capped by a shallow octagonal corbelled dome.

Source: thespeakingarch.com

29

Figure 2.12 Colonnade of the ‘liwan’ gives the structure a Hindu appearance.

Source: thespeakingarch.com

29

Figure 2.13 Public spaces have the power to connect people and cities.

Source: New York City Department of Transportation / Flickr

Figure 2.34 Glare-free ambience with daylight.

Source: constructionspecifier.com

44

Figure 2.46 Lewis Arts Complex, Princeton University.

Source: archdaily.com

54

Figure 2.57 Schematic Plan of Art & Music.

Source: Author

63

Figure 2.35 Side-lighting openings: Windows and Clerestories.

Source: Iordanidou, 2017

45

Figure 2.47 Concept sketch — the 4 major components.

Source: archdaily.com; Edited by Author

55

Figure 2.58 Mezzanine Level Plan Level +3500M. Source: metalocus.es; Edited by Author

64

Figure 2.36 Top-lighting openings.

Source: Iordanidou, 2017

45

56

45

Figure 2.59 Level 1 Plan - Level +6400M. Source: metalocus.es; Edited by Author

65

Figure 2.37 Recommended viewing levels.

Source: britishcouncil.in

Figure 2.48 Forum Level Plan - Level 00.

Source: metalocus.es; Edited by Author

57

Figure 2.60 PLOrk Studio.

Source: plork.deptcpanel.princeton.edu

65

Figure 2.38 Triveni Kala Sangam.

Source: whatshot.in

46

Figure 2.49 Schematic Plan of the Dance & Drama Theatre.

Source: Author

57

46

Figure 2.61 Level 2 Plan - Level +10,800M. Source: metalocus.es; Edited by Author

66

Figure 2.39 Lewis Arts Complex.

Source: archdaily.com

Figure 2.50 Black Box Theatre.

Source: metalocus.es

58

46

Figure 2.62 Level 3 Plan - Level +15,900M. Source: metalocus.es; Edited by Author

67

Figure 2.40 India International Centre.

Source: en.wikipedia.org

Figure 2.51 Mezzanine Level Plan Level +3500M. Source: metalocus.es; Edited by Author

Figure 2.41 Triveni Amphitheatre.

Source: Author

48

Figure 2.52 Level 1 Plan - Level +6400M. Source: metalocus.es; Edited by Author

59

Figure 2.63 Segregation of spaces.

Source: Author

67

Figure 2.42 Location Plan.

Source: OpenStreetMap

49

Figure 2.53 Dancing Staircase.

Source: archdaily.com

59

Figure 2.64 Site Plan - Porous links to nearby locations.

Source: metalocus.es

68

Figure 2.43 Site Plan of Triveni Kala Sangam.

Source: Building in the Garden, Stephen White; Edited by Author

50

Figure 2.54 Level 2 Plan - Level +10,800M. Source: metalocus.es; Edited by Author

60

Figure 2.65 Section.

Source: metalocus.es

68

Figure 2.55 Level 3 Plan - Level +15,900M. Source: metalocus.es; Edited by Author

61

Figure 2.66 3D exploded view.

Source: metalocus.es

69

Figure 2.67 Invitation view from outside.

Source: metalocus.es

69

Figure 2.56 Forum Level Plan - Level 00.

Source: metalocus.es; Edited by Author

62

Figure 2.68 India International Centre.

Source: en.wikipedia.org

70

Figure 2.44 Section with Public-Private Zoning.

Source: Building in the Garden, Stephen White; Edited by Author

51

Figure 2.45 Triveni Kala Sangam.

Source: Rajat Verma; Edited by Author

53

Sultan Garhi Cult. & Rec. Hub | Palak Verma

13

LIST OF FIGURES Figure 2.69 Location Plan.

Source: OpenStreetMap

71

Figure 4.5 Location plan.

Source: OpenStreetMap, Author

97

Figure 2.70 Location Plan.

Source: Document provided by IIC Officials; Edited by Author

73

Figure 4.6 Site and Context.

Source: Google Earth, Author

99

Figure 2.71 India International Centre.

Source: Rajat Verma; Edited by Author

75

Figure 3.1 User groups of the project.

Source: Author

80

Figure 3.2 Broad Program Components.

Source: Author

81

Figure 3.3 Area Distribution of Arts Centre.

Source: Author

Figure 4.17 Octagonal tomb inside Sultan Garhi.

Source: Author

103

Figure 4.18 Marshy Land and Rocky Contours on Western Side Outside Site.

Source: Author

103

Figure 4.19 Site plan.

Source: Author

105

Figure 4.20 Wind and sun on site.

Source: Author; data from meteoblue.com

107

Figure 4.7 Connecting Site with the City.

Source: OpenStreetMap, Author

100

Figure 4.8 Connecting Site with the Neighbourhood.

Source: OpenStreetMap, Author

101

102

Figure 5.1 Large span spaces in the project.

Source: Author

110

90

Figure 4.9 Road along the Eastern & Southern Edge of Site.

Source: Author

102

90

Figure 5.2 Holedeck waffle slab with integrated services.

Source: holedeck.com

111

Figure 3.6 Area Program.

Source: Author

Figure 4.10 Park between Sultan Garhi tomb and the site.

Source: Author

Figure 3.4 Area Distribution of Artists' Residences.

Source: Author

90

Figure 4.11 Sultan Garhi Tomb.

Source: Author

102

111

102

Figure 3.5 Area Distribution of Artists' Residences.

Source: Author

90

Figure 4.12 Site plan.

Source: Author

Figure 5.3 Integrated ducting & lighting.

Source: holedeck.com

111

103

Figure 4.1 Land Uses in Zone J. Source: Author

94

Figure 4.13 Southern Edge of Site with Water Collected in Artificial Drain.

Source: Author

Figure 5.4 Exposed holedeck waffle slab with integrated services.

Source: holedeck.com

112

103

Figure 4.2 Location of Zone J in Delhi Master Plan 2021.

Source: DDA, Author

95

Figure 4.14 Entry to Site from Abdul Gaffar Khan Marg.

Source: Author

Figure 5.5 Behaviour of slab before and after induced stress.

Source: pinterest.com

112

103

Figure 4.3 Location of site in Zone J. Source: DDA, Author

95

Figure 4.15 Manicured Lawns with Heritage Ruins on Southern Side of Site.

Source: Author

Figure 5.6 Post-tensioned structure behaviour.

Source: sanfieldindia.in

112

Figure 4.4 Planning Zone J. Source: DDA

95

Figure 4.16 CNG Workshop Land inside Site.

Source: Author

103

Figure 5.7 Concourse level plan.

Source: Archdaily Figure 5.8 Cantilever section.

Source: Archdaily

112

14

Chapter 0 | Thesis Preface

Figure 5.9 Layers of a composite structure.

Source: dudleyengineering.com

113

Figure 5.21 Diagram depicting surface run-off management.

Source: Author

123

Figure 7.3 3D massing & zoning on site.

Source: Author

139

Figure 5.10 Composite elements in a building.

Source: fgg-web.fgg.uni-lj.si

113

Figure 5.20 Permeable paved road landscaping detail.

Source: lakesuperiorstreams.org

123

Figure 7.4 Roof Plan.

Source: Author

140

Figure 7.5 Site Plan.

Source: Author

140

Figure 5.11 Strap foundation.

Source: asdipsoft.com

116

124

Figure 5.12 Types of strap foundations — left: with uniform strap; right: with nonuniform strap.

Source: theconstructor.org

117

Figure 5.22 Auditorium main foyer façade of a Swiss convention center by Richter Dahl Rocha.

Source: altenergymag.com

Figure 7.6 3D Zoning & Massing.

Source: Author

141 142

130

Figure 7.7 Roof Plan.

Source: Author

Figure 6.1 Five Pillars of the vision.

Source: thenounproject.com

Figure 5.13 Green roof at Vancouver Convention Centre, Canada.

Source: archello.com

118

131

Figure 7.8 Site Plan.

Source: Author

142

Figure 6.4 Triveni Kala Sangam.

Source: whatshot.in

143

Figure 6.3 Lewis Arts Complex.

Source: archdaily.com

131

Figure 7.9 3D Zoning & Massing.

Source: Author

Figure 5.14 Living roof, functional areas, enclosure, and ground form.

Source: LMN Architects

118

131

Figure 7.10 Roof Plan.

Source: Author

144

Figure 6.2 India International Centre.

Source: en.wikipedia.org

Figure 5.15 LiveRoof module cross section over conventional roof.

Source: liveroof.com

119

133

Figure 7.11 Site Plan.

Source: Author

144

Figure 6.5 3D Illustration showing movement and context.

Source: Author

Figure 7.12 3D Zoning & Massing.

Source: Author

Figure 5.16 Energy efficiency of different kinds of lamps/bulbs.

Source: fcpud.com

145

120

Figure 6.6 Functional diagram.

Source: Author

134

Figure 5.17 Light shelf.

Source: designingbuildings.co.uk

121

Figure 6.7 Concept.

Source: Author

134

Figure 5.18 Blinds.

Source: mac.in

121

Figure 6.8 A place for all.

Source: striworld.com

135

Figure 5.19 Photosensor placement and field of view for open-loop sensors (top) and closed-loop sensors (bottom).

Source: lightingcontrolsassociation.org

121

Figure 7.1 Public Private Zoning.

Source: Author

138

Figure 7.2 Roof Plan.

Source: Author

138

Sultan Garhi Cult. & Rec. Hub | Palak Verma

15

CHAPTER 01

INTRODUCTION i.

Introduction to project vision

ii. Background study iii. Proposition iv. Areas of Research

Culture can be defined as the way of life of a particular people. It represents their values, goals, practices and shared beliefs. Culture-related activities such as music, art, dance, drama, etc. are powerful tools for urban redevelopment and revitalisation. Thus, culture should not only be preserved, but should also be given an ideal platform to flourish and spread.

INTEGRATION OF ART-FORMS

PLATFORM FOR INNOVATION

UNIFYING WITH NATURE

VIBRANT COMMUNITY

PRESERVING RICH HERITAGE

Figure 1.1 Pillars of the vision. Source: thenounproject.com

Introduction

The world as we know it is gradually moving towards the digital realm. While the digital future is inevitable

Understanding the vision

(and vital for growth), there is a need to balance it with the creative realm of arts — which has always been an important means of expression for humans.

Delhi has a large cultural diversity within its population. People from all parts of the country live in the city, due to which the communities are exposed to and open to embracing new ideas. A cultural centre caters to such needs of society. Planning for it is thus integral for a community’s cultural and creative development. Presently, Mandi House complex is the only major socio-cultural centre in Delhi. Located in the Central Delhi region, these centres aren't accessible to all parts of Delhi. Delhi Development Authority has thus decided to develop six Socio Cultural Centres in Delhi.

The selected site is in Vasant Kunj, an upscale and affluent residential area. It is well connected to major shopping malls, colleges, schools and universities. Adjoining the site is the Sultan Garhi tomb, the first Islamic mausoleum. Despite this and the fact that it is now an ASI protected monument, a very few people are aware of its existence.

18

Chapter 01 | Introduction

PROPOSAL BY DDA

SULTAN GARHI TOMB

The proposed centres would be centres of

The Sultan Garhi tomb lies about 8 km southwest

excellence for promotion of various visual arts like

of the Qutub, near Mahipalpur (originally known

painting, sculpture and ceramics and performing

as Malkapur). It was the first Islamic Mausoleum

arts like music, dance, theatre, etc. Each centre

or tomb built in 1231 AD for Prince Nasiru'd-Din

will have a specialised role in promoting and

Mahmud, eldest son of Emperor Iltumish (Sanatani,

training people in visual and performing arts.

2014).

These centres would be developed, maintained

The tomb is implanted in a cave, approached

and operated on Public Private Partnership (PPP)

by winding steep stairs made of stone and

mode by selected groups/corporates of repute.

supported by pillars and flooring. The cave is

DDA would be the facilitator and the operations

covered by an unusual octagonal roof slab.

would be managed by a group of eminent

The exterior of the tomb, built with sandstone

persons who would ensure that the centres are

with marble, exhibits a walled area with towers

operated and maintained as per the principles

on corners imparting it the look of a fortress in

agreed to. DDA would also permit co-naming of

aesthetic Persian and Oriental architecture. The

these centres along with the name selected by

plan of the tomb structure is unusual. It is in the

the developer (Sofia, 2016).

form of a fortress with a courtyard-like layout built

To ensure that the centres are self-financing, 60% of the total floor area can be utilized for commercial, retail, hotels and other remunerative

Background Study Project brief and existing landmark

over a raised plinth of a certain height in rubble masonry work. The roof of the chamber is built in thick lime–concrete (Sanatani, 2014).

uses as per the Master Plan provisions. Revenue

The structure depicts a corbel arch construction,

received from this would be utilized for operating

which was common in India before the true arch

facilities like state of the art auditoriums, theatres,

design of the Romans was introduced, which are

galleries, exhibition halls, recording studios,

seen in subsequent Islamic monuments. Feroz

museums, etc., which would be developed on the

Shah Tughlaq is credited to have repaired the

remaining 40% of the total floor area.

tomb, which had been substantially damaged.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

19

In light of the above facts, the proposed cultural and recreational centre proposes to:

I. Provide a platform for artists and other communities in and around South Delhi.

II. Create an understanding and appreciation of arts and culture through an artistic public realm.

III. Bring out the importance of Sultan Garhi tomb through various design moves.

IV. Integrate the realm of arts with other functions, thus generating a vibrant complex and a creative working environment.

Proposition Outlining the vision

Figure 1.2 Sultan Garhi Tomb. left: entrance to the tomb; right: octagonal tomb (garh). Source: vmis.in

20

Chapter 01 | Introduction

A) Philosophies of Islamic Architecture and Significance of Sultan Garhi Tomb This involves understanding the architectural essence of Islamic Style and carrying out a basic study of the tomb, understanding the impacts, and analysing various ways in which design can bring about a positive intervention.

B) Phenomenon of Public Spaces & Relationship with Art & Culture This involves understanding the meaning and significance of public spaces, and then studying the role of art & culture and ways of integration of culture in various types of public spaces.

C) Performance and Recreational Spaces in a City This would involve outlining the importance of performance and recreational spaces in a city and studying the typology.

Areas of Research

D) Understanding Typologies This would involve understanding the various typologies in a mixed-use cultural and recreational hub according to the activity program, and then analysing the integration of the typologies in a holistic manner.

CULTURE

SPACE

Broad topics to be studied

PLACE

Figure 1.3 Interrelated elements for placemaking. Source: Author.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

21

CHAPTER 02

L I T E R AT U R E S T U DY i.

Research Framework

i.

Areas of Research

ii. Case Studies — Parameters of Study iii. Primary study: Triveni Kala Sangam iv. Secondary study: Lewis Arts Complex v.

Primary study: India International Centre

vi. Inferences

IDENTIFYING THE NEED Understanding the requirement of the study and the project

DEFINING THE VISION Outlining the purpose of the project and key areas of research

Research Framework Outlining the process

CASE STUDIES Conducting primary and secondary case studies of relevant projects

CASE STUDY ANALYSIS Analysing the studies based on parameters relevant to the thesis project

TECHNOLOGY STUDY Devising a material palette, studying the structural system and other strategies Figure 2.1 Research Framework. Source: Author

24

Chapter 02 | Literature Study

Philosophies of Islamic Architecture & Significance of Sultan Garhi Tomb Understanding the architectural essence of Islamic Style and carrying out a basic study of the Sultan Garhi tomb.

Phenomenon of Public Spaces & Relationship with Art & Culture Understanding the significance of public spaces and studying the role of art & culture in them.

Areas of Research Broad topics to be studied Performance and Recreational Spaces in a City Outlining the importance of performance and recreational spaces in a city and studying the typology.

Understanding Typologies Understanding the various typologies in a mixed-use cultural and recreational hub according to the activity program.

Figure 2.2 Areas of Research. Source: Author

Sultan Garhi Cult. & Rec. Hub | Palak Verma

25

inward looking character

– Geometry: Geometry in Islam is the driving force of the design of its architecture.

All Islamic monuments are based on a strong sense of geometry, symbolic of its philosophies (Shirvani, 1985).

the holy direction

– Direction and Symbolism: Islamic buildings are generally two directional — the one vertical tending upwards linking it to the sky, and the horizontal in the direction of Mecca.

gardens micro climate ISLAMIC ARCHITECTURE low buildings geometry

Islamic Architecture Architectural essence & philosophies

– Domes and arches are some of the key architectural features seen in the structures since the Sultanate period (Omer, 2008).

order-harmony-poetry-rhetoric Figure 2.3 Key elements of Islamic Architecture. Source: Author

– Gardens have been an important element of recreation in Islamic buildings – Islamic buildings generally have an inward-looking character: they focus on enclosed spaces — an element of surprise used in buildings, gardens as well as cities.

directionality

inward looking buildings

Figure 2.4 Key elements of Islamic Architecture. Source: Author

26

Chapter 02 | Literature Study

The oldest Muslim tomb known to exist in India lies unnoticed in a remote comer of Delhi province.

The tomb, locally named Sultan Garhi ('Cave King'), was built by lltutmish in 1231 for his eldest son and heir-apparent, Prince Nasiruddin Mahmud. The monument embodies some essentially Hindu modes of construction and decorative devices and incorporates pillars and other masonry removed from Hindu temples. The remains of humble houses in the vicinity are interesting examples of the domestic architecture of the late Moghul period (Archaeological Survey of India, 1947).

Four miles at a true bearing of 280 degrees from the Qutb in the Delhi province are to be seen the ruins of a derelict town known as Sultan Garhi from the tomb which stands there. The site lies on the edge of an extensive plateau overlooking the plain of the Jumna towards the north, and must have been picturesque when the dam of Mahipalpur, about half a mile to its north-west, retained the rain-water and secured the irrigation of the surrounding country (Archaeological Survey of India, 1947).

The plateau, which is really an extension of the hills of Delhi, consists of light, sandy soil. The surface is generally barren save for

Sultan Garhi Tomb Introduction

a stunted growth of kikar (Acacia arabica) or karil (Capparis aphylla) or the small thorny bush of beri (Zizyphus 11wnmularia). The surface of the ground is sprinkled with the thin shiny laminae of mica. The native quartzite jutting up from the ground here and there is hard and sharp-edged. The water-level is deep, and irrigation by well almost impracticable Figure 2.5 Sultan Garhi tomb. Source: thespeakingarch.com

(Archaeological

Survey of India, 1947).

Sultan Garhi Cult. & Rec. Hub | Palak Verma

27

Set among the rocky spurs of the southern ridge, the tomb of Sultan Garhi represents the architectural style of the early Sultanate period, a time when Indian builders were coming to terms with new techniques and styles that had come into India with the Turk conquest. It is also distinctive in its form, with a sunken tomb chamber in the nature of a ghar or crypt, which gives the tomb its name (Sanatani, 2014).

On approaching the Sultan Ghari complex, you see that it is a square, walled enclosure built of sandstone, which gives it a beautiful, burnished hue. The enclosure has stout bastions topped by shallow domes in each of its four corners. The entire complex sits on a raised plinth and appears more like a small fortress than a tomb (INTACH Delhi Chapter, 2011).

A doorway embellished with white marble leads inside. The crypt or the tomb is implanted in a Garhi (cave), approached by winding steep stairs made of stone, and supported by pillars and flooring. The cave is covered by an unusual octagonal roof slab, which rises more than four feet above the level of

Sultan Garhi Tomb Structure & Materials

the courtyard floor. This underground chamber is accessed through a small opening on one side of the raised roof. The chamber contains three graves and is pitch-dark from within with the walls being smokeblackened (INTACH Delhi Chapter, 2011).

Figure 2.6 Marble gateway. Source: commons.wikimedia.org

28

Chapter 02 | Literature Study

Figure 2.7 Octagonal roof over the tomb. Source: commons.wikimedia.org

The octagonal grave–chamber with the crypt (tomb) in an underground opening is supported on four columns raised with two pillars each that support beams, and depict ancient Indian temple relics both on the columns and on the floor. The roof of the chamber is built in thick lime–concrete. The western qibla (prayer wall) which has the mihrab, is made of marble in exquisite Turkish and Afghan design. The marble mihrab also has inscriptions from the Quran. The front elevation of this west wall has a marble facade, dated to Feroze Shah's rule (1351–88).

