B.Arch thesis 2019- CENTER OF UNITY,DWARKA,DELHI

DESIGN DISSERTATION (Stage-2)

TOPIC

CENTER OF UNITY AT DWARKA, DELHI.

SUBMITTED BY

PRATIK BALKRISHNA MANE. Fifth Year- Sem. X, B. Arch Ideal Institute of Architecture (Affiliated to Mumbai University)

At Village - Posheri, Wada, Palghar --------------------------------------------------------------------April 2019

Certificate This is to certify that

Mr. Pratik Balkrishna Mane.

A final year bonafide student of Ideal Institute of Architecture Has completed to my satisfaction, Design Dissertation - Stage 2, entitled

CENTER OF UNITY

AT DWARKA, DELHI. Under my guidance in April 2019

Signature of Guide

Signature of Principal

Ar. Manish Yadav

Ar. Vrushali Deshmukh

Stamp of College:

Date: 22/04/ 2019.

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DECLARATION I hereby declare that this written submission entitled “Centre of Unity at Dwarka, Delhi” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission.

This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Mr. Pratik Balkrishna Mane.

Exam Roll No: 17 Date: 22/04/2019.

Place: Wada, Palghar.

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: • the verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; • the close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; • unacknowledged quotation of phrases from another’s work; • The deliberate and detailed presentation of another’s concept as one’s own.

• “Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

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ACKNOWLEDGEMENT First of all, I would like to praise god, for leanding me this privilege opportunity and to know my caliber in preceding work and completing is successfully. During the course of my thesis there have been Number of people who have been greatly helpful with their personal capacities in various ways. I take this opportunity to express my gratitude for the co-operation and patience that they have shown.

I would like to thank Ar. Manish Yadav for his continuous support and encouragement.

I am deeply indebted to Design Chair Ar. Suresh Mankar as well as Ar. Vrushali Deshmukh whose help, suggestion, encouragement and guidance has helped me during my research.

I would like to thank the teaching faculty and administrative staff of Ideal Institute of Architecture for giving me the opportunity to commence this research and use the departmental resources.

Most importantly I would like to thank my parents and my sisters, for their moral support, assistance and guidance. Words cannot express how grateful I am for all of the sacrifices that they have made on my behalf.

I have been lucky to have friends around me who have been in these phases and provided encouragement and moral boost. I would like to thank all my friends Shrikrishna (Anish) Mungekar, Ronit Kondlekar, Shweta Kulkarni, Akshay Bhagat for being there in tough times and supporting me in every possible way.

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ABSTRACT Modernity has challenged the role of religion in contemporary society and brought forth a crisis in religious meaning. This document provides a snapshot of the Context for CENTER OF UNITY-where religion meets, studies the actual position and role of religion and spirituality within this context of ambivalent and contested meanings. Which is located in dwarka, Delhi. More specifically, we study religion and spirituality with regard to three interrelated themes: social cohesion and conflict, contingency and distress, and death and dying. The studies explores the three topics within Christianity, Islam, Asian and Indigenous religions and among the religiously non-affiliated, as well as through crossreligious comparative studies.

The Spirituality & Religion Sector focuses on the myriad sociological challenges posed by the “God Gap” – a void that is growing between Old World religions and New World belief systems. Fueling this global phenomenon are the Millennials, many of whom self-describe as atheists or “none’s” (i.e., no religious tradition). The study is dedicated to Peace and Spiritual Unity among the five primary religions: Hinduism, Judaism, Buddhism, Christianity, and Islam. It also include esoteric teachings, hermetic principles, and indigenous wisdom traditions.

Islam and Christianity, were both formed from Judaism. Whereas Buddhism derived from Hinduism (the most ancient of these religions). So you can find many common similarities in all of these religions, but only at a few at a time. Every religion is created by humans and that to teach well, so a common thing is HUMANISM AND HUMANITY.