The prayer chamber in front of the qibla depicts a yoni-Patta (the base slab of a Linga (INTACH, 2011).

The entire tomb depicts a trabeate or corbel arch construction, which was common in India before the true arch design of the Romans was introduced, which are seen in subsequent Islamic monuments. The buildings in the town are entirely of locally quarried grey quartzite except the tomb of Sultan Ghari where red sandstone, marble and well-burnt bricks (size 10½" x 7" x 2¼") have also been used. Lime-mortar has been generally used, but mud-mortar is employed in some of the houses (Archaeological Survey of India, 1947). The walls were rendered with plaster, patches of which still adhere to the walls here and there. The exterior of the tomb structure exhibits a walled area with bastions (towers) on corners, which impart it the look of a fortress in Figure 2.12 The entrance archway, with the flight of steps leading up to the central court. Source: thespeakingarch.com

aesthetic Persian and Oriental architecture (INTACH, 2011).

Figure 2.8 Marble Mihrab. Source: commons. wikimedia.org

Figure 2.9 A corner bastion punctured by a corbelled ‘false’ arch. Source: thespeakingarch.com

Figure 2.10 The central portico of the ‘liwan’ capped by a shallow octagonal corbelled dome. Source: thespeakingarch.com

Figure 2.11 Colonnade of the ‘liwan’ gives the structure a Hindu appearance. Source: thespeakingarch.com

Sultan Garhi Cult. & Rec. Hub | Palak Verma

29

A good public space is one that reflects

health. Human-scale constructions have a

be considered for a high-quality public space.

positive effect on people’s perceptions of public spaces.

Diversity of uses: Blending residential, office

5. Lighting:

Efficient

and

people-oriented

makes the environment safer and friendlier.

lighting facilitates the occupancy of public

The diversity of uses generates external

spaces at night, enhancing safety. Public

activities that contribute to the safety of

lighting creates the necessary conditions to

spaces. Planning public spaces in a way

move more safely when there is no natural

that encourages the coexistence and the

light.

investing in security.

6. Stimulating the local economy: Quality public spaces not only benefit people by offering

2. Active façades: Connection between the

leisure and living areas, but they also have the

ground level of the buildings, the sidewalk

potential to boost the local economy. The

and the street contributes to safety and the

safe and attractive conditions foster walking

attractiveness of urban design. Visually more

and cycling, leading to easy access of local

interesting streets are used more often by

commerce.

people. In addition, this relationship influences people’s perception of the city and how they are to use it.

3. Social

Chapter 02 | Literature Study

high-density

effortlessly. Below, are ten principles that should

permanence of people is also a way of

30

High-scale,

construction can negatively affect people’s

and commercial areas attracts people and

Figure 2.13 Public spaces have the power to connect people and cities. Source: New York City Department of Transportation / Flickr

scale:

diversity and encourages people to live together

1.

Public Spaces

4. Human

dimension

7.

Local identity: Public spaces may be planned for the small businesses that characterise the neighbourhood. Small businesses and

and

urban

vitality:

ventures have significant long-term impacts,

Wide, accessible streets, squares, parks,

as well as add to the personality and identity

sidewalks, bike paths and urban furniture

of the place. When planning a public space

stimulate interaction between people and

it is necessary to take into account the social

the environment, generate a positive use of

dynamics and cultural specificities of the

space and increase urban vitality.

area.

8. Complete streets: Wherever possible, public areas should be thought of following the principles of Complete Streets and “shared spaces.” The Complete Streets concept

SPACE RELATIONSHIPS: Built-unbuilt relationship Public space around the built form

Built forms fringed around public space

defines streets designed to ensure the safe

PUBLIC SPACE

circulation of all users—pedestrians, cyclists, drivers and users of public transport.

9. Green areas: In addition to contributing to

BUILT

BUILT

air quality and helping to ease temperatures

BUILT

PUBLIC SPACE

in the summer, vegetation has the power to humanize cities by attracting people to outdoor activities. As cities become denser,

BUILT

access to green public spaces will become even more important as urban forestation can lower people’s stress levels and enhance well-

Figure 2.14 Relationship between built and open when public space surrounds built. Source: Author

Figure 2.15 Relationship between built and open when built surrounds public space. Source: Author

– Public space does not promote

– Curiosity pulls people into public

being in cities. In addition, trees, plants and flowerbeds are strategic for urban drainage and maintenance of biodiversity.

10. Social participation: Involving residents in the design, planning and administration of urban

outdoor interaction – Public space acts as a transitional space around the built

places, thus activating fringe built – Public space acts as a community interaction space

public spaces or the neighbourhoods in which they live is essential to maintain the quality of these spaces. Resident involvement ensures that the nature and use of public space will meet the community’s distinct needs. Social participation is a central element for the construction of safer, equitable public areas.

– No defined entries, thus requires additional imposed planning

– Pleasant

built-unbuilt

visual

experience along the entrances

– Unbuilt is not defined, thus acts as a

– Unbuilt is a defined entity with an

negative spaces instead of having an

identity of its own instead of being

identity

just negative space

(Pacheco, 2017) Sultan Garhi Cult. & Rec. Hub | Palak Verma

31

SOCIABILITY

USES & ACTIVITIES

When people see friends, meet and greet their

Activities are the basic building blocks of a place.

neighbours, and feel comfortable interacting with

Having something to do gives people a reason to

strangers, they tend to feel a stronger sense of

come to a place and return. When there is nothing

place or attachment to their community- and

to a space will be empty and that generally means

to the place that fosters these types of social

that something is wrong.

activities.

Factors to consider while making a space

Public Space Four essential qualities of a good public space (Project for Public Spaces, 2009)

sociable: – It should feel as a good place where people would choose to meet their friends.

– The people should use the space regularly and by choice.

– There must be a mix of age & ethnic groups.

ACCESS & LINKAGES

Factors to consider while providing activities and functions in a space: – Different age group people should be able to make use of the space.

– There must be choice of things to do.

– Different part of the space must be used all the time.

COMFORT & IMAGE Whether a space is comfortable and presents

A successful public space is easy to get to and

itself well has a good image is key to its success.

get through, it is visible both from a distance and

Comfort includes perceptions about safety,

up close. The edges of a space are important

cleanliness, and the availability of places to sit

as well Accessible spaces have a high parking

the importance of giving people the choice to

turnover and, ideally, are convenient to public

sit where they want is generally underestimated.

transit.

Factors Factors to consider while making a space accessible: – They should be visually connected.

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

– It is convenient to access from public transit.

32

Chapter 02 | Literature Study

to

consider

while

making

places

comfortable: – It should generate good first impression.

– It should generate good first impression.

– The places must be clean.

– If people are taking picture around in the place then the task has been achieved.

Great public spaces are those places where celebrations are held, social and economic exchanges occur, friends run into each other, and cultures mix.

They are the “front porches” of our public institutions – libraries, field houses, schools – where we interact with each other and government.

When theses spaces work well, they serve as the stage for our public lives.

Figure 2.16 What makes a great place. Source: pps.org

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33

MUSIC: The music of India includes varieties of religious, folk, pop and classical music. India's classical music tradition is heavily influences by Hindu texts. It includes two distinct styles: Carnatic and Hindustani music. It is noted for the use of several Raga Melodic modes.

MUSIC

CLASSICAL

DANCE

ADHUNIK FOLK

INSTRUMENTAL MODERN & WESTERN

DRAMA & THEATRE EXHIBITION

Ragas, Tala, Swara, Surbahar, Veena, Bansuri, Sarangi

Figure 2.17 Forms of music. Source: Author

Cultural Activities Various disciplines and their types (Wikipedia Contributors, 2019)

Rabindra sangeet, Nazrul geeti

Bhagvadgita, Bhangra, Gidda, Bihugeet, Lavani

film songs, solo & group albums, bands

sitar, violin, flute, harmonium, esraj, ektara, dotara, khomok, dhol

DANCE: Indian dance has diverse folk & classical forms like the Bhangra of Punjab, Bihu of Assam, Chhau of Jharkhand and Orissa, Ghoomar of Rajasthan, Dandiya & Garba of Gujarat, Yakshagana of Karnataka, and Lavani of Maharshtra. Eight dance forms, many with narrative forms and mythological elements have been accorded classical dance status by India's National Academy of Music, Dance and Drama.

MUSIC DANCE

CLASSICAL

DRAMA & THEATRE

TRIBAL DANCE FOLK

CONTEMPORARY

EXHIBITION Bharatnatyam, Kathak, Kathakali, Kuchipudi, Odissi

Figure 2.18 Forms of dance. Source: Author

34

Chapter 02 | Literature Study

Santali, Jatra, Banjaara, Kikri, Naga, Tamasha

Bagurumba, Garba, Jhumair, Ghoomar, Gidda, Lavani

modern, jazz, lyrical, classical, ballet

DRAMA & THEATRE: The tradition of folk theatre is popular in most linguistic regions of India. In

SCULPTURE: The first sculptures in India

addition, there is a rich tradition of puppet theatre in rural India. The modern Indian theatre upholds the

date back to the Indus Valley Civilisation,

current societal values.

where stone and bronze figures have been discovered. Sculptures produced in the

MUSIC

north-west in stucco, schist or clay display a very strong blend of Indian and Classical

DANCE DRAMA & THEATRE

CLASSICAL

MODERN

EXHIBITION

TRADITIONAL Natakas, Prakarna, Rasa, Kalidasa, Bhasa

Figure 2.19 Forms of drama & theatre. Source: Author

Hellenistic or possibly even Greco-Roman influence. The pink sandstone sculptures of Mathura evolved during the Gupta period to

realistic, addressing socio-political issues puppet theatre, regional languages, Bhakti, Bhavabhuti

reach a very high fineness of execution and delicacy in the modelling.

PAINTING: The earliest Indian paintings were the rock paintings of pre-historic times, the petroglyphs as found in places like Rock

FESTIVALS: India, being a multi-cultural and multi-religious society, celebrates holidays and festivals

Shelters of Bhimbetka. Thereafter, frescoes

of various religious beliefs. In addition to national holidays, many states and regions have local festivals

of Ajanta and Ellora caves appeared. Indian

depending on prevalent religious and linguistic demographics.

Art was given a new lease of life by the British in early 19th century. After independence,

MUSIC

Indian art became more diverse.

DANCE DRAMA & THEATRE EXHIBITION

ARCHITECTURE: URBAN EVENTS

FESTIVALS (TEMPORARY)

Indian

architecture

covers a multitude of expressions over space & time, constantly absorbing new ideas. The

photography, painting, sculpture, traditional art, architecture Figure 2.20 Types of exhibitions. Source: Author

Language Day, Independence Day, Republic Day, traditional food festivals, New Year festival

result is an evolving range of architectural production that retains a certain amount of continuity across history — even today new monuments give an insight into the culture.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

35

WHAT IS CREATIVE / ARTS-BASED PLACEMAKING? integrative

The book titled How to do Creative Placemaking

approach to urban planning and community

(Schupbach, Ball and National Endowment For

building that stimulates local economies and

The Arts. Office Of Public Affairs, 2016) establishes

leads to increased innovation, cultural diversity,

different approaches which can be adopted as

and civic engagement."

follows:

"Arts-based

Placemaking

is

an

- Project for PUBLIC SPACES (PPS), 2015

While each organisation has their own definition of

Creative Placemaking

creative placemaking, the idea of the approach

Understanding 'arts-based' placemaking

integration of arts and culture. Arts and culture

is to strengthen communities through the being invaluable elements of heritage, creative placemaking is an attempt to leverage their power into building strong, healthy and resilient cities.

In arts-based placemaking, 'art' is considered to be a central component which exists for its own sake. The aim it to be enable a collaborative effort, which engages the community, artists, designers, arts

and

culture

organisations,

and

other

stakeholders together from the very beginning, in shaping the physical and social character of a place.

36

Chapter 02 | Literature Study

How does art play a role in community development?

– Inclusive, equitable development, where the artists aim to build communities enjoyed by all alike.

– Economic opportunity, where the integration of arts can support the local artists and their businesses, and rejuvenate a place.

– Community identity and belonging in a place where diverse cultures co-exist.

– Arts and the government which involves engaging artists in solving community issues.

– Arts and infrastructure through the establishment of cultural facilities, artist housing, public art, spaces for creative businesses, etc.

– Arts and Community development organisations which integrate arts practices into policies.

to explain who we are. Not just how tall we are, or thin... but who we are internally... perhaps even spiritually. There's something, which impels us to show our inner-souls. The more courageous we are, the more we succeed in explaining what we know" (MBE, 2016 ).

Speaking on MUSIC, Hans Zimmer said, "...If Figure 2.21 Performing arts & crafts. Source: Stock Images

you go to any rave, or any football event, you will find people chanting in a rhythm- human

Performance is key to human experience. Our

beings do that. We have this sense to participate

life is a series of scenes where the protagonist

and organise- music lets you rediscover your

(as self) plays the lead in a tale of joy, tragedy,

humanity, and your connection to humanity. When

comedy, farce and errors. The beautiful paradox

you listen to Mozart with other people, you feel

however, is that in life we are simultaneously the

that somehow- we're all in this together....' (MBE,

central-actor of our own narrative alongside

2016 ).

being the support for hundreds of other stories, and the spectator of millions- perhaps billions more. This view of life is shared across the arts in

The design and architecture of a THEATRE can

Performance & Recreational Spaces Importance

bring an audience to another period of time

context of creative culture (MBE, 2016 ).

when men wore tuxedos and women wore gowns

Speaking on LITERATURE, Maya Angelou said "We

of quality, with its dramatic, ornate arches framing

write for the same reason that we walk, talk, climb

the stage and each successive one extending

mountains or swim the oceans- because we

out over the audience. There is an expectation

can... We have some impulse within us that makes

by the audience of quality of performance in

us want to explain ourselves to other human

spaces such as this because space demands

beings... That's why we paint, that's why we dare

the performance that meets the quality of its

to love someone- because we have the impulse

construction (MBE, 2016 ).

to the theatre. A Proscenium theatre has this sort

Sultan Garhi Cult. & Rec. Hub | Palak Verma

37

For Rasa, one must truly savour a performance with all their senses as opposed to just watching

I. TEMPLES

it with their eyes. The western aesthetic theories

Temples of South India and Orissa are the most

are ocular/visual, they ask us to “watch”

widely remembered pre-modern performance

performances, therefore requiring the audience

spaces for dance. Temples were occupied by

to be seated at a distance suitable for viewing.

Devadasis and Maharis, not just for their ritualistic

A proscenium stage born in the West posits a

significance but also as spaces of economic

distance between audience and performer to

value. The 20th-century abolition of the Devadasi

offer a visual experience. Yet, Indian classical

system brought an end to all of this, including the

dance, is most widely performed on a proscenium

tradition of female service to the deity, thereby

stage. The history of performance spaces in India

turning temples into an all-male space. Today

is a deeply sociological one (Sreevathsa, 2019).

temples are jubilantly accepted in the popular discourse of classical dance for their sculptures

Performance & Recreational Spaces Through the ages

The period between mid-nineteenth to mid-

but not so much for the dancers inhabiting them.

twentieth century saw rapid shifts in performance

Many state-funded classical dance festivals are

venues – temples, royal courts, aristocratic

held against the backdrop of these sculpturesque

bungalows and proscenium stage. This historical

temples, which frame the modern reconstructed

trajectory of performance spaces is inseparable

classical traditions as belonging to a timeless

from the social journey of the performers who

national heritage (Sreevathsa, 2019).

inhabited them. The period before independence was a time of many dramatic developments in the cultural industry and they all worked severely against the interest of the traditional performing community. Their journey tells of their systematic marginalisation from the mainstream society, but the multitude of spaces and contexts they adapted to, echo their remarkable strength to fight and resist the oppression (Sreevathsa, 2019).

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Chapter 02 | Literature Study

Figure 2.22 Devadasis in 1920s. Source: WikimediaCommons

II. COURTS & PALACES Professional dancers have populated royal courts and palaces across the length and breadth premodern India. Although one does trace the history of Kathak to Mughal courts, the royal courts of the south do not popularly find a mention in the history of the Southern classical form of Bharathanatyam.

The deliberate overlooking of the court practices in the South could be associated with the stigma of being a court dancer (temples to some extent got re-casted within the devotional discourse of the classical). Because of the predominant male audience and sexual undertones of performances, the courtly cultural practice came under criticism by reformists for catering to the fulfillment of male desire. However, the social status of these women was complex and full of contradictions. These nuances of courtesans’ autonomy especially as secular artists in royal courts, often gets brushed under the carpet, only to be invoked under the generalising label of “prostitution” (Sreevathsa,

Figure 2.23 Nautch dancer with musicians. Source: WikimediaCommons

music & literature which can destabilise the present dominant narrative of classical dance as a purely Hindu-Sanskrit practice. Scholarly writings that explore Thanjavur court as a site of cultural production situate it as a space that “produced a

Performance & Recreational Spaces

Through the ages

peculiar syncretic culture that integrated aspects of indigenous Tamil culture, Telugu literary material, the new Mughal style courtly practices from Maharashtra, and the modernity of European

2019).

enlightenment.” (Soneji, 2010, cited in Sreevathsa,

Mainstream society’s straight-jacketed gaze on

the colonial rule by the mid-nineteenth century,

the courtesans’ sexuality, blinds us to the social

the court culture degenerated, forcing many

& cultural value produced by their labour in the

courtesans’ to migrate into new cities like Kolkata

royal courts. These royal courts produced dance,

and Madras (Sreevathsa, 2019).

2019). As the princely power diminished under

Sultan Garhi Cult. & Rec. Hub | Palak Verma

39

III. ARISTOCRATIC HOMES The mass migration of courtesans into new

as “nautches”) to perform in their evening soirees

cities resulted in the emergence of homes and

for special occasions and festivals, mostly to show

bungalows as new performance spaces. While

off their wealth and social status to the British

many dancers brought their court repertoire into

gentry. This was the age of many baithaks, mujras

the city, the “salon” performances of Madras are

and was mainly meant to serve the aristocracy. This

also known to have lead to the creation of new

was also the time when the dancers are known

genres including the much-debated “Javali –

to have lived on the market streets of Calcutta

padams” (Sreevathsa, 2019).

– Bazaars and Mohollas. Kathak dancer Shama

Concurrently, with the fall of the Mughal empire, the Tawaifs migrated from the North Indian cities

Performance & Recreational Spaces

to Calcutta, the then capital of British India. The

Bhate, in a recent Kathak workshop also said that the dancers also performed on the crossroads called the chaurahas (Sreevathsa, 2019).

upper-caste Bengali elite, patronised the tawaifs

This period of private performances was short-

(who by then had come to be derogatorily known

lived as the anti-nautch movement took a strong hold in both Madras and Kolkata. While the reform

Through the ages

movement permanently stigmatised the dancers who performed in private venues to sustain themselves, the elites who patronised them largely remained unblemished by any taboo. These performances were probably the final moments in history where Devadasis and Tawaifs culturally participated in the public sphere as artists.

Post reform, dance no more lived in an intimate space with its audience as it was permanently institutionalised and moved into a proscenium Figure 2.24 Mujra in aristocratic home. Source: wordpress.com

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Chapter 02 | Literature Study

space (Sreevathsa, 2019).

IV. PROSCENIUM STAGE The objective of the social reform movement

from other forms travelled to Kalakshetra to

was to revamp the whole “cultural world of

understand the aesthetic work involved in

performances” (Basu, 2018, cited in Sreevathsa,

codifying the form. However, by projecting a

2019). This involved replacing all intimate spaces of

sense of mythical and abstract time and space,

performance with the modern proscenium stage.

where classical dance claimed to come from,

The first Bharathanatyam performance by Rukmini

it permanently plucked dance from its context

Devi Arundale in Theosophical Society was

(Sreevathsa, 2019).

probably the first time the new Bharathanatyam was experienced frontally by the audience and marked the entry of Brahmin women into the world of dance. However, bringing dance into a proscenium required the revivalists to re-imagine the form in a frontal format and hence dance went through a period of rigorous experimentation.

Creating a distance between the dancer and the audience led to making changes to the geometry of the form & staging Bhakti as devotion without

Today, with new kind of performance spaces emerging, the classical dance is spilling out of auditorium spaces prompting the dancers to re-imagine their visual aesthetics and their relationship with the audience. However, both classical dance and public dance venues remain far out of reach for the marginalised Devadasis, the Tawaifs, the Indian Nautch women, the original

Performance & Recreational Spaces

Through the ages

public women (Sreevathsa, 2019).

desire. It was a part of giving the classical dance a new identity by making it a respectable pursuit and by dissociating it from the stigma of a devadasi (Sreevathsa, 2019).

Though Bharathanatyam was the first classical form to be performed on proscenium, it did not take long for other forms to follow. The desire to be recognised by the modern state as classical gripped the cultural industry and many revivalists

Figure 2.25 Proscenium stage. Source: i.pinimg.com

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41

Auditorium

is

a

performing

arts venue with fixed seating arrangement. It can host multiple functions ranging from dance, theatre, music to film screenings and

talks.

also

known

Blackbox as

theatre,

experimental

theatre, are venues with flexible seating arrangement. This allows the performers the flexibility of choosing the stage direction and size and interacting intimately with

Auditorium & Blackbox Understanding Typologies

the audience. Both the spaces have a foyer serving as a front serving as the front of house and backstage zone serving as back of house facility.

Figure 2.26 Seating angle determination. Source: Neufert

Figure 2.27 The viewing angle determines the auditorium width and wings division on the stage. Source: Neufert

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Chapter 02 | Literature Study

Figure 2.28 Row width and aisle dimensions. Source: Neufert

Figure 2.30 Flexible seating system. Source: audiencesystems.com

Figure 2.29 Flexible seating in a blackbox theatre. Either the levels can module to become seating or it can remain flat, employing removable seats and chairs arranged specific to the event. Source: Neufert

Figure 2.31 Multiple event arrangements. Source: architypereview.com

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43

Unlike museums, art galleries are flexible spaces which need to be designed in a manner such that it can accommodate a range of different types of art media. Large span spaces thus become ideal as they provide uninterrupted spaces which can be subdivided at will.

Play of volumes help accommodate the different scales of artwork.

Lighting plays a crucial role in making

Art Gallery

the ambience and viewing of the artwork.

Understanding Typologies

Figure 2.33 Different arrangements for lighting. Source: Neufert

Figure 2.32 Spaces in an Art Gallery. Source: erco.com

44

Chapter 02 | Literature Study

Figure 2.34 Glare-free ambience with daylight. Source: constructionspecifier.com

PAINTINGS

Window

Paintings are the soul of any art gallery that lure

provide a view of the exterior environment.

natural

light

Clerestories allow deeper penetration of

details, it is essential to take proper measures to lighting experts, paintings in the art galleries

allow

to the interior of a space, but can also

all the art lovers. Since they consist of small fine when implementing a lighting setup. According

apertures

light and minimize glare probability. The Figure 2.35 Side-lighting openings: Windows and Clerestories.

Source: Iordanidou, 2017

should be illuminated by a single light source,

sense of openness they provide is lower than of windows (Iordanidou, 2017).

preferably with a spotlight. They should be

Top-lighting

typically placed at an angle of 30 degrees as it

ambient and uniform lighting and reduce

eliminates the risk of glares and long shadows

the probability of glare They minimize

casted by the frames (Wiprolighting, 2019).

the potential view to the sky or higher

is

indicated

to

achieve

surroundings or sometimes they provide no view at all (Iordanidou, 2017).

SCULPTURES If paintings are the soul then sculptures are the heart of an art gallery that require a proper lighting setup. Lighting of sculptors primarily depends on the size and fragility of the sculpture. While big ones are typically illuminated from above for reducing shadows, small ones are placed

2m

on illuminated plinths. Many a times, a sculpture is lit from multiple directions as it provides art admirers the best possible view. In case a

Figure 2.36 Top-lighting openings. Source: Iordanidou, 2017

sculpture has a narrower base and a wider top, it is best to illuminate it with side lights or ambient

LEDs are the most efficient lighting options

lights (Wiprolighting, 2019).

available in the market that have a long life and require low maintenance (Wiprolighting, 2019).

0.75m

Figure 2.37 Recommended viewing levels. Source: britishcouncil.in

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1. TRIVENI KALA SANGAM

Tansen Marg, Mandi House, New Delhi To Study: – Combining aspects of the traditional understanding with modern possibilities in design – Built-open relationship – Nature of spaces for different art forms – Vertical zoning – Program

Figure 2.38 Triveni Kala Sangam. Source: whatshot.in

2. LEWIS ARTS COMPLEX Princeton, United States

Case Studies List of Projects

To Study: – Confluence of various art forms – Functional zoning (Learning, Performing, Community-level interaction & PublicPrivate segregation horizontally & vertically) – Central collaborative space for arts

Figure 2.39 Lewis Arts Complex. Source: archdaily.com

3. INDIA INTERNATIONAL CENTRE Lodhi Estate, New Delhi

To Study: – Use of materials and technologies – Impact of proximity of Sikandar Lodhi's Tomb – Creation of public spaces supported by certain functions – Mix of various functions – Program

46

Chapter 02 | Literature Study

Figure 2.40 India International Centre. Source: en.wikipedia.org

a) Design Intent Key idea of the project & aspects which make it different

b) Administrative/Institutional Structure The formal structure and rules guiding service provision

c) Traditional Architecture/Heritage Influence Incorporation of traditional features such as concepts, elements, proportions, construction techniques and response to heritage structures

d) Context Surroundings & neighbours of the project

e) Porosity at Pedestrian Level Level of public accessibility in design

f) Built - Open Relationship

Key Parameters Forming a common matrix for case studies

Massing in proportion to the open spaces

g) Nature of Open Space Open-space typology and its significance in design

h) Sustainable Design Features Incorporating passive techniques & use of materials/technologies

i) Design Innovation Unique concepts for spaces / Innovative structural principles

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Location: Tansen Marg, Mandi House, New Delhi Architect: Joseph Allen Stein

Triveni Kala Sangam is one of the earliest buildings

Year: 1957-1977

FICCI Auditorium are all in its vicinity.

Project Type: Academy for Arts, Dance, and Music Site Area: 1 Acre (2425 sqm.)

To Study: Combining traditional concepts with modern possibilities in design | Builtopen relationship | Nature of spaces for

Triveni Kala Sangam

different art forms | Vertical zoning | Program.

Tansen Marg, Mandi House, New Delhi

Figure 2.41 Triveni Amphitheatre. Source: Author

48

Chapter 02 | Literature Study

to propagate Indian culture. The Sangeet Bharati Dance Academy, Shri Ram Centre for Arts, and

The site is well connected with various parts the city with Connaught place is in close proximity.

The access road, the Tansen Marg links Bengali market to the Mandi house roundabout.

The main aim of the complex is to train students, promote professionals, and enlighten the urban population about Indian culture by reintroducing traditional forms of expression into Indian life.

Location & Overview Primary Case Study — TKS

0

50 m

Figure 2.42 Location Plan. Source: OpenStreetMap

The complex, designed by Joseph Allen Stein, comprises of two phases: the academic block, Phase-I and the auditorium block, Phase-II. The internal linkage of the academic block is supported by the OAT serving as the core of complex, with the building around it.

The building houses four art galleries (basement and ground floor), outdoor garden theatre (amphitheatre), sculpture court (open) adjoining the auditorium, hostels for artists, dance and music rooms (on first and second floors respectively), painting and photography studios, cafeteria and terrace tea garden.

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49

Stein's initial design intentions for the Triveni Kala Sangam are an expression of his interest in considering the broadest scope of the problem at hand, and his belief in combining aspects of the traditional

-.

understanding with modern possibilities in design.

CAFETERIA

I

/1

10 m

I

�

0

KITCHEN

/-

MANDI HOUSE

I

SHRI RAM CENTRE FOR PERFORMING ARTS

CAFETERIA

WASH ROOM

STAGE

DIRECTOR

Site Plan

SERVICES

Design Intention

SCULPTURE COURT

ART GALLERY

AMPHITHEATRE

ART GALLERY AUDITORIUM

PRE-FUNCTION

RECEPTION

ART GALLERY

OFFICE

SIDE ENTRY TO AUDITORIUM

'---

�

I

TANSEN MARG

MAIN ENTRY TO THE COMPLEX

ENTRY TO PRAKRITI GALLERY

Figure 2.43 Site Plan of Triveni Kala Sangam. Source: Building in the Garden, Stephen White; Edited by Author

50

Chapter 02 | Literature Study

I

SERVICE ENTRY

I

r

I.J

I

The design of the building was governed by natural forms and laws, cultural values, modern democratic, social and economic relationships, and regional appropriateness.

The complex was constructed in two phases- the complex initially comprised of the amphitheatre, galleries, classrooms, offices, and some apartments, which was later expanded to incorporate the auditorium along with another gallery and some more classrooms and apartments.

The complex has a clear vertical zoning with the ground floor having most of the public functions, which thereafter become private in nature as one moves to the upper floors.

11

Vertical Zoning

22

Intent & Construction

11---==(l, ---==(l,��=rn�r==== ��=rn�r==== II

II

-� -�

II

3 66

4

ll=:J

PHASE PHASE1111

PUBLIC SEMI-PUBLIC PRIVATE

1.1.

2.2.

3.3.

4.4.

APARTMENTS APARTMENTS CLASSROOMS CLASSROOMS OFFICES OFFICES GALLERY GALLERY

5.

5.

6.

6.

7.7.

8.8.

PHASE

OPEN THEATRE AIR THEATRE OPEN AIR STAGE STAGE AUDITORIUM AUDITORIUM STUDIO STUDIO

CIRCULATION Figure 2.44 Section with Public-Private Zoning. Source: Building in the Garden, Stephen White; Edited by Author

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51

1. The auditorium block in Triveni Kala Sangam is a four-storied structure with the double-height auditorium on the ground floor, a studio, green rooms and a store in the basement, art classrooms.

On the second floor and apartments for artists on the third floor. The entrance to the auditorium block through the sculpture court is through a dark corridor. A staircase on the right leads to the upper floors and the basement.

Windows of the class room, dance room & music rooms are on the north facade to provide for the northlight into those rooms.

2. The basement housing green-rooms and stores is approachable from another dark corridor which needs artificial light. The auditorium, called the Triveni chamber theatre, with a capacity of 250 people has two aisles on either slightly curved seating. The light and sound room is located on the first floor.

Zoning & Built-Open Relationship Key Features & Inferences

3. The entrance court comprises of rectangular front lawns intersected by pedestrian pathways. The lawn serves as a buffer between the heavily trafficked road and the complex. A curved water body outside the curved exhibition gallery wall offsets the building from the lawn.

The boundary is a fenced railing to make the complex visually permeable and approachable to the visitors.

It is punctured through three gates.

The central main gate is most frequently used by visitors and students.

4. The garden theatre has been designed in the center of the complex as a focal point.

The green terraces with a capacity of 300-400 people has two radiating aisles and a gentle rake of 1 in 8.

Curved seating on the grass is in the form of steps varying in width from 2 m to 4.5 m. The 70 sq.mt. Oval wooden stage is at a higher of 1.5 m with steps on both sides.

5. The canteen kitchen is placed at the far end of the academic block. A staircase leads from the teaterrace sit-out down to the service yard. Small rooms have been provided for the kitchen staff and a set of toilets have been provided in a shed.

52

Chapter 02 | Literature Study

PHASE 2 BLOCK

PHASE 1 BLOCK SCULPTURE COURT TRIVENI CAFE

A side gate to the auditorium used on need basis.

APART

OPEN AIR THEATRE

CLASS

MENTS

ROOM S

1. AUDITO (DOUB

5.

RIUM

LE HEIG

HT)

2.

4.

ENTRY

TANSEN

(TOWA

RDS BE

Figure 2.45 Triveni Kala Sangam. Source: Rajat Verma; Edited by Author

3.

MARG

NGALI

MARKE

T)

STAGE & GREEN ROOM ART GALLERY

The Phase I block comprises of a main art gallery, an open air theatre, a cafeteria and a four storied building housing galleries, offices and music and dance class rooms.

The entrance lobby in the Centre of the I-shaped block disperses the visitors to the various parts of the building. A jaali screens the amphitheatre from the lobby. The reception is a glass panelled cubicle on the left of the lobby, next to an office. A corridor between the two leads to the sculpture court and the auditorium block beyond.

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53

Location: Princeton, New Jersey, United States Architect: Steven Holl Architects, BNIM Architects Year: 2017 Project Type: Centre for the Arts- Princeton University Campus, South Edge Site: 2.2 Acres (8,903 sqm) | Built-up: 12,914 sqm To Study: Confluence of various art forms | Functional zoning (Learning, Performing, Community-level interaction & Public-Private segregation horizontally & vertically) | Central

Lewis Arts Complex

collaborative space for arts.

Princeton, New Jersey, US

Figure 2.46 Lewis Arts Complex, Princeton University. Source: archdaily.com

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Chapter 02 | Literature Study

The complex takes the arts at Princeton University to even greater heights by significantly expanding the performance, rehearsal and teaching spaces for the arts in new, state-of-the-art facilities. The complex creates a new campus gateway, shaping campus space while maximizing porosity and movement.

The arts complex, designed by Steven Holl Architects in partnership with BNIM, brings together the Lewis Center for the Arts’ Programs in Dance, Theatre, and Music.

ARTS TOWER Concept:

EMBEDDED

Built volumes embedded into one another

DANCE BUILDING | THEATRE Concept:

A THING WITHIN A THING

Referring to the Rectangular BlackBox enclosed within a Cylinder

FORUM Amalgam of all Art Forms NEW MUSIC BUILDING

Overview

Concept:

SUSPENDED

Secondary Case Study — LAC

Individual Practice Rooms suspended from above Acoustic Separation Figure 2.47 Concept sketch — the 4 major components. Source: archdaily.com; Edited by Author

The Princeton Atelier and the Department of Music’s expansion of its instructional and research facilities in the New Music Building. The complex comprises the Wallace Dance Building and Theatre; the Arts Tower, which includes the Hurley Gallery, administrative offices and additional studios; and the New Music Building. The three buildings are integrated below ground in a Forum, an 8,000 square-foot open indoor gathering space that serves the various arts venues in the complex. Above the Forum is an outdoor plaza with a reflecting pool. Skylights in the pool filter natural light into the Forum below.

The new arts complex is named for and was made possible in part through a $101 million gift to the University made in 2006 by the late Peter B. Lewis, Princeton Class of 1955 and former University trustee.

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BLACK-BOX THEATRE: approx. 130 SEATS

Wallace Dance Building & Theatre Level 00 — Forum Level Plan

DANCE THEATRE: approx. 90 SEATS

MAIN ENTRANCE TO FORUM

Figure 2.48 Forum Level Plan - Level 00. Source: metalocus.es; Edited by Author

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Chapter 02 | Literature Study

PERFORMANCE SPACE

BACKSTAGE

GREEN ROOM/CHANGING ROOMS

PUBLIC CIRCULATION & TOILETS

DANCE THEATRE COMMON BACK STAGE (Two Entry Points per Theatre)

SERVICE CORE

Public Entry

DANCE THEATRE Figure 2.49 Schematic Plan of the Dance & Drama Theatre. Source: Author

Schematics Overview of Ground Floor Plan

Encouraging curiosity and interaction, the new arts plaza has views overlooking into the dance and theater practice spaces and the orchestral rehearsal space. As an open public invitation, this gateway space aims to connect the local community to the University The Wallace Dance Building and Theater is developed according to the idea of a “thing within a thing.”

The black-box theatre is composed of steel, while the dance theaters are foamed aluminum, white washed wood and board formed concrete.

Figure 2.50 Black Box Theatre. Source: metalocus.es

Dimensions: 20 x 20 x 7 m Black Box Catwalk Height: 3.5 m

A “dancing stair” connects all levels.

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BLACK-BOX THEATRE GALLERY

Wallace Dance Building & Theatre Spatial Configuration

DANCING STAIRS (Connects all floors) TOWARDS LEVEL 1

COSTUME WORKSHOP

PERFORMANCE SPACE/WORKSHOP CONTROL ROOM

Figure 2.51 Mezzanine Level Plan - Level +3500M. Source: metalocus.es; Edited by Author

BACKSTAGE PUBLIC CIRCULATION & TOILETS

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Chapter 02 | Literature Study

BLACK-BOX CATWALK

Figure 2.53 Dancing Staircase. Source: archdaily.com

DESIGN STUDIO Figure 2.52 Level 1 Plan - Level +6400M. Source: metalocus.es; Edited by Author

STUDIOS CONTROL ROOM BACKSTAGE/STORAGE/SERVICES

The Dancing Staircase The "Dancing Stair" connects all levels.

The landings serve as a lounge/meeting space.

CIRCULATION/LOUNGE/TOILETS

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ACTING STUDIO (Largest: 10m x 15m)

LINK TO ARTS TOWER

Wallace Dance Building & Theatre Spatial Configuration

DANCE STUDIO (14m x 14m)

Figure 2.54 Level 2 Plan - Level +10,800M. Source: metalocus.es; Edited by Author

STUDIOS CHANGING ROOM STORAGE/SERVICES CIRCULATION/LOUNGE/TOILETS

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Chapter 02 | Literature Study

ANALYSIS & INFERENCES » THE FUNCTIONS BECOME MORE PRIVATE WITH FLOOR LEVELS: In the case of vertical stacking of functions, there can be a gradual shift from public to private with increase in level. » PERFORMANCE THEATRES GENERATE VOLUMES WITH DIFFERENT HEIGHTS: Accommodation of studios & other spaces adjacent to the double (or triple) height spaces). » SIMILAR FUNCTIONS ARE GROUPED TOGETHER, BOTH VERTICALLY & WITHIN A FLOOR: Avoiding the interference STUDIOS OFFICES Figure 2.55 Level 3 Plan - Level +15,900M. Source: metalocus.es; Edited by Author

BACKSTAGE/STORAGE/SERVICES

between distinct art forms in terms of segregated backstage, performance areas, studio zones & office zones.

CIRCULATION/LOUNGE/TOILETS ROOF TERRACE

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Access from Service area to Backstage

LOADING DOCK Shop

PLOrk STUDIO INFO DESK & TICKETING

CoLab

Arts Tower & New Music Building Level 00 — Forum Level Plan

INSTRUMENTAL REHEARSAL ROOM

Figure 2.56 Forum Level Plan - Level 00. Source: metalocus.es; Edited by Author

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Chapter 02 | Literature Study

PERFORMANCE SPACE

BACKSTAGE

GREEN ROOM/CHANGING ROOMS

PUBLIC CIRCULATION & TOILETS

Hurley Gallery

CoLab

Public Domains of Music & Art

PLOrk STUDIO

THE FORUM Public Entry

SERVICE CORE

Private Entry

(Plaza Level)

Orchestral Rehearsal Room

Schematics Overview of Ground Floor Plan

Figure 2.57 Schematic Plan of Art & Music. Source: Author

The Arts Tower is developed with an “embedded” concept, its stone tower connecting to the proportions of Princeton’s historic Blair Arch. The New Music Building is developed according to an idea of “suspension.” Above the large orchestral rehearsal room individual practice rooms are suspended on steel rods.

Acoustically separate, these individual wooden chambers have a resonant quality. The concrete structure of all three buildings is faced in thick 21-million-year-old Lecce Stone quarried in Lecce, Italy.

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HURLEY GALLERY

Arts Tower & New Music Building Spatial Configuration

TOWARDS LEVEL 1

PERFORMANCE SPACE Figure 2.58 Mezzanine Level Plan - Level +3500M. Source: metalocus.es; Edited by Author

OFFICES BACKSTAGE PUBLIC CIRCULATION & TOILETS

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Chapter 02 | Literature Study

OFFICE ENT.

BOX OFFICE

ENT.

JAZZ STUDIO PERCUSSION STUDIO

ENT. Figure 2.60 PLOrk Studio. Source: plork.deptcpanel. princeton.edu

PLOrk STUDIO: PRINCETON LAPTOP ORCHESTRA A 21st Century re-invention of the traditional model of orchestra" OFFICE ENT.

DESIGN STUDIO Figure 2.59 Level 1 Plan - Level +6400M. Source: metalocus.es; Edited by Author

– Wireless Networking & Video replacing the 'Conductor' – Instrument used: Laptops & custom design hemispherical speakers

CoLab: PERFORMANCE SPACE OFFICES

A space for musical events & workshops.

Studio-like environment.

BACKSTAGE PUBLIC CIRCULATION & TOILETS

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LINK TO DANCE & ACTING STUDIOS

Arts Tower & New Music Building Spatial Configuration

STUDIOS Figure 2.61 Level 2 Plan - Level +10,800M. Source: metalocus.es; Edited by Author

CHANGING ROOM STORAGE/SERVICES CIRCULATION/LOUNGE/TOILETS

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Chapter 02 | Literature Study

ANALYSIS & INFERENCES Music Studio Dimension: 5m x 10m LINK TO DANCE & ACTING STUDIOS

Practice Room Dimension: 5m x 5m

» LARGE CAPACITY SPACES ARE LOCATED IN LOWER FLOORS: Ease of controlling PUBLIC CIRCULATION & ACCESS. » TOGETHER WITH BEING SEPARATE BLOCKS, THE 'FORUM' BRINGS THE DIFFERENT ART FACILITIES TOGETHER: Need for a common space for collaboration & interaction between arts.

STUDIOS Figure 2.62 Level 3 Plan - Level +15,900M. Source: metalocus.es; Edited by Author

OFFICES BACKSTAGE/STORAGE/SERVICES CIRCULATION/LOUNGE/TOILETS ROOF TERRACE Figure 2.63 Segregation of spaces. Source: Author

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POROSITY OF MASSING Courtyard bound on 3 sides opening out to the landscape

Innovations in Structure & Material Different finishes & technologies working together

Figure 2.64 Site Plan - Porous links to nearby locations. Source: metalocus.es

Figure 2.65 Section. Source: metalocus.es

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Chapter 02 | Literature Study

DANCE BUILDING MATERIALS Foamed Aluminium | White-washed wood | Board-formed concrete Okalux is a milky-white glass which is highly insulated.

DESIGN ELEMENT Dancing Stair

NEW MUSIC BUILDING INNOVATION Concept of 'suspension': Above the large orchestral rehearsal room, music practice rooms are individually suspended on steel rods. This lends a high degree of acoustic separation to these chambers MATERIALS Wooden Chambers (Tongue & Groove joint) | Steel suspension rods | Transparent Glass as skin.

Figure 2.66 3D exploded view.

Source: metalocus.es

Figure 2.67 Invitation views from outside. Source: metalocus.es

FORUM INNOVATION The Forum is roofed by an Outdoor Plaza & a Reflecting Pool with skylights.

The design allows views which overlook practice spaces & the rehearsal room, encouraging a connection between 'the local community and the university'.

MATERIALS Foamed Aluminium | White-washed wood | Board-formed concrete

Overlook views into the dance and theatre practice spaces and the orchestral rehearsal space are aimed at provoking curiosity and interaction. As an open public invitation they bring arts activity to all pedestrian movement.

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Location: Lodhi Estate, New Delhi Architect: Joseph Allen Stein

Considered one of the country's premier cultural

Year: 1962

government institution. Its purpose, stated in its

Project Type: Cultural & Convention Centre

between the different communities of the world'.

Site Area: 4.6 Acre (18,600 sqm.)

It is widely regarded as a place where statesmen,

institutions, the India International Centre is a noncharter, was ‘to promote understanding and amity

diplomats, policymakers, intellectuals, scientists,

To Study: Use of materials and technologies | Impact of proximity of Sikandar Lodhi's Tomb | Creation of public spaces supported by certain functions | Mix of various functions | Program.

Lodhi Estate, New Delhi

Figure 2.68 India International Centre. Source: en.wikipedia.org

Chapter 02 | Literature Study

meet to initiate the exchange of new ideas and knowledge.

It is located in Lodhi Estate, near the north eastern boundary of Lodhi garden, New Delhi designed by architect Joseph Allen Stein.

India International Centre (IIC)

70

jurists, writers, artists and members of civil society

Location & Overview Primary Case Study — TKS 0

50 m

Figure 2.69 Location Plan. Source: OpenStreetMap

The triangular site's main entrance is from the Max Muller Marg on east, the other entries are from the Joseph Stein Lane along the south of the site.

The complex is accessible from two sides, the major pedestrian entrance being from Max Muller road on the east.

The main complex houses the C.D. Deshmukh Audi, conference rooms, publication division, library, admin offices and guest rooms. Kamladevi Complex houses a multipurpose hall, 3 seminar rooms with sliding/ folding partitions in each to give the provision of separate usage or as a large hall, and an Art Gallery.

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ZONING The main complex of the centre is laid out with three wings, on the north, south and west and each is designed to serve a separate function.

While cultural programmes are open to the interested public in the south wing. It also has conference room on the first floor with a capacity of 30 people.

The north wing offers residential facilities to member and their guests. There are to-51 rooms comprising of three single rooms, double rooms and guest room suites. They are oriented in north south direction.

The lounge, dining hall, private dining hall and terrace pergola are located on the west side, overlooking the Lodhi Gardens.

ENTRANCE LOBBY

Zoning & Site Plan

The lobby in the south block distributes circulation to the library, auditorium and the committee room

Design Intent with zoning

auditorium. The entrance lobby is connected to the hostel block by means of a covered passage.

on the ground floor and office area in the first and the second floors. It also serves as a foyer to the

AUDITORIUM It is well located in relation to the rest of the blocks; it can be approached by either of the access streets or the entrance hall without posing any disturbance to the rest of the functions in the complex.

FORM The Center's beautiful and low-profile buildings express, as the architect Joseph Allen Stein himself said, the 'informal or romantic approach, where each function seeks out its own expression'. A grand central portico greets the visitor at the entrance driveway, extending across a north-south axis.

The curving facade of the residential wing corresponds to the curving paths and walkways in the adjacent Lodhi gardens.

The north and south wing are connected to each other by walkways with overhanging eaves..

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Chapter 02 | Literature Study

01. Parking 02. CD Deshmukh auditorium 03. Programme block 04. Lounge 05. Fountain 06. Catering 07. Hostel block 08. Court 09. Porch

10. Drop off 11. Open exhibition space 12. Lawn 13. Entry gate 14. Entry gate 15. Hostel block 16. Rose Garden 17. Hostel block 18. Kamaladevi Complex 19. Rose Garden

18 19 16

14

17

15 07 05

06

09

10

12

08 11

03

02

04

13 01

0

30 m Figure 2.70 Location Plan. Source: Document provided by IIC Officials; Edited by Author

Sultan Garhi Cult. & Rec. Hub | Palak Verma

73

1. The Center's beautiful and low-profile buildings express, as the architect Joseph Allen Stein himself said, the 'informal or romantic approach, where each function seeks out its own expression'. A grand central portico greets the visitor at the entrance driveway, extending across a north-south axis.

The curving facade of the residential wing corresponds to the curving paths and walkways in the adjacent Lodhi gardens.

The north and south wing are connected to each other by walkways with overhanging eaves.

Design Highlights Key Features & Inferences

ANALYSIS & INFERENCES » FREE FLOW OF SPACES FROM PUBLIC TO PRIVATE ZONES: Ease of controlling PUBLIC CIRCULATION & ACCESS. » INTERNAL COURTYARDS, LANDSCAPED GREENS AND WATER FEATURES ENHANCE THE MICROCLIMATE OF THECOMPLEX: These provide as refreshing breakout spaces and enliven the entire design scheme. » USE OF LOCAL MATERIAL, NATURAL FINISHES, AND JAALIS ON FACADE CREATING A NATURAL ENVIRONMENT: This is a sustainable move as well as economical, and it also seems appealing to the aesthetic sense of humans.

74

Chapter 02 | Literature Study

KAMALADEVI COMPLEX

The complex is situated right next to Sikandar Lodi's tomb. The building is zoned in a way which also responds to the heritage structure. The fountain lawn and the amphitheatre have been placed

PARKING

right next to the boundary wall across the tomb, thus providing a

The site caters to surface

some sense of privacy while also creating a basic visual connect.

parking for 220 cars.

There is no provision for

The buildings in this area are also low height in nature (G+3).

any basement parking.

1.

ROSE GARDEN/ LODHI GARDEN

AUDITORIUM The auditorium is well located in relation to the rest of the blocks; it can be approached by either of the access Figure 2.71 India International Centre.

Source: Rajat Verma; Edited by Author

FOUNTAIN LAWN

streets or the entrance hall without posing any disturbance to the rest of the functions in the complex.

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75

TRIVENI KALA SANGAM

Tansen Marg, Mandi House, New Delhi

Location: Tansen Marg, Mandi House, New Delhi

LEWIS ARTS COMPLEX Princeton, United States

Lodhi Estate, New Delhi

Location: Princeton, New Jersey, United States

Location: Lodhi Estate, New Delhi Architect: Joseph Allen Stein

Architect: Joseph Allen Stein

Architect: Steven Holl Architects, BNIM Architects

Year: 1957-1977

Year: 2017

Project Type: Academy for Arts, Dance, and Music

Project Type: Centre for the Arts- Princeton University Campus, South Edge

Site Area: 1 Acre (2425 sqm.)

Site: 2.2 Acres (8,903 sqm) | BUA: 12,914 sqm

To Study: Combining traditional concepts with modern possibilities in design | Built-open relationship | Nature of spaces for different art forms | Vertical zoning | Program.

To Study: Confluence of various art forms | Functional zoning (Learning, Performing, Community-level interaction & Public-Private segregation) | Central collaborative arts space.

LEARNINGS

LEARNINGS

LEARNINGS

Focal point and community space - OAT

Collaborative central space - 'forum'

Free flow of spaces from public to private zones

Clear vertical zoning based on degree of privacy

Maximum porosity and movement through the complex

Internal courtyards, landscaped greens & water features enhance the micro-climate

Inspiration from historic landmarks of Princeton campus

Use of local material, natural finishes & jaalis

Most windows in the spaces face north Use of jaali screens and local materials Rich ambience disciplines

with

intermixing

of

various

Community engagement within campus Inviting views into rehearsal & practice areas

76

INDIA INTERNATIONAL CENTRE

Chapter 02 | Literature Study

Year: 1962 Project Type: Cultural & Convention Centre Site Area: 4.6 Acre (18,600 sqm.)

To Study: Use of materials and technologies | Impact of proximity of Sikandar Lodhi's Tomb | Creation of public spaces supported by certain functions | Mix of various functions | Program.

Fountain lawn present next to Humayun's tomb in the context with visual connectivity

CASE STUDY INFERENCES CROWD MANAGEMENT

SAFETY

Managing the crowd without any congestion or traffic overlap is necessary. Spaces for breakout, refreshment, & relaxation should be considered.

Secluded spaces should be avoided in the public access areas.

Safe & secured feelings for all users should be ensured.

TRANSPORT

LOCATION

Better transportation linkage to the hub increases the number of regular visitors and new tourists. Traffic conditions should be kept in mind while designing.

Location in a core central area . Ensure easy access for the public to create a better hang out space.

INTER LINKAGE

NARRATIVE

Spatial linkage are necessary throughout the complex for a wholesome experience.

The complex should be designed with a storyline that leads the user to the climax, with increasing interest.

MULTI USER

ACCESS GATES

The space should designed for all kinds of people - children, teens, adults, elderly etc as this would enhance the spatial usage.

With more access gates, the crowd management is better. Over-lapping traffic should be avoided.

MULTI ACTIVITIES

CONNECTION

Multiple activities/ functions throughout the year ensures a very active and bustling public space.

Low level environment connects the user with space, rather that iconic monolithic buildings.

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77

CHAPTER 03

P R O G R A M A N A LYS I S i.

Defining the User

ii. Broad Programmatic Components iii. Program Sub Components iv. Area Program v.

Program Analysis

The world as we know it is gradually moving towards the digital realm. While the digital future is inevitable (and vital for growth), there is a need to balance it with the creative realm of arts — which has always been an important means of expression for humans.

Currently, Mandi House complex is the only major socio-cultural centre in Delhi. Located in the Central Delhi region, these centres aren't accessible to all classes of society, despite them being 'public' venues.

Thus, the project promises to offer a unique complex for cultural and recreational activities to the residents of and around South Delhi.

Adjoining the site is the Sultan Garhi tomb, the first Islamic mausoleum in India. Yet, a very few people know about its existence. Thus, the project also aims at bringing out its importance through various design moves. The project therefore works at different levels:

Defining the User Project Vision

» » » »

A COMMUNITY SPACE AN ARTISTIC PUBLIC REALM A CULTURALLY VIBRANT COMPLEX A CREATIVE WORKING ENVIRONMENT

RESIDENTS SCHOOLS INSTITUTES

LEARNING COMMUNITY

ARTISTIC COMMUNITY

LOCAL COMMUNITIES

OFFICES INSTITUTIONS INDUSTRIES

IT COMMUNITY

TOURISTS/PUBLIC

Figure 3.1 User groups of the project. Source: Author

80

Chapter 03 | Program Analysis

ARTS CENTRE ENTRY PLAZA PERFORMANCE CENTRE

ARTISTS' RESIDENCES FOH

EXHIBITION CENTRE STUDIO APARTMENTS

LEARNING CENTRE

Broad Programatic Components BOH

RETAIL

RESTAURANTS/ CAFES/KIOSKS

COMMERCIAL OFFICES

Program Development

Figure 3.2 Broad Program Components. Source: Author

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81

ARTS CENTRE

The arts centre has a central administration with the sub-departments:

EXHIBITION CENTRE: The exhibition centre comprises of traditional and contemporary exhibits in both, permanent and temporary galleries. Curated by different artists and art organisations, the aim is to provide a meaningful understanding of art in its various forms.

PERFORMANCE CENTRE: The performance centre comprises of different independent venues. While some performances are ticketed with a dedicated auditorium/multi-purpose hall, the attempt at an inclusive arts hub brings in some performances to the traditional structure and outdoor areas. The centre is managed by the arts centre admin.

Program Components Understanding the sub components

• Auditorium - 600 people • Multi-purpose hall - Black Box Theatre • Informal Performance Spaces

LEARNING CENTRE: The learning centre provides facilities for the following programs: Short-term courses - Basic, intermediate, advanced level (2 weeks to 3 months) Artists' residency programme Weekly classes Research courses (6 months to 1 year) Public workshops & lectures • Visual arts studios

• Research classrooms

• Yoga centre

• Performing arts studios

• Library

• Lecture halls

• Public workshop studios

• Children's centre

The small studios will mostly cater to a group of maximum 25 learners and 1-2 tutors, while the larger studios are meant for collaborative classes, residency programmes, etc.

82

Chapter 03 | Program Analysis

RETAIL: The retail stores cater to the realm of arts with shops for: • Musical instruments

• Performing arts costumes, ornaments, props

• Art material and stationery

• Book store

ARTISTS' RESIDENCES The furnished studio apartments for artists' shall be in proximity to the learning centre. These apartments are meant for artists who are a significant part of the project, as well as artists who visit the centre for various residency programs and courses.

COMMERCIAL OFFICES Providing a unique working environment to the commercial offices through coexistence of art with work, these offices shall have various informal spaces for discussion, engagement and expression through art, which shall enhance the quality of work environment. Most of the

Program Components Understanding the sub components

offices in the complex would be from creative fields of art and design.

RESTAURANTS | CAFES With a view of the rich cultural heritage, the restaurants, cases and coffee shops shall cater to every visitor/resident of the hub.

ARTS CENTRE — 34.2% ARTISTS' RESIDENCES — 9.7%

AMENITIES — 15.8%

COMMERCIAL OFFICES — 32.2%

SERVICES — 8.1% Sultan Garhi Cult. & Rec. Hub | Palak Verma

83

Area Program Components & their areas

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84

Chapter 03 | Program Analysis

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Area Program Components & their areas

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Sultan Garhi Cult. & Rec. Hub | Palak Verma

85

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Area Program Components & their areas

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86

Chapter 03 | Program Analysis

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Sultan Garhi Cult. & Rec. Hub | Palak Verma

87

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88

Chapter 03 | Program Analysis

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Sultan Garhi Cult. & Rec. Hub | Palak Verma

89

Administration: 5.8%

Exhibition Centre: 17.6%

Lobby & Admin: 5.0% BOH: 16.8%

Learning Centre: 33.8%

Performance Centre: 42.8% Figure 3.3 Area Distribution of Arts Centre. Source: Author

Residential: 78.3%

Figure 3.4 Area Distribution of Artists' Residences. Source: Author

Program Analysis Area Breakup

Retail: 22.5%

Hospitality: 46.8%

Recreational: 30.7% Figure 3.5 Area Distribution of Artists' Residences. Source: Author

ARTS CENTRE — 34.2% RESIDENCES — 9.7%

OFFICES — 32.2% AMENITIES — 15.8% SERVICES — 8.1%

Figure 3.6 Area Program. Source: Author

90

Chapter 03 | Program Analysis

Function

Area (sqm)

Load Factor (sqm/ Occupancy Load person)

Offices

8000

10

800

Performance

3635

Learning

2870

4

717

Exhibition

1490

1.4

1064

Studio Apartments

1895

12.5

150

Retail

880

4.5

195

Hospitality

1830

1.8

1016

Recreational

1200

1.4

857

Administration

1020

10

102

900

Occupancy Load Calculating the number of people using the complex

Table 3.7 Occupancy Load Calculations. Source: Author

Total occupancy load = 5800 people Total number of users = OC x Diversity Factor

= 5801 x 70

= 4060 people

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91

CHAPTER 04

S I T E A N A LYS I S i.

Site Context

ii. Site Details iii. Physical Infrastructure at Precinct Level iv. Connectivity & Movement Systems v.

Site Images

vi. Site Plan & Topography vii. Climatic Analysis

No.

Land Use

Area (Ha.)

Percentage (%)

1.

Residential

4547

55

2.

Commercial

413

5

3.

Public & Semi Public

827

10

Master Plan Delhi-2021 from 'A' to 'P' (except ‘I’).

4.

Govt. Offices

165

2

The site lies in the Planning Zone-J located in

5.

Govt. Land

165

2

The National Capital Territory of Delhi has been divided into 15 Planning Zones / Division as per

the South Delhi. The total area of the zone as per MPD-2021 is about 15,178 Ha., out of which

Site Context Master Plan Delhi 2021

6.

Recreational

1239

15

7.

Circulation

912

11

Total

8268

100

Table 4.8 Land Use & Areas in Zone J. Source: DDA

around 6,200 Ha. comprises of the ‘Regional Park’/ ‘Ridge’. The location of the zone is as follows: •

Northern edge is bound by BadarpurMehrauli-Mahipalpur road

•

Western edge has National Highway No. 8 (now NH-48)

•

Southern & Eastern edges have National Capital Territory of Delhi boundary, beyond which lies the state of Haryana.

Figure 4.1 Land Uses in Zone J. Source: Author

94

Chapter 04 | Site Analysis

The site lies in the 'Education & Research Centre' zone under the Public & Semi Public Land Use

Figure 4.3 Location of site in Zone J. Source: DDA, Author

Figure 4.2 Location of Zone J in Delhi Master Plan 2021.

Source: DDA, Author

Figure 4.4 Planning Zone J. Source: DDA

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95

Site: VASANT KUNJ, NEW DELHI The site lies next to the Sultan Garhi Tomb, which is a monument protected by the Archaeological Survey of India (ASI). The area up to the 100m radius of the tomb is a restricted zone where construction is prohibited. The zone from the 100m - 300m radius lies under the regulated area, where a variable height restriction is applicable after permissions from ASI. But as the site has a 270 m permissible top elevation according to the Airport Authority of India - NOCAS and the highest elevation on the site is at 252 m, thus a height restriction of 18 m is applicable on the site.

The complex would be developed, maintained and operated on Public Private Partnership (PPP) mode by selected groups/corporates of repute. DDA would be the facilitator and the operations would be managed by a group of eminent persons who would ensure that the centres are operated and maintained appropriately.

Site Details Development Controls

DEVELOPMENT CONTROLS Client Delhi Development Authority Zone Zone J Total Site Area

46,050 sqm. (11.38 Acres)

Ground Coverage

35%

FAR 1.20

96

Chapter 04 | Site Analysis

Height Restriction

18 m

Max Built-up Area

55,260 sqm.

Setbacks

15 m front, 9 m sides & rear

Parking Standards

2 ECS per 100 sqm floor area

Table 4.9 Development Controls.

Source: Author

I AS

30

u Reg 0m

lated Li

ne

Constr.

No Restricted Lin m

e

AS

I1

00

SITE 4.6 HA

0

50 m

Figure 4.5 Location plan. Source: OpenStreetMap, Author

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97

1.

HOTEL GRAND

2.

AMBIENCE MALL

3.

DLF PROMENADE MALL

4. DLF EMPORIO MALL

Context Physical Infrastructure at Precinct Level

5.

JAWAHARLAL NEHRU UNIVERSITY

6.

VASANT KUNJ SECTOR B

7.

CWG FLATS

8.

ATFM CENTER, AIRPORTS AUTHORITY OF INDIA

9.

INDIAN SPINAL INJURIES CENTRE

10. SULTAN GARHI TOMB 11. RANGPURI PAHADI BASTI 12. MAHIPALPUR VILLAGE 13. DELHI AEROCITY (I.G.I AIRPORT) 14. RYAN INTERNATIONAL SCHOOL 15. VASANT KUNJ SECTOR C 16. SCHOOL OF PLANNING AND ARCHITECTURE NEW CAMPUS

98

Chapter 04 | Site Analysis

IMPORTANT HOTELS RESIDENTIAL SCHOOLS/INSTITUTIONAL RELIGIOUS/HERITAGE HOSPITALS

13.

N

48

GG

N

DE

LH

IE

X

E PR

AY W SS

ARAVALLI BIODIVERSITY PARK

4.

H-

DIUS

RA KM 1 ARAVALLI

3.

BIODIVERSITY PARK

5.

12.

2.

16.

14.

1.

ND

EL

AM

AR G

15.

MA

10.

9.

RESERVE FOREST

AB

DU

LG

AF

FA R

8.

11.

LS

ON

15.

NE

11.

KH

AN

M

AR G

6.

7.

RESERVE FOREST

Figure 4.6 Site and Context. Source: Google Earth, Author

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99

Connectivity & Movement Systems NEW DELHI RAILWAY STATION 18.6 km - 38 min drive

OLD DELHI

CONNAUGHT PLACE

JANAKPURI

DELHI CANTT.

PALAM

NOIDA

48

DWARKA

48 RAILWAY STATION

I.G.I. AIRPORT DELHI AEROCITY 3.5 km - 11 min drive

METRO STATION

VASANT R.K. VIHAR 5.8 km - 13 min drive

PURAM

LAJPAT NAGAR HAUZ KHAS

YAMUNA RIVER

MAHIPALPUR

VASANT KUNJ

148A

NATIONAL HIGHWAY

RANGPURI

48

METRO LINES SITE

MALVIYA NAGAR

MEHRAULI

OKHLA INDUSTRIAL AREA

SAKET

CHHATARPUR 6.6 km - 20 min drive

GURUGRAM

GHITORNI

CHHATARPUR

148A 0

1 km

AYA NAGAR Figure 4.7 Connecting Site with the City. Source: OpenStreetMap, Author

100

Chapter 04 | Site Analysis

FARIDABAD

I.G.I. AIRPORT

48

MAHIPALPUR VILLAGE VASANT KUNJ E-2

BUS STOP

RUCHI VIHAR

RANGPURI PAHADI

VASANT KUNJ C-6

VASANT KUNJ C-8

AUTO STAND VASANT KUNJ

RANGPURI PAHADI BASTI

ISIC HOSPITAL

NATIONAL HIGHWAY SULTAN GARHI TOMB

SITE

JAWAHARLAL NEHRU UNIVERSITY

NELSON MANDELA MARG - 52 m

INDIAN SPINAL INJURIES CENTRE

VASANT KUNJ D-7

ABDUL GAFFAR KHAN MARG - 24 m SULTAN GARHI TOMB ROAD - 10 m

0

100 m

Figure 4.8 Connecting Site with the Neighbourhood. Source: OpenStreetMap, Author

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101

1.

Site Images Site and neighbourhood

Figure 4.9 Road along the Eastern & Southern Edge of Site. Source: Author

4.

3.

6.

9.

4.

Figure 4.10 Park between Sultan Garhi tomb and the site. Source: Author

1.

7.

5.

7.

8.

Figure 4.12 Site plan. Source: Author

102

Chapter 04 | Site Analysis

2.

Figure 4.11 Sultan Garhi Tomb. Source: Author

2.

Figure 4.13 Southern Edge of Site with Water Collected in Artificial Drain. Source: Author

5.

Figure 4.15 Manicured Lawns with Heritage Ruins on Southern Side of Site. Source: Author

8.

Figure 4.17 Octagonal tomb inside Sultan Garhi. Source: Author

3.

Figure 4.14 Entry to Site from Abdul Gaffar Khan Marg. Source: Author

6.

Figure 4.16 CNG Workshop Land inside Site. Source: Author

9.

Figure 4.18 Marshy Land and Rocky Contours on Western Side Outside Site. Source: Author

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103

Topography The site is located on the ridge at maximum height of 252 m above mean sea level.

The lowest portion of the site is in the north-west corner of the site which becomes a natural catchment area, while the highest point is the plateau of Sultan Garhi.

The site has an extensive quarry zone to the north of the Sultan Garhi tomb and a plane land to the east of the tomb.

The quarried zone has a height difference of 4-5 m.

Site Plan Site Topographical Details & Natural Features

Vegetation The site has dense to sparse open scrub vegetation.

The common trees are Acacia sp., Cassia sp., Azadirachta indica (Neem), Ziziphus (Ber) and Jujuba. There is some insignificant seasonal shrubbery in the quarried area and a cultivated area in the eastern part near the Indian Spinal Injuries Hospital, which also has fruit orchards.

Drainage & Hydrology Although the natural drainage of the site has been altered by the quarrying activities, the surplus run-off still drains towards the Mahipalpur Naala.

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DR

A IN AGE

0

50 m

Figure 4.19 Site plan. Source: Author

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105

Delhi has a composite climate with high variation between summer and winter temperatures and precipitation. The city's climate is greatly influenced by its proximity to the Himalayas and the Thar Desert. Delhi has five distinct seasons, viz. Spring, Summer, Monsoon, Autumn, and Winter. A brief overview of the seasonal distribution is as follows: •

Spring: February - March : Warm days, cool nights, pleasant; Low to moderate humidity; Moderate precipitation.

Climate Analysis

•

Summer: April - June : Hot to very hot; Very low to moderate humidity; Low precipitation.

•

Monsoon: July - September : Hot; Pleasant during rains; High to very high humidity; Heavy precipitation.

•

Autumn: October - November : Warm days, cool nights, pleasant; Low humidity; Low Precipitation.

•

Winter: December - January : Cool days, cold nights; Moderate humidity; Medium Precipitation.

Climatic Conditions around the Site • Avg. summer temp - 25ºC 43ºC • Avg. winter temp - 3ºC - 20ºC

• Avg. annual rainfall - 675 mm • Avg. relative humidity - 45%

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Chapter 04 | Site Analysis

Avg. no. of days in a month: • sunny (<20% cloud cover) - 19.5 days • overcast (>80% cloud cover) 2.4 days • precipitation - 7.3 days

• Avg. annual windspeed - 5.75 kmph • Predominant wind direction NW to SE

WIND DIRECTION

0

50 m

SUN PATH

Figure 4.20 Wind and sun on site. Source: Author; data from meteoblue.com

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CHAPTER 05

T E C H N O LO GY i.

Structural and construction systems

ii. Material Palette iii. Foundation — Structural iv. Living Green Roofs v.

Energy Efficient Lighting

vi. Water Management vii. Power Calculations & Solar Strategies viii. Solid Waste Management ix. Water Calculations & Rainwater Harvesting

INTRODUCTION Long span roofs are generally defined as those that exceed 12 m in span. Long span roofs can create flexible, column-free internal spaces and can reduce substructure costs and construction times. They are commonly found in a wide range of building types such as factories, warehouses, agricultural buildings, hangars, large shops, public halls, gymnasiums and arenas.

Their primary functions are, similar to normal roofs, typically, protecting against the weather, restricting the spread of fire, providing sound and thermal insulation and so on. However, as they may offer the only structural system other than the perimeter walls, they may also have to provide support for building services, access routes, lifting equipment, lighting, and so on.

MATERIALS

Structural & Construction Systems Overview

Long span roofs can be fabricated in from a number of materials, such as steel, aluminium alloy, timber, reinforced concrete and prestressed concrete. Steel is often preferred due to its high strength and because it will not spread fire over its surface. The design of long span steel and (steel-concrete) composite beams is generally carried out in accordance with BS 5950, BS EN 1993 or BS EN 1994.

ART GALLERIES

AUDITORIUM

LARGE SPAN STRUCTURAL SYSTEM

OFFICES

LECTURE HALLS/PAVILIONS/ LEARNING STUDIOS

BLACK BOX THEATRE

INFORMAL PERFORMANCE SPACES

Figure 5.1 Large span spaces in the project. Source: Author

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WAFFLE SLABS 800

i.

In an attempt to save up on space, it would be ideal to have a system which allows stacking up of large column free spaces vertically.

ii.

800

450

Application: Art Gallery

Having multiple galleries and flexible sizes of studios, waffle slab construction would allow for uninterrupted column free spaces.

75

Advantage: Large column free spans on top of each other

150 Figure 5.2 Holedeck waffle slab with integrated services. Source: holedeck.com

650

150

Figure 5.3 Integrated ducting & lighting.

Source: holedeck.com

iii. Made up of a visually pleasing pattern, the exposed structure can be used as a subdued neutral finish in many large public spaces such as foyers, galleries, classrooms, corridors.

Span (Conventional): 7.62- 16.767 m

Column Size: 61-101.6 cm

Span (Post-Tensioned): 9.14- 24.38 m

Dome Width: 48, 76 cm

Slab Depth: 25.4-73.7 cm

Dome Depth: 20-51 cm

Slab Depth (Formula): Span/24

Floor to Floor Height: 3.05- 4.88 m

Figure 5.4 Exposed holedeck waffle slab with integrated services. Source: holedeck.com

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POST-TENSIONED FRAMED STRUCTURE Advantage: Large column free span, multistorey structures Reinforced concrete cracked under load

Working Mechanism: The process involves inducing stress into the building component during the construction process. When the stress in the steel is induced before concrete is set, the

Post-tensioned concrete before loading

process in known as Pre-Tensioning. When the stress is induced in the structure after the concrete is poured, it is called Post-Tensioning.

Post-tensioned concrete after loading

Application: Auditorium & Blackbox Theatre i.

Sleeves or holes are left in the concrete slab during

Figure 5.5 Behaviour of slab before and after induced stress. Source: pinterest.com

Figure 5.6 Post-tensioned structure behaviour. Source: sanfieldindia.in

the pouring process. Then tendons are used to induce stress into the steel members — a process similar to rebars.

19m

Since the concrete comes under compression and the steel is in tension — even before the application of any load — the structure achieves its optimum strength right from

19m

the beginning.

825mm

CASE EXAMPLE: SPA Vijaywada - Architecture block Structural Grid: 19m x 19m

10m

Column size: 1400mm x 1400mm Beam depth: 800mm

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Chapter 05 | Technology Research

Figure 5.7 Concourse level plan. Source: Archdaily

Figure 5.8 Cantilever section. Source: Archdaily

COMPOSITE STRUCTURE Advantage: Large column free span, multistorey structures Working Mechanism:

CONCRETE SLAB

Composite structures are hybrid structures involving steel

REINFORCEMENT

sections and concrete. The system is formed by pouring

SHEAR STUD COMPOSITE DECK

concrete over a mesh of inter-connected steel beams or a

STRUCTURAL STEEL BEAM

uniform steel deck — with shear connectors. The connector help the slab to act in a unified manner instead of separate components.

Figure 5.9 Layers of a composite structure.

Source: dudleyengineering.com

Using steel sections instead of rebars reduces the amount of concrete used — making the structure lighter in comparison. Since steel is good in tension and concrete is good in compression, the cohesive structure is able to achieve greater strength than conventional framed

COMPOSITE GIRDER

Steel-beam composite slab or RC-slab

COMPOSITE COLUMN

Steel profiles embedded in or filled with concrete

COMPOSITE SLAB

Holorib® sheeting + concrete

structure. This allows to span over larger lengths without the need of supporting columns Application: Learning Centre, Offices i.

Depth and weight of steel beam required is reduced — making the construction lighter.

ii.

Reduced depth of beams and floor slabs — thereby increasing headroom of the building.

iii. Large spans are possible without the need of intermediate columns.

Figure 5.10 Composite elements in a building. Source: fgg-web.fgg.uni-lj.si

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Materials — Locally available materials used In order to construct sustainably, it is imperative that one employs the locally available materials in their design. This is on count of two main reasons :

i. Contextually Relevant: The project focuses on bringing out the importance of Sultan Garhi tomb.

Thus the materials used should respond to the materials used in the heritage

Agra Sandstone Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

This ensures that the room is cooler inside.

Application Structural load bearing | External cladding

structure and the surroundings. The buildings in the town are entirely of locally quarried grey quartzite except the tomb of Sultan Ghari where red sandstone, marble and well-burnt bricks have also been used along with lime-mortar. Thus a similar palette of materials should be used.

ii. Climatologically apt & Low Carbon Footprint: Materials which have been used over time are employed because they are able to provide the most comfortable indoor environment within the said context. In the case of Delhi, where buildings are exposed to extreme

Dholpur Sandstone Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

This ensures that the room is cooler inside.

Application Structural load bearing | External cladding

summers as well as extreme winters, the materials need to withstand these extreme variations/expansions and delay the process of thermal lag so that the interiors are relatively more comfortable than the exteriors.

Additionally, the use of such materials ensures that the material - both in its inception and application - causes least harm/impact on the environment.

Thus, it is recommended that the materials are sourced locally or from nearby regions - as this would reduce their transportation and thus, save up on the carbon emissions involved in the process.

Thus, on account of these parameters, the following material palette has been identified - as possible options to be employed in the project.

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Rammed Earth Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

Natural material — can be repurposed for reuse in future.

Application Structural load bearing | External cladding | Floor finishing

Lakhori Bricks

Slate Shingles

Advantage The traditional size of brick of Delhi, it involves low energy in its creation & allows for flexibility in working in modules.

Advantage Easy to work with, slate is a natural stone which requires very little maintenance. It can help delay the heat transfer.

Application External cladding | Infill block : masonry

Application Roof tiling | External cladding

Clay Bricks Advantage Made out of compressed earth taken from the site or foundation, the material can be broken down & re-purposed in future.

Application Infill block : masonry | Structural load bear

Fly Ash: Autoclaved Aerated Concrete (AAC) Blocks Advantage Lightweight material, reduces the load of the building thus reducing foundation depth. Re-purposing waste material Application Infill block: masonry

Delhi Quartzite Advantage Highly durable stone with undulating rough texture, it requires very low maintenance. It also provides protection from UV rays but is brittle & can't withstand a lot of heat.

Application External cladding | Paving

Bamboo Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

Natural material — can be repurposed for reuse in future.

Application Structural load bearing | External cladding | Floor finishing

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Rocks such as limestone, granite, sandstone and hard solid chalk have a high bearing capacity. When the soil is rocky with high bearing capacity, then balanced and cantilever foundations (also called strap foundation) work well. The preferred depth of foundation is less than 0.7 m.

BALANCED AND CANTILEVER FOOTINGS A balanced footing which is also called as strap footings consists of two separate footings connected by a strap beam. Balanced footing is required where the one of the footing has limited space for bearing, or if there is any restriction over the transfer of pressure from the footing to the ground. This case may arise where there is difference in soil bearing capacity, or loose soil beneath one of the footing.

The loads in a balanced footing is transferred from one footing to the other by means of cantilever action, thus it is also called as a cantilever footing.

Foundation Structural Systems

Balanced footing is different from a combined footing in the sense that a combined footing has a single footing and a balanced or cantilever footing has two separate footings which are connected by a strap beam. The strap beam transfers the loads from external footing to the main footing by means of cantilever action.

Figure 5.11 Strap foundation. Source: asdipsoft.com

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Strap foundations are constructed with Reinforced Cement Concrete (R.C.C). There are two types of Cantilever Footings with the strap.

• With uniform strap.

• With non-uniform strap.

APPLICATIONS 1. When the soil supporting the foundation does not have enough bearing capacity to transfer the loads safely and area of the footing cannot be increased beyond the limit.

2. When the distance between the two columns is very large, it becomes uneconomical due

Strap/Cantilever Footing

to large bending moment to support two columns on a single footing, then a strap beam is used for connecting such footings.

Design & Application

DESIGN Strap footings are designed by balancing the loads on the footings through addition of dead loads on the internal column. In case when the fulcrum is near the internal column, the internal footing may be very heavy. The strap beam connecting the two footings are designed based bending moments due to external and internal column loads or as a cantilever in case of cantilever footings.

Figure 5.12 Types of strap foundations — left: with uniform strap; right: with non-uniform strap. Source: theconstructor.org

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All the large spans in the program would have a lot of roof area. These can be used effectively so as to come up with a more sustainable complex. Green roofs reduce energy use, air pollution, and greenhouse gas emissions.

The Vancouver Convention Centre in Canada has a 6-acre large green roof, hosting 400,000 indigenous plants and 240,000 bees in 4 colonies that provide honey for the convention centre restaurant. The roof’s sloping forms build on the topography of the region, creating a formal as well as ecological connection to nearby Stanley Park and the North Shore Mountains in view across the Burrard Inlet. The slopes set up natural drainage and seed migration patterns for the roof’s ecology. The roof has no public access points, allowing it to develop as a fully functional habitat for migrating wildlife, while the landforms fold to allow views onto the lush vegetation from inside and outside the building.

Living Green Roofs Sustainability & Services

Figure 5.13 Green roof at Vancouver Convention Centre, Canada. Source: archello.com

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Figure 5.14 Living roof, functional areas, enclosure, and ground form. Source: LMN Architects

Over Conventional Roofing Assembly

SIDE VIEW

LiveRoof Standard Module Moisture Portals™ LiveRoof Engineered Soil LiveRoof Green Roof Plants (Minimum 95% Soil Coverage at Installation) Minimum 40-mil Polypropylene or EPDM Slip Sheet, Edges Overlapped & Seamed EPDM, TPO or PVC Waterproofing Membrane Bonding Adhesive

.

1/2"

4 1/4" .

3 1/4" .

.

1"

Insulation Insulation Adhesive

Provided by others

Figure 5.15 LiveRoof module cross section over conventional roof. Source: liveroof.com

TOP VIEW

The LiveRoof system is typically vegetated with a palette of deciduous, semi-evergreen and evergreen “base mix” and “accent plants” that are exceptional Drainage Holes “water conservers.” These are succulent, water-holding plants like Sedums, Alliums, Sempervivums, Euphorbias, Delospermas, and a few other species.

With regular and frequent irrigation, many others native living roof plants can be sustained. Selections that fall into this category include Echinacea pallida

.

1'

(purple coneflower) and Schizachyrium scoparium (little bluestem). These plants are very drought resistant in conventional landscape settings, because Ergonomic Handles they are great “water sourcers”.

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ENERGY EFFICIENT LIGHTING Energy efficient lighting stems from the usage of: • Energy-saving lamps • Light-control devices (Photo sensors and Time clocks) • Occupancy/Motion Sensors Currently there are traditional incandescent bulbs, along with

Lighting

Figure 5.16 Energy efficiency of different kinds of lamps/bulbs. Source: fcpud.com

compact fluorescent lights (CFL) and light-emitting diodes (LED). While the initial cost of CFL and LED bulbs is higher than traditional bulbs, they cost less to operate and last significantly longer.

Sustainability & Services

DAYLIGHT HARVESTING TECHNOLOGIES Daylight harvesting systems maximise the use of daylight to reduce the amount of electric lighting required. This is done through lighting control systems which adjust the electric lighting levels in response to changing availability of daylight.

Systems to improve daylight penetration: Light shelves, light pipes, shades and blinds.

Energy savings achieved are in the range between 20-60%. Daylight harvesting is most suited for spaces adjacent to windows, clerestories, skylights, glass block walls, such atria, offices, interior public plazas, schools, etc.

Difficulties of the technologies: High costs, imperfect performance. These systems are space-specific.

Changes to the space can impact the system functioning.

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Figure 5.17 Light shelf. Source: designingbuildings.co.uk

Figure 5.18 Blinds. Source: mac.in

Technologies – Daylight-sensing switch: Switching on and off of lights in response to amounts of daylight luminance.

Suited for circulation spaces- lobbies and corridors.

– Photosensor-operated dimming system: Suited for open offices. Dims lights in proportion to amount of received of a reference plane. The issue with This Technology is the effectiveness to non-uniform penetration of daylight into interiors and high initial cost.

Lighting Sustainability & Services

Daylight Harvesting is determined through a) identifying daylight zones, b) placement of lighting, c) establishing control zones for luminaires, d) choosing the appropriate control method- switching on and oft stepped switching, stepped dimming and continuous dimming, e) selecting the technology.

Photosensors are the technology used to detect daylight.

Two

aspects

of

photosensors

are

directional/spectral sensitivity & type of operation (open, closed or dual loop which are chosen by the location and requirement of spaces.

Figure 5.19 Photosensor placement and field of view for openloop sensors (top) and closed-loop sensors (bottom). Source: lightingcontrolsassociation.org

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An innovative water conservation and reuse

There are various types of pervious pavement

strategy that is projected to reduce potable water

available and include:

more than what is used in typical public facilities.

Water conservation and features would include Black water treatment, which processes the building's sewage water to render it appropriate for other uses, to provide about 80 percent of the grey water needs for toilet flushing in the building and supplemental water for irrigation of a possible living roof and the landscaped area.

Regulation of water used for landscaping throughout the site. The water used in large water

Water Management Sustainability & Services

bodies and other water features can be re-used.

As various large scaled events would take place in the complex, so the water disposal can be carefully managed so as to use that water in the water features throughout the site.

PERVIOUS PAVING Pervious

pavement

is

designed

to

allow

percolation of stormwater through the surface into the soil below where the water is naturally filtered and pollutants are removed. Normal pavement is an impervious surface that sheds rainfall and associated surface pollutants, forcing the water to run off paved surfaces into streams and lakes.

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• Poured-in-place pervious asphalt requires the same mixing and application materials and the same ‘blacktop’appearance of traditional impervious asphalt. The formula is different with small stone and fine particulate matter being removed and the quantity of tar reduced.

Sealants to waterproof new surfaces are not applied.

• Poured-in-place pervious concrete surfaces like pervious asphalt require similar machinery to standard concrete pavement. Permeability is accomplished by using larger pea gravel with lower water-to-cement ratio creating a pebbly surface that is compacted with a roller.

• Block and concrete modular pavers are designed to funnel water between blocks into a basement layer of washed sand and gravel where water slowly drains away through the soil.

The open areas in the paving system provide 20-50% more opportunity for the drainage of water than in the normal paved system.

• Grid pavers made from either recycled plastic or concrete. The grid pattern is usually honeycombed or lattice shaped and the voids collect water during rain events, which then slowly drains into the soil below.

Figure 5.20 Permeable paved road landscaping detail. Source: lakesuperiorstreams.org

1.

PERMEABLE PAVERS (MIN 800mm THICKNESS

2. AGGREGATE BEDDING COURSE -NOT SAND (50mm DEPTH) 3. OPEN GRADED BASE (DEPTH VARIES BY DESIGN APPLICATION) 4. OPEN GRADED SUB-BASE (DEPTH VARIES BY DESIGN APPN.)

RUN-OFF AND SLOPE CALCULATIONS FOR ROADS

5. SUBSOIL - FLAT AND SCARIFIED IN INFILTRATION DESIGNS 6. GEOTEXTILE ON ALL SIDES OF RESERVOIR 7.

OPTIONAL REINFORCING GRID FOR HEAVY LOADS

ROAD NETWORKS (SURFACE RUN-OFF)

8. OVERFLOW INLET AT CATCH BASIN 9.

OUTLET PIPE TO STORM DRAIN OR SWALE SYSTEM

10. TRENCH DAMS AT ALL UTILITY CROSSINGS

ELIMINATE USE OF TARRED ROADS AND USE OF PAVERS IN LANDSCAPING

Figure 5.21 Diagram depicting surface run-off management. Source: Author

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DYE-SENSITISED SOLAR CELL (DSSC) Dye-sensitised solar (DSSC) is one of the most

The DSSC can produce electricity under low light

promising photovoltaic systems for building

conditions, including indoor lighting. Due to the

integration (BIPV). DSSC can be transparent with

structural design and different colour dyes, the

various degrees of transparency, which makes

cell features colours and transparency. Therefore,

it suitable for window application in buildings.

DSSCs can be used on façades, interior

Dye sensitised solar panels are efficient on west

applications, electronic devices, and portable

facing walls.

power systems (Calderone, 2021).

Working Mechanism

Power Calculations & Waste Management

DSSCs are constructed on a semiconductor,

Sustainability & Services

sensitive dye and surrounded by electrolyte,

which is designed so that the nanoparticles of titanium dioxide (TiO2) are coated with a lightwhich is inserted between another electrolyte and a cathode. The anode allows light to pass through because it is transparent. Sunlight goes through the transparent electrode into the dye layer, exciting electrons that then flow into the titanium dioxide.

The electrolyte then carries

the electrons back to the dye molecules. DSSCs

Figure 5.22 Auditorium main foyer façade of a Swiss convention center by Richter Dahl Rocha. Source: altenergymag.com

split the two functions supplied by silicon in a

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Chapter 05 | Technology Research

traditional cell design. The energy gotten through

DSSCs are able to work as efficiently at 149° F as

this simple dye sensitive cell can be collected to

at 77° F whereas silicon cells lose 20% of their

drive electrical system loads (Calderone, 2021).

energy efficiency at extreme temperatures.

ELECTRIC POWER CONSUMPTION

BIODEGRADABLE SOLID WASTE MANAGEMENT

Total Built-up Area: 34,740 sqm (34.2% Arts Centre, 32.2% Offices, 9.7%

Eco Rich Elite II Composter falls in the category of "in-vessel" composting.

Studio Apartments, 15.8% Retail + Dining + Recreational)

Using an accelerated composting process a volume reduction of 90% and

Total Electricity Load: 34740 [(0.34x13.25) + (0.32x9.5) + (0.1x9.5) + (0.16x12.2)]

thereby 10% of compost generation is achieved in 24 hours.

= 363 kW

AREA CALCULATION FOR SOLAR PANEL Maximum roof area available: 4950 sqm

This composter is an intelligent system acting on the direction of the sensors placed inside the machine. It has the following features: – The volume of food waste is reduced up to 90% within a single day.

Available roof area = 70% of max roof area = 3465 sqm

– The chamber only needs to be emptied every 8-10 days. Also, the process involves no manual intervention thus saves on labour cost.

Area required for 4kW Solar PV system: 29.8 sqm

– The by-product is a harmless water vapour that is neatly expelled.

Number of solar panels provided = 3465/29.8 = 116.28 ≈ 116 systems

– The machine uses VFD (variable frequency drive), reducing energy consumption by 15%.

Total electricity generated = 116 x 4 = 464 kW All the indoor lighting requirements can be met through the solar panels.

– The system employs high temperature micro-organisms to decompose food waste and organic matter.

– All is accomplished without the need of repeated additions of microorganisms or additives to the composting chamber.

SOLID WASTE CALCULATION Maximum people present in the complex everyday — 5800 people Applying diversity factor of 70%, we get total number of people present in the complex everyday — 4060 people Assuming that every person consumes at least one meal per day & averagely wastes 100g of food every meal. Thus, 4060 people would waste 406 kgs of food every day.

Table 5.10 Interior Lighting Power — Building Area Method. Source: ECBC

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WATER CALCULATIONS Function

Water Calculations Sustainability & Services

Area (sqm)

Occupancy Load

Consumption per

Total Consumption

person per day (L)

(L)

Offices

8000

800

45

36,000

Performance

3635

900

15 per seat

13,500

Learning

2870

717

45

32,265

Exhibition

1490

1064

15 per seat

15,960

Studio Apartments 1895

150

180

27,000

Retail

880

195

15

2,925

Hospitality

1830

1016

70 per seat

71,120

Recreational

1200

857

45

38,565

Administration

1020

102

45

4,590

Table 5.11 Water Calculations. Source: Author

Total water consumption

= 241.9 kL

Thus, fresh water demand

= 241.9 kL/day

STP CALCULATIONS Waste water flowing into sewer = 80% of 241.9 kL = 193.5 kL Total quantity of waste water reaching the STP = 75% of 193.5 = 145.2 kL Water available for re-use post treatment = 85% of 145.2 = 123.4 kL Considering a total depth of 3.3 m for the STP (Liquid depth = 3 m), Area of STP = 123.4/3 = 41.1 sqm

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POTENTIAL WATER HARVESTED CALCULATION

Annual Rainfall:

664.5mm (Southwest Delhi)

Run-off

Roof = 0.9

Total Site Area:

co-efficient:

Greens = 0.3

Water harvested

4,950 x 0.9 x 664.5

on Roof area:

= 2,960 Kilo Litre / Year

Water harvested

11485 x 0.3 x 664.5

on Green area:

= 2,290 Kilo Litre / Year

Water harvested

22874 x 0.8 x 664.5

on Paved area:

= 12,160 Kilo Litre / Year

46,050 sqm

Estimated Roof area:

4,950 sqm

Estimated Greens area:

11,485 sqm

Estimated Paved area:

22,874 sqm

Paved = 0.8

Total rainwater harvested on site: 17, 410 kL/year

Rainwater Harvesting Sustainability & Services

WATER CONSERVATION TECHNOLOGIES — Water-efficient plumbing fixtures Waterless urinals, ultra low-flush toilets, low-flow & sensored fixtures — Water-efficient irrigation & landscaping systems Low-flow sprinkler heads, Xeriscape (use of native / climate appropriate plants in the landscape) — Water recycling or reuse measures Can be minimal treatment for reuse on-site, treated water for toilet flushing, sprinkler systems, landscape irrigation, gray water usage, etc.

— Water conservation in HVAC systems Use of recycled water for HVAC cooling towers — Rainwater harvesting

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CHAPTER 06

DESIGN DETERMINANTS i.

Inferences

ii. Learnings iii. SWOT Analysis iv. Context study

INTRODUCTION

VISION

This chapter captures the essence of the project

I.

Provide a platform for artists and other

concept, and its significance in the present-day context of Delhi, a city which has a large cultural

communities in and around South Delhi.

II.

Create an understanding and appreciation

diversity. The world as we know it is gradually

of arts and culture through an artistic public

moving towards the digital realm. While the digital

realm.

future is inevitable (and vital for growth), there is a need to balance it with the creative realm of arts — which has always been an important means of expression for humans.

Given that most of socio-cultural centres in Delhi

Inference & Learnings

are not accessible to all the citizens, the project

Conclusions from previous chapters

and recreational activities to the residents of and

III.

Bring out the importance of Sultan Garhi tomb through various design moves.

IV.

Integrate the realm of arts with other functions, thus generating a vibrant complex and a creative working environment.

promises to offer a unique complex for cultural around South Delhi.

PLATFORM FOR INNOVATION

Adjoining the site is the Sultan Garhi tomb, the first Islamic mausoleum in India. Yet, a very few people know about its existence. Thus, the project also aims at bringing out its importance through various design moves. The project therefore

INTEGRATION OF ART-FORMS

5

UNIFYING WITH NATURE

works at different levels:

» » » » 130

Chapter 06 | Design Determinants

A COMMUNITY SPACE AN ARTISTIC PUBLIC REALM A CULTURALLY VIBRANT COMPLEX A CREATIVE WORKING ENVIRONMENT

VIBRANT COMMUNITY

PRESERVING RICH HERITAGE

Figure 6.1 Five Pillars of the vision. Source: thenounproject.com

LEARNINGS FROM RESEARCH

•

Islamic elements

architecture such

as

exhibits geometry

some

LEARNINGS FROM CASE STUDIES key

direction,

symbolism, and some other architectural features.

•

TRIVENI KALA SANGAM – Focal point and community space - OAT – Clear vertical zoning based on degree of privacy – Most windows in the spaces face north

The Sultan Garhi tomb is the oldest Muslim

– Use of jaali screens and local materials

tomb known to exist in India. An Indo-Islamic

– Rich ambience with intermixing of various disciplines

style of construction has been followed along

Figure 6.4 Triveni Kala Sangam. Source: whatshot.in

with a material palette of locally available materials.

•

A good public place reflects diversity while

– Collaborative central space - 'forum'

connecting people. It engages people of

– Maximum porosity and movement through the complex

all communities. The four essential qualities to consider are Sociability, Uses & Activities, Access & Linkages, and Comfort & Image.

•

LEWIS ARTS COMPLEX

India has a rich culture which is reflected in

– Inspiration from historic landmarks of Princeton campus – Community engagement within campus – Inviting views into rehearsal & practice areas Figure 6.3 Lewis Arts Complex. Source: archdaily.com

Delhi. Different disciplines require different kinds of spaces to engage with each other and other people. Art plays an important role

•

INDIA INTERNATIONAL CENTRE

in community development.

– Free flow of spaces from public to private zones

The different typologies in a mixed use project

– Internal courtyards, landscaped greens & water features enhance the micro-climate

require different kinds of spaces, yet they all

– Use of local material, natural finishes & jaalis

need to function together in a holistic manner.

– Fountain lawn present next to Humayun's tomb in the context with visual connectivity Figure 6.2 India International Centre. Source: en.wikipedia.org

Sultan Garhi Cult. & Rec. Hub | Palak Verma

131

STRENGTHS

WEAKNESSES

CONTEXT: The Sultan Garhi tomb is present right

CONNECTIVITY: As the main road runs along one

next to the site, thus providing for a visual axis and

edge of the site, all pedestrian and vehicular

rich cultural context.

access is provided from only one side.

SITE EDGES: The site is surrounded by landscaped

WEST FACING VIEWS: The Sultan Garhi tomb is

greens and the reserve forest on three sides.

present on the western edge of the site, thus

LOCATION: The site is located on the main road with proximity to the airport and major hubs.

VISUAL EASE: The buildings around the site are low-height residential buildings, thus providing

SWOT Analysis Strengths, weaknesses, opportunities & threats

clear sight lines.

HEIGHT RESTRICTION: The presence of the IGI airport limits the height of the buildings on the complex.

THREATS

HIGHLIGHTING THE VALUE OF SULTAN GARHI

LACK OF URBAN ACTIVITY: The absence of any

TOMB: The project can bring out the importance

similar typologies around the site and limited

of the lesser known Sultan Garhi Tomb.

exposure to the residents in adjoining areas pose

one of its kind cultural hub to the urban dwellers of South Delhi.

TRANSIT-ORIENTED DEVELOPMENT: With the proposed metro line coming next to the site, the public transport network can be harnessed to maximum potential.

Chapter 06 | Design Determinants

facing.

OPPORTUNITIES

UNIQUE PROJECT: The project can provide a

132

all frontage to cater to the tomb would be west

the danger of the project not being able to turn into a popular destination.

COST & REVENUE OPERATION: Given that the project will be managed on the public-private partnership model, the centre will have to be activated by the right kind of retail brands and run by right agencies to maximise revenue and minimise cost.

SPINAL INJURIES HOSPITAL G+1 DDA FLATS G+3

DDA FLATS G+3

MAIN VEHICULAR & PEDESTRIAN ENTRANCE SUN PATH

RANGPURI BASTI

ARAVALLI BIODIVERSITY PARK

SITE

4.6 HA

RESERVE FOREST

SULTAN GARHI TOMB

Figure 6.5 3D Illustration showing movement and context. Source: Author

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133

SULTAN GARHI CORRIDOR

S.A. ENTRY PLAZA

PERFORMANCE CENTRE LEARNING CENTRE

CENTRAL COURT

RESTAURANTS

EXHIBITION CENTRE RETAIL

ADMIN CREATIVE OFFICES

Design Determinants Functional zoning & concept

Figure 6.6 Functional diagram. Source: Author

The links between the components vary in high interdependency & adjacency as shown.

•

Expanses of greens facing the retail & art galleries for an active entry.

SCULPTURE COURT

CENTRAL COURT

SUNKEN COURT Plaza for retail, office & recreation.

LEADING TO SULTAN GARHI

Artistic expression through sculptures beside the central court and art galleries.

ART BAZAAR Informal art bazaar recreating the traditional islamic bazaar.

WOVEN THROUGH THE BUILT

Figure 6.7 Concept. Source: Author

The Central Court acts as the community space, forming the central link/integrating factor of the complex.

134

Chapter 06 | Design Determinants

•

The Sultan Garhi corridor links the various public functions link together at the ground level.

•

The surrounding context determines the placement of public functions.

•

The built volume lies around the Central Court, gradually tapering from the site edges towards it.

REPOSITORY OF DESIGN KNOWLEDGE

HIERARCHY OF OPEN SPACES

The campus needs to act as a holistic learning centre comprised of studios, workshops, material museum, labs, lecture halls and their spatial relation with each other.

When public spaces are in the middle and built fringes around, curiosity pulls people into the public spaces, thus activating the fringe built with a pleasant built-open relationship.

CONTINUOUS LEARNING PROCESS

SHAPE OF THE SITE & ZONING

The whole campus can become a space for learning and the learning process is part of everyday movement pattern of students in the campus.

The shape of the site as well as the nature of the context is the guiding factor in the form & geometry of the building blocks and their interaction with each other.

INTERDISCIPLINARY LEARNING

DIALOGUE BETWEEN STUDENTS & CITY

Learning is not limited to one's own discipline.

Chance encounters, daily movement and common work zones can increase interaction between students from different disciplines.

Giving back to the community and the city by opening up exhibition areas for everyone creating chances for interaction between the city and the students.

Concept Evolution Conceptual drivers from research

Figure 6.8 A place for all. Source: striworld.com

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135

CHAPTER 07

D E S I G N D E V E LO P M E N T i.

Design iterations

ii. Stages of development iii. Strengths & weaknesses

Design Iteration 1 ABDUL GAF

FAR KHAN

MARG (24M

TO BASEMENT

ROW)

FROM BASEMENT

VEHICULAR DROP-OFF

GE STA

AND S S REA E A ACCE VIC E SER KSTAG BAC

ENTRANCE PLAZA

PEDESTRIAN ENTRY INTO SITE

EXHIBITION CENTRE (2)

AUDITORIUM (1) RESTRNT & CAFE (7)

OAT

RETAIL

(18

M

RO W

LE A C RN EN IN (5 TRE G )

O

FF

PR O

PO SE

IC

D

)

ES

(6

)

R FO IO TS D PS D EN R U O A H ST RTM KY S C RK A P A O A B W

TR ES

R

SEMI-PUBLIC

Figure 7.1 Public Private Zoning. Source: Author

KID'S SECTION (4)

NT

PUBLIC PRIVATE

ADMIN (3)

SULTAN GARHI ROAD (18M ROW PROPOSED)

Understanding the built volume & reflection of concept

0

25 m

Figure 7.2 Roof Plan. Source: Author

STRENGTHS

WEAKNESSES

– Built form derived from site edges.

– Auditorium has no visual excitement thus not on the ideal location.

– Studio Apartments kept on the upper floor thus giving privacy while also kept connected to learning centre.

– No response to Sultan Garhi tomb in terms of massing and zoning.

– Offices integrated with retail and given a stepped form to create breakout spaces.

– Public plaza is not surrounded by built mass thus does not seem to pique the curiosity of users.

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Chapter 07 | Design Development

– No mixing among the functions & retail does not have frontage.

1. AUDITORIUM Placed next to the main road with separate servicing and backstage access

2. CREATIVE OFFICES Placed on one edge of the site with stepped form to create breakout spaces.

Overhead bridge connects to the OAT.

3. RESTAURANTS AND CAFE BLOCK 18M

Most of the amenities placed in the transition zone between the entry plaza, auditorium, and the rest of the functions.

W RO

UL G ABD

1.

ARG

AN M

5. LEARNING CENTRE

FF

2.

-O

ENTRANCE PLAZA

OP DR

Placed strategically to open on both sides — OAT as well as the office street.

H AR K AFF

4. RETAIL (ARTS BAZAAR)

3.

(24M

Placed centrally, connecting majority of the functions.

5.

6. STUDIO APARTMENTS Placed on top of the learning centre owing to its private nature.

) ROW

4.

8.

OAT

6.

7. ADMIN BLOCK Placed near the entry to the complex while also in close proximity to other public functions.

7.

TO SULTAN GARHI

OW) 8M R

AD (1 HI RO

AR

NG SULTA

8. EXHIBITION CENTRE Placed near the entry to the complex with ease of access.

Figure 7.3 3D massing & zoning on site. Source: Author

Sultan Garhi Cult. & Rec. Hub | Palak Verma

139

Design Iteration 2 Concept & zoning development DROP-OFF

SPILLOUT

SURFACE PARKING

RETAIL CAFE

ADMIN

EXHIBITION CENTRE

RESTRNT

CREATIVE OFFICES

OAT RECREATION CENTRE

MULTIPURPOSE HALL + AUDI ARTS CENTRE RESIDENCES OFFICE AMENITIES CIRCULATION

Figure 7.4 Roof Plan. Source: Author

0

W BA OR C KS KY HO AR P D

LEARNING CENTRE

25 m

Figure 7.5 Site Plan. Source: Author

STRENGTHS

WEAKNESSES

– Corridor leading to Sultan Garhi with functions branching out on either sides, finally ending with the auditorium as the inviting active space.

– Corridor is too linear without any purpose, thus not engaging enough to keep the users within the complex.

– Retail given frontage to invite pedestrians and other user groups.

– Arched element does not seem integrated with the built mass.

– Introduction of arched elements to respond to the Indo-Islamic construction of Sultan Garhi.

– Offices are detached from the project, thus not providing a creative working environment.

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Chapter 07 | Design Development

SULTAN GARHI TOMB

AUDITORIUM + MULTI-PURPOSE HALL

CREATIVE OFFICES ARTISTS' RESIDENCES LEARNING CENTRE

RECREATIONAL CENTRE PUBLIC AMENITIES

AMPHITHEATRE RETAIL + CAFE + ADMIN

EXHIBITION CENTRE

ABDUL

GAFFA

R KH

OW) (24M R G R A AN M

ARTS CENTRE ARTISTS' RESIDENCES OFFICE PUBLIC AMENITIES CIRCULATION/SERVICES

Figure 7.6 3D Zoning & Massing. Source: Author

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141

Design Iteration 3 Strengthening the central court & symbolism

9

9

1

10 9

9

1

7

10

7

2

3

8

8

2

3

4

4

3

7

3 11

6

5

6

4

1 Exhibition 2 OAT 3 Art Bazaar

4 5 6 7 8 9 10 11

Learning Audi MP Hall Offices Recreational Retail Admin Residences

Figure 7.7 Roof Plan. Source: Author

4 5

0

25 m

Figure 7.8 Site Plan. Source: Author

STRENGTHS

WEAKNESSES

– The Sultan Garhi corridor is woven through various functions with a reduced linearity while still not losing its purpose.

– The auditorium form does not respond to the language and the function, additionally distracts from the monument.

– Offices and retail are in one complex, allowing intermingling of users.

– Built mass is too linear with a much bigger grain size.

– Formal Islamic landscaping in the central court with an informal art bazaar around it.

– Presence of the open air theatre seems forced/imposed.

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Chapter 07 | Design Development

TO SULTAN GARHI

AUDITORIUM MULTIPURPOSE HALL (BLACKBOX THEATRE)

LEARNING CENTRE

OFFICES

RESIDENCES

RECREATIONAL CENTRE

RETAIL

ART BAZAAR AMPHITHEATRE

EXHIBITION CENTRE

GAFFAR ABDUL

M ARG (24 KHAN M

ROW)

Figure 7.9 3D Zoning & Massing. Source: Author

Sultan Garhi Cult. & Rec. Hub | Palak Verma

143

Design Iteration 4 Massing alteration to introduce retail sunken plaza & stepped terraces 9

1

9

DROP-OFF

9

7

1

7 8

8

2

3

2

3

4 4

3 3

6

10

6

5

4

1 Exhibition 2 Sculpture 3 Art Bazaar

Learning Audi MP Hall Offices Sunken Retail Plaza 9 Retail 10 Residences

5

4 5 6 7 8

Figure 7.10 Roof Plan. Source: Author

0

4

25 m

Figure 7.11 Site Plan. Source: Author

STRENGTHS

WEAKNESSES

– A sunken court introduced as the office-retail plaza acting as an active community space.

– The built masses seem disconnected with each other at the junctions.

– Stepped massing introduced to act as breakout spaces as well as viewing decks to Sultan Garhi tomb.

– Formal landscaping in the central court given the Char Bagh character.

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Chapter 07 | Design Development

– Location of the dome seems imposed.

– Exhibition centre is too linear with unused roof space.

– The formal central court is not defined towards the scultpure court, thus making the planning seem awkward.

OFFICES With stepped terracing facing Sultan Garhi

RETAIL & RECREATIONAL CENTRE Stepped green terraces providing outdoor seating and breakout spaces

AB

DU L

GA

FF AR

OFFICE + RETAIL SUNKEN PLAZA

KH

AN

MA

RG

(24

M

RO W

)

MULTI-PURPOSE HALL (Blackbox Theatre)

EXHIBITION CENTRE

ART BAZAAR Placed informally around court SCULPTURE COURT AUDITORUM LEARNING CENTRE STUDIO APARTMENTS Placed over the learning centre for privacy and access

TO SULTAN GARHI Figure 7.12 3D Zoning & Massing. Source: Author

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145

CHAPTER 08

D E S I G N P O RT F O L I O i.

Vision & Proposition

ii. Program Reading iii. Design Ideation iv. Drawings v.

Technology Research

vi. 3D Views vii. Jury Comments

Culture can be defined as people’s way of life representing a nation’s goals, practices and shared beliefs.

Culture-related activities such as music, art, dance, drama, etc. are powerful tools for urban redevelopment and revitalisation. Thus, culture should be preserved, and given an ideal platform to flourish and spread.

The world as we know it is gradually moving towards the digital realm. While the digital future is inevitable (and vital for growth), there is a need to balance it with the creative realm of arts — which has always been an important means of expression for humans.

Adjoining the site is the Sultan Garhi tomb, the first Islamic mausoleum in India. Yet, a very few people know about its existence. Thus, the project also aims at bringing out its importance through various design moves responding to the structure.

Introduction Vision & Proposition

ARTISTIC PUBLIC REALM | CULTURALLY VIBRANT COMPLEX | CREATIVE WORKING ENVIRONMENT 148

Chapter 08 | Design Portfolio

I.

Provide a platform for artists and other communities in and around South Delhi.

II.

Create an understanding and appreciation of arts

PLATFORM FOR INNOVATION

and culture through an artistic public realm.

III.

Bring out the importance of Sultan Garhi tomb

5

INTEGRATION OF ART-FORMS

UNIFYING WITH NATURE

through various design moves.

IV.

Integrate the realm of arts with other functions, thus generating a vibrant complex and a creative working environment.

VIBRANT COMMUNITY

PRESERVING RICH HERITAGE

Five Pillars of the vision.

Proposition CULTURE

SPACE

PLACE

Defining the need

Figure 7.1 SULTAN GARHI TOMB — The First Islamic Mausoleum of India

Sultan Garhi Cult. & Rec. Hub | Palak Verma

149

ARTS CENTRE

SULTAN GARHI CORRIDOR ARTISTS' RESIDENCES

ENTRY PLAZA PERFORMANCE CENTRE

FOH EXHIBITION CENTRE

STUDIO APARTMENTS

ENTRY PLAZA Expanses of greens facing the retail & art galleries for an active entry.

SCULPTURE COURT Artistic expression through sculptures beside the central court and art galleries.

LEARNING CENTRE

BOH

CHAR BAGH SQUARE

RETAIL

Program Reading Broad components & user groups RESTAURANTS/ CAFES/KIOSKS

COMMERCIAL OFFICES

SCHOOLS INSTITUTES

ART BAZAAR Informal art bazaar recreating the traditional islamic bazaar.

RESIDENTS LEARNING COMMUNITY

OFFICES

ARTISTIC COMMUNITY

LOCAL COMMUNITIES

INSTITUTIONS INDUSTRIES

150

Chapter 08 | Design Portfolio

SUNKEN COURT Plaza for retail, office & recreation.

IT COMMUNITY

TOURISTS/PUBLIC

LEADING TO SULTAN GARHI

WOVEN THROUGH THE BUILT

The arts centre has a central administration

ARTS CENTRE

with sub departments as follows:

RETAIL: The retail stores cater to the realm of arts, for the arts centre and public alike,

with shops for:

EXHIBITION CENTRE: The exhibition centre comprises of traditional and contemporary exhibits in both, permanent and temporary galleries. Curated by different artists and art organisations, the aim is to provide a meaningful understanding of art in its various forms.

• Musical instruments

ornaments, & props

• Art material and stationery • Performing

arts

• Book store costumes,

ARTISTS' RESIDENCES

PERFORMANCE CENTRE:

The furnished studio apartments for artists' shall be in proximity to the learning

The performance centre comprises of different independent venues.

centre. These apartments are meant for artists who are a significant part of the

While some performances are ticketed with a dedicated auditorium/

project, as well as artists who visit the centre for various residency programs and

multi-purpose hall, the attempt at an inclusive arts hub brings in some

courses.

performances to the traditional structure and outdoor areas. The centre is managed by the arts centre admin.

• Auditorium - 600 people • Multi-purpose hall - Black Box Theatre

COMMERCIAL OFFICES Providing a unique working environment to the commercial offices through

• Informal Performance Spaces

coexistence of art with work, these offices shall have various informal spaces for discussion, engagement and expression through art, which shall enhance the

LEARNING CENTRE:

quality of work environment. Most of the offices in the complex would be from

The learning centre provides facilities for the following programs:

creative fields of art and design.

Short-term courses - Basic, intermediate, advanced level (2 weeks to 3 months)

RESTAURANTS | CAFES

Artists' residency programme Weekly classes Research courses (6 months to 1 year)

With a view of the rich cultural heritage, the

Public workshops & lectures

restaurants, cases and coffee shops shall

• Visual arts studios

• Research classrooms

• Yoga centre

• Performing arts studios

• Library

• Lecture halls

• Public workshop studios

• Children's centre

cater to every visitor/resident of the hub.

The small studios will mostly cater to a group of maximum 25 learners and 1-2 tutors, while

ARTS CENTRE — 34.2%

the larger studios are meant for collaborative classes, residency programmes, etc.

ARTISTS' RESIDENCES — 9.7%

AMENITIES — 15.8%

COMMERCIAL OFFICES — 32.2%

SERVICES — 8.1%

Sultan Garhi Cult. & Rec. Hub | Palak Verma

151

SITE CORRIDOR LEADING TO SULTAN GARHI TOMB The pedestrian axis, winding though the built and open, leads directly to Sultan Garhi tomb, maintaining direction and visibility.

Design Ideation Key features

KEEL ARCHED FACADE The facade has keel arches in order to respond Sultan Garhi tomb.

152

Chapter 08 | Design Portfolio

CENTRAL 'CHAR BAGH' SQUARE Inspired from Islamic architecture, a central court with char bagh landscaping has been provided.

Design Ideation Key Features

STEPPED GREEN TERRACES Terraces have been provided as breakout spaces and a play in volumes.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

153

154

Chapter 08 | Design Portfolio

DESIGN PORTFOLIO Sultan Garhi Cult. & Rec. Hub | Palak Verma

155

RETAIL & OFFICES

AB

Placed in proximity, retail gets maximum frontage; while offices placed along the western edge owing to the nature of occupancy to respond climatically.

DU L

CONDUCIVE ENVIRONMENT

COMMUNAL SPACES

GA

FFA

EXHIBITION CENTRE

RK

HAN

MA

RG

Facing the main road, it attracts various communities to interact with the complex

MASSING INTERPLAY

CHARBAGH SQUARE Located at the heart of the complex, it helps in regulating the micro-climate while also becoming a community interaction hub

MICRO CLIMATE

RESPONSE TO CONTEXT

PERFORMANCE CENTRE Auditorium and Blackbox placed in a way to increase community interaction with the site. Rooftop OAT gives a clear view of Sultan Garhi tomb.

LEARNING CENTRE + STUDIO APARTMENTS GREEN TERRACES

Located in a relatively private zone of the site, these functions get the quietness they need while also enabling active engagement.

SULTAN GARHI ROAD

Zoning & Massing 156

Chapter 08 | Design Portfolio

FROM BASEMENT TO BASEMENT

PARKING

DROP-OFF

OFFICES

RETAIL

5

EXHIBITION CENTRE

22

1

23 24

4

25

2

3

5

6 7

KIDS' COURT -3600

OFFICE RETAIL SUNKEN PLAZA -3600

8

21 ART BAZAAR

2

1 9

1

LEGEND 1.

ENTRANCE LOBBY

2.

LOUNGE

3.

TEXTILE GALLERY

4.

ART GALLERY

5.

ADMIN

6.

PHOTOGRAPHY GALLERY

7.

CRAFT GALLERY

8.

SCULPTURE GALLERY

9.

DRAMA STUDIO

10. DANCE STUDIO 11.

MUSIC STUDIO

12. RESEARCH CLASSROOM 13. LECTURE HALL

CHAR BAGH SQUARE

20

15. WORKSHOP STUDIO 16. ARTISTS' STAFF

13

PARKING PERFORMANCE CENTRE

1

17

19

LEARNING CENTRE

15 16

WORKSHOP BACKYARD

PERFORMING ARTS STORE

18. ARTISTS' LOBBY & LOUNGE 19.

15

14

ROOM 17.

11 11 12

14. CANTEEN

5

10

18 5

VISITORS' WAITING

20. BLACKBOX THEATRE 21. OFFICES

Site Plan

22. BOOK STORE 23. ARTS STORE 24. CAFE 25. RESTAURANT

0

10M

30M

TO SULTAN GARHI

Sultan Garhi Cult. & Rec. Hub | Palak Verma

157

A'

SECTION AA' 0

10M

30M

Site Section

Through retail and art galleries

158

Chapter 08 | Design Portfolio

A

SECTION BB' 0

10M

Site Section

B'

30M

B

Through site and buildings

Sultan Garhi Cult. & Rec. Hub | Palak Verma

159

NORTH EAST ELEVATION 0

10M

30M

Building Elevation

Along Abdul Gaffar Khan Marg

160

Chapter 08 | Design Portfolio

WEST ELEVATION 0

10M

30M

Building Elevation

Showing Auditorium and Offices

Sultan Garhi Cult. & Rec. Hub | Palak Verma

161

MUSICAL INSTRUMENTS STORE

COSTUMES/PROPS/ ORNAMENTS STORE

SCULPT STUDIO

YOGA CENTRE

PAINTING STUDIOS

RESTAURANT LECTURE HALL

CAFE

PHOTO STUDIO STORE

OFFICES

HOUSEKEEPING & LAUNDRY S.A. S.A. S.A. S.A. S.A. S.A. S.A.

AHU (SERVICES)

S.A.

S.A.

S.A.

S.A.

S.A.

S.A.

S.A.

S.A. S.A.

S.A. S.A.

CLINIC

STAFF ROOM

S.A. MAKE-UP & REHEARSAL

STUDIO APARTMENT TYPICAL LAYOUT

Chapter 08 | Design Portfolio

First Floor Plan Lvl +4200

1270

11450

PRODUCED BY AN AUTODESK STUDENT VERSION

S.A.

PRODUCED BY AN AUTODESK STUDENT VERSION

S.A.

300

S.A.

162

10000 5000

S.A.

0

10M PRODUCED BY AN AUTODESK STUDENT VERSION

AUDITORIUM

PRODUCED BY AN AUTODESK STUDENT VERSION

S.A.

30M

COFFEE SHOP

RESTAURANT

COFFEE SHOP

CAFE

OFFICES

S.A. S.A. S.A. S.A. S.A. S.A. S.A.

S.A.

S.A.

S.A.

S.A.

S.A.

S.A. AUDITORIUM

S.A.

S.A. S.A. CLINIC S.A.

S.A. S.A. S.A. STAFF ROOM

S.A. S.A.

Second Floor Plan Lvl +8400

0

10M

Sultan Garhi Cult. & Rec. Hub | Palak Verma

30M

163

GYM & POOL

GAMING CENTRE

ADMIN

LIBRARY

KIDS' GALLERY / EXHIBITION

KIDS' SECTION

KIDS' PLAY AREA

OFFICE RETAIL SUNKEN COURT OFFICES

WORK SHOP STORE

BLACKBOX THEATRE

G

MECH. ROOM

RE EN

RO

O

M

S

STORE

Sunken Courtyard Plan Lvl -3600

0

164

Chapter 08 | Design Portfolio

10M

30M

SERVICES

SERVICES

SERVICES

SERVICES

SERVICES

PARKING CALCULATIONS BASEMENT AREA

- 22800 SQM

REQUIRED PARKING

- 518 ECS

PARKING PROVIDED ON SURFACE

- 100 ECS

ON B2

- 420 ECS

TOTAL

- 520 ECS

Basement Parking Plan B2 Lvl -7800 0

10M

Sultan Garhi Cult. & Rec. Hub | Palak Verma

30M

165

166

Chapter 08 | Design Portfolio

TECHNOLOGY RESEARCH Sultan Garhi Cult. & Rec. Hub | Palak Verma

167

INTRODUCTION

WAFFLE SLABS

Long span roofs are generally defined as those that exceed 12 m in span. Long

Advantage: Large column free spans on top of each other

substructure costs and construction times. They are commonly found in a wide range of building types such as factories, warehouses, agricultural buildings, hangars, large shops, public halls, gymnasiums and arenas.

Application: Art Gallery i.

In an attempt to save up on space, it would be ideal to

800

have a system which allows stacking up of large column

ii.

450

free spaces vertically.

Their primary functions are, similar to normal roofs, typically, protecting against the weather, restricting the spread of fire, providing sound and thermal insulation

Having multiple galleries and flexible sizes of studios,

and so on. However, as they may offer the only structural system other than the

waffle slab construction would allow for uninterrupted

perimeter walls, they may also have to provide support for building services,

column free spaces.

access routes, lifting equipment, lighting, and so on.

800

75

span roofs can create flexible, column-free internal spaces and can reduce

150 Holedeck waffle slab with integrated services.

650

150

Integrated ducting & lighting.

iii. Made up of a visually pleasing pattern, the exposed structure can be used as a subdued neutral finish in

MATERIALS

many large public spaces such as foyers, galleries,

Long span roofs can be fabricated in from a number of materials, such as steel,

classrooms, corridors.

aluminium alloy, timber, reinforced concrete and prestressed concrete. Steel is often preferred due to its high strength and because it will not spread fire over

Span (Conventional): 7.62 16.767 m

Column Size: 61-101.6 cm

its surface. The design of long span steel and (steel-concrete) composite beams

Span (Post-Tensioned): 9.14-24.4 m

Dome Width: 48, 76 cm

is generally carried out in accordance with BS 5950, BS EN 1993 or BS EN 1994.

Slab Depth: 25.4-73.7 cm

Dome Depth: 20-51 cm

Slab Depth (Formula): Span/24

Floor to Floor Height: 3.05- 4.88 m

ART GALLERIES

OFFICES

AUDITORIUM

LARGE SPAN STRUCTURAL SYSTEM

LECTURE HALLS/ PAVILIONS/ STUDIOS

BLACK BOX THEATRE

INFORMAL PERFORMANCE SPACES Exposed holedeck waffle slab with integrated services.

& Construction Systems 20 Structural Overview & Waffle Slabs Structural & Construction Systems Overview & Waffle Slabs

168

Chapter 08 | Design Portfolio

Typical waffle slab

Sultan Garhi Cultural & Recreational Hub Mixed-Use Arts Centre, Vasant Kunj

Palak Verma

A/2958/2016

POST-TENSIONED FRAMED STRUCTURE

COMPOSITE STRUCTURE

Advantage: Large column free span,

Advantage: Large column free span,

multistorey structures

multistorey structures

Working Mechanism:

Working Mechanism:

Reinforced concrete cracked under load

The process involves inducing stress

Composite

into the building component during

structures involving steel sections and

the construction process. When the

structures

CONCRETE SLAB

are

stress in the steel is induced before

concrete over a mesh of inter-connected

concrete is set, the process in known

steel beams or a uniform steel deck — with

as Pre-Tensioning. When the stress concrete is poured, it is called Post-

shear connectors. The connector help the Slab behaviour before and after induced stress.

Post-tensioned concrete after loading

slab to act in a unified manner instead of

Post-tensioned structure behaviour.

separate components.

Tensioning.

Using steel sections instead of rebars

Application: Auditorium & Blackbox

reduces

Theatre i.

concrete slab during the pouring

amount

of

concrete

and concrete is good in compression,

19m

the cohesive structure is able to achieve

Steel-beam composite slab or RC-slab

COMPOSITE GIRDER

COMPOSITE COLUMN

Steel profiles embedded in or filled with concrete

COMPOSITE SLAB

Holorib® sheeting + concrete

greater strength than conventional framed 825mm

to induce stress into the steel members — a process similar to rebars.

10m

Since the concrete comes under Concourse level plan.

Cantilever section.

tension — even before the application

CASE EXAMPLE: SPA Vijaywada - Architecture block

of any load — the structure achieves

Structural Grid: 19m x 19m

its optimum strength right from the beginning.

21

the

Layers of a composite structure

comparison. Since steel is good in tension

process. Then tendons are used

compression and the steel is in

STRUCTURAL STEEL BEAM

used — making the structure lighter in

19m

Sleeves or holes are left in the

SHEAR STUD COMPOSITE DECK

concrete. The system is formed by pouring

Post-tensioned concrete before loading

is induced in the structure after the

REINFORCEMENT

hybrid

structure. This allows to span over larger lengths without the need of supporting columns

Composite elements in a building

Application: Learning Centre, Offices i.

Depth and weight of steel beam required is reduced — making the construction lighter.

Column size: 1400mm x 1400mm

ii.

Reduced depth of beams and floor slabs — thereby increasing headroom of the building.

Beam depth: 800mm

iii. Large spans are possible without the need of intermediate columns.

Structural & Construction Systems

Structural & Construction Systems

Post-tensioned framed structure & Composite structure

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Post-tensioned framed structure & Composite structure

Sultan Garhi Cult. & Rec. Hub | Palak Verma

169

MATERIALS In order to construct sustainably, it is imperative that one employs the locally available materials in their design. This is on count of two main reasons :

i. Contextually Relevant: The project focuses on bringing out the importance of Sultan

Agra Sandstone Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

This ensures that the room is cooler inside.

Application Structural load bearing | External cladding

Delhi Quartzite Advantage Highly durable stone with undulating rough texture, it requires very low maintenance. It also provides protection from UV rays but is brittle & can't withstand a lot of heat.

Application External cladding | Paving

Garhi tomb. Thus the materials used should respond to the materials used in the heritage structure and the surroundings. The buildings in the town are entirely of locally quarried grey quartzite

Dholpur Sandstone

Clay Bricks

except the tomb of Sultan Ghari where red sandstone, marble mortar. Thus a similar palette of materials should be used.

Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

This ensures that the room is cooler inside.

Advantage Made out of compressed earth taken from the site or foundation, the material can be broken down & re-purposed in future.

ii. Climatologically apt & Low Carbon Footprint:

Application Structural load bearing | External cladding

Application Infill block : masonry | Structural load bear

environment within the said context. In the case of Delhi, where

Rammed Earth

buildings are exposed to extreme summers as well as extreme

Advantage Thick, dense material — delayed thermal transfer from the outer face to the interiors.

Natural material — can be repurposed for reuse in future.

Fly Ash: Autoclaved Aerated Concrete (AAC) Blocks

and well-burnt bricks have also been used along with lime-

Materials which have been used over time are employed because they are able to provide the most comfortable indoor

winters, the materials need to withstand these extreme variations/ expansions and delay the process of thermal lag - so that the interiors are relatively more comfortable than the exteriors.

Additionally, the use of such materials ensures that the material both in its inception and application - causes least harm/impact

Application Structural load bearing | External cladding | Floor finishing

Advantage Lightweight material, reduces the load of the building thus reducing foundation depth.

Re-purposing waste material Application Infill block: masonry

on the environment. Thus, it is recommended that the materials are sourced locally or from nearby regions - as this would reduce their transportation and thus, save up on the carbon emissions

Lakhori Bricks

Slate Shingles

involved in the process.

Advantage The traditional size of brick of Delhi, it involves low energy in its creation & allows for flexibility in working in modules.

Advantage Easy to work with, slate is a natural stone which requires very little maintenance. It can help delay the heat transfer.

Application External cladding | Infill block : masonry

Application Roof tiling | External cladding

Thus, on account of these parameters, the following material palette has been identified - as possible options to be employed in the project.

Palette 22 Material Locally available materials used Material Palette

Locally available materials used

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LiveRoof STANDARD SYSTEM Over Conventional Roofing Assembly

LIVING GREENS ON THE ROOF

SIDE VIEW

All the large spans in the program would have a lot of roof area. These can be used effectively so as to come up with a more sustainable complex. Green roofs reduce energy use, air pollution, and greenhouse gas emissions.

The Vancouver Convention Centre in Canada has a 6-acre large green roof, hosting 400,000 indigenous plants and 240,000 bees in 4 colonies that provide honey for the convention centre restaurant. The roof’s sloping forms build on the topography of the region, creating a formal as well as ecological connection to

LiveRoof Standard Module Moisture Portals™ LiveRoof Engineered Soil LiveRoof Green Roof Plants (Minimum 95% Soil Coverage at Installation) Minimum 40-mil Polypropylene or EPDM Slip Sheet, Edges Overlapped & Seamed EPDM, TPO or PVC Waterproofing Membrane Bonding Adhesive

Provided by others

Insulation Insulation Adhesive

nearby Stanley Park and the North Shore Mountains in view across the Burrard Inlet. The slopes set up natural drainage and seed migration patterns for the roof’s ecology. The roof has no public access points, allowing it to develop as a fully functional habitat for migrating wildlife, while the landforms fold to allow views onto the lush

.

1/2"

4 1/4" .

3 1/4" .

.

1"

vegetation from inside and outside the building.

LiveRoof module cross section over conventional roof. Source: liveroof.com

The LiveRoof system is typically vegetated with a palette of deciduous, semi-evergreen and evergreen “base Drainage Holes mix” and “accent plants” that are exceptional “water conservers.” These are succulent, water-holding plants like

TOP VIEW

Sedums, Alliums, Sempervivums, Euphorbias, Delospermas, and a few other species.

With regular and frequent irrigation, many others native living roof plants can be sustained. Selections that fall Ergonomic Handles into this category include Echinacea pallida (purple coneflower) and Schizachyrium scoparium (little bluestem).

23

Living roof, functional areas, enclosure, and ground form

These plants are very drought resistant in conventional landscape settings, because they are great “water .

1'

Green roof at Vancouver Convention Centre, Canada

sourcers”.

Sustainability & Services

Sultan Garhi Cultural & Recreational Hub

Sustainability & Services

Mixed-Use Arts Centre, Vasant Kunj

Green Roofs

Green Roofs

Palak Verma

A/2958/2016

.

2'

LiveRoof System Saturated Weight: 27-29 lbs / sf

NOT TO SCALE

Sultan Garhi Cult. & Rec. Hub | Palak Verma

ILLUSTRATIONS ARE TO CONCEPTUALLY ASSIST PROFESSIONALS IN DESIGNING LIVEROOF INSTALLATIONS. LIVEROOF DOES NOT ACCEPT RESPONSIBILTY FOR ENGINEERING BASED ON ILLUSTRATIONS. A QUALIFIED ROOFING SPECIALIST SHOULD BE CONSULTED TO DETERMINE

171

STANDARD A

ENERGY EFFICIENT LIGHTING Energy efficient lighting stems from the usage of: • Energy-saving lamps • Light-control devices (Photo sensors and Time clocks) • Occupancy/Motion Sensors Currently there are traditional Light shelf

incandescent bulbs, along with compact fluorescent lights (CFL)

Technologies

and light-emitting diodes (LED).

While the initial cost of CFL and LED bulbs is higher than

Blinds

Energy efficiency of different kinds of lamps/bulbs.

traditional bulbs, they cost less to operate and last significantly longer.

– Daylight-sensing switch: Switching on and off of lights in response to amounts of daylight luminance. Suited for circulation spaces- lobbies and corridors.

– Automatic blinds system – Photosensor-operated dimming system: Suited for open offices. Dims lights in proportion to amount of received of a reference plane. The issue with This Technology is the effectiveness to non-uniform penetration

DAYLIGHT HARVESTING TECHNOLOGIES Daylight harvesting systems maximise the use of daylight to reduce the amount of electric lighting required.

This is done through lighting control systems which adjust the electric lighting levels in response to changing availability of daylight.

Systems to improve daylight penetration: Light shelves, light pipes, shades and blinds.

of daylight into interiors and high initial cost.

Daylight Harvesting is determined through a) identifying daylight zones, b) placement of lighting, c) establishing control zones for luminaires, d) choosing the appropriate control method- switching on and oft stepped switching, stepped dimming and continuous dimming, e) selecting the technology.

Energy savings achieved are in the range between 20-60%. Daylight harvesting is most suited for spaces adjacent to windows, clerestories, skylights, glass block walls, such atria, offices, interior public plazas, schools,

Photosensors are the technology used to

etc.

detect daylight. Two aspects of photosensors are directional/spectral sensitivity & type of

Difficulties of the technologies: High costs, imperfect performance. These systems are space-specific.

operation (open, closed or dual loop which

Changes to the space can impact the system functioning.

are chosen by the location and requirement

Photosensor placement and field of view for open-loop sensors (top) and closed-loop sensors (bottom)

of spaces.

Sustainability & Services

24 Lighting Sustainability & Services Lighting

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Chapter 08 | Design Portfolio

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WATER MANAGEMENT An innovative water conservation and reuse

There are various types of pervious pavement

strategy that is projected to reduce potable

available and include:

water more than what is used in typical public facilities. Water conservation and features would include Black water treatment, which processes the building's sewage water to render it appropriate for other uses, to provide about 80 percent of the grey water needs for toilet flushing in the building and supplemental water for irrigation of a possible living roof and the landscaped area.

Regulation of water used for landscaping throughout the site. The water used in large water bodies and other water features can be re-used. As various large scaled events would take place in the complex, so the water disposal can be carefully managed so as to use that water in the water features throughout the site.

• Poured-in-place pervious asphalt requires the same mixing and application materials and the same ‘blacktop’appearance of traditional impervious asphalt. The formula is different with small stone and fine particulate matter being removed and the quantity of tar reduced. Sealants to waterproof new surfaces are not applied.

• Poured-in-place

pervious

concrete

surfaces like pervious asphalt require similar machinery to standard concrete pavement. pea gravel with lower water-to-cement ratio creating a pebbly surface that is compacted with a roller.

• Block and concrete modular pavers are designed to funnel water between blocks into a basement layer of washed sand and

Pervious Paving

gravel where water slowly drains away through

Pervious pavement is designed to allow

provide 20-50% more opportunity for the

percolation of stormwater through the surface

drainage of water than in the normal paved

into the soil below where the water is naturally

system.

• Grid pavers made from either recycled

pavement is an impervious surface that sheds

plastic or concrete. The grid pattern is usually

rainfall and associated surface pollutants,

honeycombed or lattice shaped and the

forcing the water to run off paved surfaces into

voids collect water during rain events, which

streams and lakes.

then slowly drains into the soil below.

Sustainability & Services

Sustainability & Services

Water Management

1.

PERMEABLE PAVERS (MIN 800mm THICKNESS

6. GEOTEXTILE ON ALL SIDES OF RESERVOIR

2. AGGREGATE BEDDING COURSE -NOT SAND (50mm DEPTH)

7.

3. OPEN GRADED BASE (DEPTH VARIES BY DESIGN APPLICATION)

8. OVERFLOW INLET AT CATCH BASIN

4. OPEN GRADED SUB-BASE (DEPTH VARIES BY DESIGN APPN.)

9.

5. SUBSOIL - FLAT AND SCARIFIED IN INFILTRATION DESIGNS

10. TRENCH DAMS AT ALL UTILITY CROSSINGS

OPTIONAL REINFORCING GRID FOR HEAVY LOADS

OUTLET PIPE TO STORM DRAIN OR SWALE SYSTEM

the soil. The open areas in the paving system

filtered and pollutants are removed. Normal

25

Permeable paved road landscaping detail

Permeability is accomplished by using larger

RUN-OFF AND SLOPE CALCULATIONS FOR ROADS

ELIMINATE USE OF TARRED ROADS AND USE OF PAVERS IN LANDSCAPING

ROAD NETWORKS (SURFACE RUN-OFF)

Diagram depicting surface run-off management

Sultan Garhi Cultural & Recreational Hub Mixed-Use Arts Centre, Vasant Kunj

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Water Management

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173

DYE-SENSITISED SOLAR CELL (DSSC)

ELECTRIC POWER CONSUMPTION

Dye-sensitised solar (DSSC) is one of the

The DSSC can produce electricity

most promising photovoltaic systems for

under

building integration (BIPV). Dye-Sensitised

including

Solar Cells can be transparent with various

to

degrees of transparency, which makes

different colour dyes, the cell

it suitable for window application in

features colours and transparency.

buildings. Dye sensitised solar panels are

Therefore, DSSCs can be used

efficient on west facing walls.

on façades, interior applications,

the

low

light

indoor structural

conditions,

lighting.

Due

design

and

electronic devices, and portable power systems.

are

constructed

9.7% Studio Apartments, 15.8% Retail + Dining + Recreational)

Eco Rich Elite II Composter falls in the category of "in-vessel"

Total Electricity Load: 34740 [(0.34x13.25) + (0.32x9.5) + (0.1x9.5)

composting. Using an accelerated composting process a volume

+ (0.16x12.2)]

reduction of 90% and thereby 10% of compost generation is achieved

= 363 kW

in 24 hours.

AREA CALCULATION FOR SOLAR PANEL Available roof area = 70% of max roof area = 3465 sqm

Number of solar panels provided = 3465/29.8 = 116.28 on

This composter is an intelligent system acting on the direction of the sensors placed inside the machine. It has the following features:

Maximum roof area available: 4950 sqm

Area required for 4kW Solar PV system: 29.8 sqm

Working Mechanism DSSCs

Total builtup area: 34,740 sqm (34.2% Arts Centre, 32.2% Offices,

BIODEGRADABLE SOLID WASTE MANAGEMENT

–

day.

–

semiconductor, which is designed so

Total electricity generated = 116 x 4

that the nanoparticles of titanium dioxide

= 464 kW

All the indoor lighting requirements can be met through the

(TiO2) are coated with a light-sensitive dye

solar panels.

and surrounded by electrolyte, which is inserted between another electrolyte and

The chamber only needs to be emptied every 8-10 days. Also, the process involves no manual intervention thus saves on labour

≈ 116 systems

a

The volume of food waste is reduced up to 90% within a single

cost.

–

The by-product is a harmless water vapour that is neatly expelled.

–

The machine uses VFD (variable frequency drive), reducing energy consumption by 15%.

–

a cathode. The anode allows light to pass

The system employs high temperature micro-organisms to decompose food waste and organic matter.

through because it is transparent. Sunlight

–

goes through the transparent electrode

All is accomplished without the need of repeated additions of micro-organisms or additives to the composting chamber.

into the dye layer, exciting electrons that

Auditorium main foyer façade of a Swiss convention center by Richter Dahl Rocha

then flow into the titanium dioxide. The

SOLID WASTE CALCULATION

electrolyte then carries the electrons back to the dye molecules. DSSCs split the two

DSSCs are able to work as efficiently

Maximum people present in the complex everyday — 5800 people

functions supplied by silicon in a traditional

at 149° F as at 77° F whereas silicon

Applying diversity factor of 70%, we get total number of people

cell design. The energy gotten through this

cells lose 20% of their energy

present in the complex everyday — 4060 people

simple dye sensitive cell can be collected

efficiency at extreme temperatures.

Assuming that every person consumes at least one meal per day &

to drive electrical system loads.

averagely wastes 100g of food every meal. Thus, 4060 people would Table 1.1 Interior Lighting Power — Building Area Method. Source: ECBC

Calculations 26 Sustainability Power & Waste Management Sustainability Calculations Power & Waste Management

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Chapter 08 | Design Portfolio

waste 406 kgs of food every day.

Sultan Garhi Cultural & Recreational Hub Mixed-Use Arts Centre, Vasant Kunj

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WATER CALCULATIONS Function

Area (sqm)

POTENTIAL WATER HARVESTED CALCULATION Occupancy Load

Consumption per

Total Consumption

person per day (L)

(L)

Offices

8000

800

45

36,000

Performance

3635

900

15 per seat

13,500

Learning

2870

717

45

32,265

Exhibition

1490

1064

15 per seat

15,960

Studio Apartments

1895

150

180

27,000

Retail

880

195

15

2,925

Hospitality

1830

1016

70 per seat

71,120

Recreational

1200

857

45

38,565

Administration

1020

102

45

4,590

Table 1.2 Water Calculations. Source: Author

Annual Rainfall: 664.5mm (Southwest Delhi) Total Site Area: 46,050 sqm Run-off co-efficient:

Estimated Roof area:

4,950 sqm

Estimated Greens area:

11,485 sqm

Estimated Paved area:

22,874 sqm

Total rainwater harvested on site: 17, 410 kL/year

Roof = 0.9 Greens = 0.3 Paved = 0.8

Water harvested on

4,950 x 0.9 x 664.5

Roof area:

= 2,960 Kilo Litre / Year

Water harvested on

11485 x 0.3 x 664.5

Green area:

= 2,290 Kilo Litre / Year

Water harvested on

22874 x 0.8 x 664.5

Paved area:

= 12,160 Kilo Litre / Year

WATER CONSERVATION TECHNOLOGIES

Total water consumption

= 241.9 kL

— Water-efficient plumbing fixtures

Thus, fresh water demand

= 241.9 kL/day

Waterless urinals, ultra low-flush toilets, low-flow & sensored fixtures — Water-efficient irrigation & landscaping systems

STP CALCULATIONS

Low-flow sprinkler heads, Xeriscape (use of native / climate appropriate plants in the landscape)

Waste water flowing into sewer = 80% of 241.9 kL = 193.5 kL

Can be minimal treatment for reuse on-site, treated water for toilet flushing, sprinkler systems, landscape

Total quantity of waste water reaching the STP = 75% of 193.5 = 145.2 kL Water available for re-use post treatment = 85% of 145.2 = 123.4 kL

— Water recycling or reuse measures irrigation, gray water usage, etc.

— Water conservation in HVAC systems

Considering a total depth of 3.3 m for the STP (Liquid depth = 3 m),

Use of recycled water for HVAC cooling towers

Area of STP = 123.4/3 = 41.1 sqm

— Rainwater harvesting

27

Sustainability Calculations

Sustainability Calculations

Water Calculations

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Water Calculations

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175

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Chapter 08 | Design Portfolio

3D VIEWS

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177

CENTRAL CHAR BAGH SQUARE WITH BUILT MASS ALONG THE FRINGES

178

Chapter 08 | Design Portfolio

ROOFTOP OAT OVER THE AUDITORIUM

Sultan Garhi Cult. & Rec. Hub | Palak Verma

179

FACADE & SUNKEN COURT WITH RESPECT TO THE CHAR BAGH SQUARE

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Chapter 08 | Design Portfolio

JURY COMMENTS

External Juror: Ar. Shilpi Mehra The juror appreciated the effort and commended the landscaping elements. She pointed out that the design response to the Sultan Garhi tomb could have been handled in a better fashion, and that the grain of the design might have been more pleasing if taken smaller, thus further breaking down the blocks.

The juror also appreciated the research and idea behind the design.

Sultan Garhi Cult. & Rec. Hub | Palak Verma

181

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CULTURAL & RECREATIONAL CENTRE

THESIS BY PALAK VERMA