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LIST OF FIGURES AREA OF RESERCH AND CASE STUDIES Figure 2.1 research framework (source: author) Figure 2.2 attributes of good public spaces (c) Project for Public Spaces (http://www.pps.org) Figure 2.3 religious requirements with respect to classical elements (source: author) Figure 2.4 connectivity chart of religion and classical elements (source: author) Figure 2.5 Aerial view Image by Michal Ronnen Safdie (source: www.behance.net ) Figure 2.6 Concept Sketches by Moshe Safdie (source: https://www.behance.net ) Figure 2.7 view from pedestrian entry (source: author) Figure 2.8 site plan (source: https://www.scribd.com/document/336155299/6-virat-e-khalsa-pdf ) Figure 2.9 view from main entrance (source: https://www.google.co.in/search ) Figure 2.10 grand mosque floor plan (source: http://www.abudhabimosque.com ) Figure 2.11 front elevation of the structure (source: http://arcdog.com/portfolio/europaplatz-multipurposecenter-house-of-religions/ ) Figure 2.12 site plan house pf religion (phase1) (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ ) Figure 2.13 zoning of phase 1 (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ ) Figure 2.14 ground floor plan (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ ) Figure 2.15 first floor plan (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ ) Figure 2.16 second floor plan (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ ) Figure 2.17 transverse section (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ ) Figure 2.18 Alevites prayer room (source: http://arcdog.com/portfolio/europaplatz-multipurpose-centerhouse-of-religions/ ) Figure 2.19 Buddhist temple (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-houseof-religions/ ) Figure 2.20 Christian chapel (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-houseof-religions/ ) Figure 2.21 Hindu temple (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-house-ofreligions/ )

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Figure 2.22 mosque (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-house-ofreligions/ ) Figure 2.23 side view of lotus temple (source: author) Figure 2.24 concept of the structure (source: https://en.wikiarquitectura.com/building/lotus-temple-bahaihouse-of-worship/ ) Figure 2.25 geometric formation of structure (source: https://en.wikiarquitectura.com/building/lotustemple-bahai-house-of-worship/ ) Figure 2.26 plan (source: https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/ ) Figure 2.27 panoramic view of site (source: author) Figure 2.28 water body (source: author) Figure 2.29 ceiling view (source: https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-ofworship/ ) Figure 2.30 top view of structure (source: https://en.wikiarquitectura.com/building/lotus-temple-bahaihouse-of-worship/ ) Figure 2.31 aired view of temple (source: https://www.architecturalrecord.com/articles/11651-bahaitemple-of-south-america-by-hariri-pontarini-architects ) Figure 2.32 plan (source: http://aasarchitecture.com/2014/04/bahai-temple-of-south-america-by-hariripontarini-architects.html ) Figure 2.33 sectional view (source: http://aasarchitecture.com/2014/04/bahai-temple-of-south-america-byhariri-pontarini-architects.html ) Figure 2.34 front view of temple (source: https://edition.cnn.com/style/article/bahai-temple-chile/index.html ) Figure 2.35 inverted top view (source: https://edition.cnn.com/style/article/bahai-temple-chile/index.html ) Figure 2.36 cladding material (source: https://www.dezeen.com/2017/04/10/bahai-temple-south-americachile-hariri-pontarini-architects-features-torqued-wings-steel-glass/ )

SITE Figure 4.1 location map of Delhi and location map of dwarka (source: https://en.wikipedia.org/wiki/Dwarka,_Delhi ) Figure 4.2 location of site (source: www.googleearth.com) Figure 4.3 site location and surrounding (source: author)

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Fig 4.4 solar intensity diagram for Delhi (Source: www.meteoblue.com ) Figure 4.5 Monthly rainfall graph of Delhi (Source- https://weather-and-climate.com ) Figure 4.6 win doe flow diagram of Delhi (Source- www.meteoblue.com ) Figure 4.7 annual humidity graph (source: www.meteoblue.com ) Figure 4.8 sun path diagram (source: author) Figure 4.9 solar intensity diagram of Delhi (Source- www.meteoblue.com ) Figure 4.10 schematic site section (source: author) Figure 4.11 view towards entry (source: author) Figure 4.12 view to the northwest (source; author) Figure 4.13 panoramic view of the site (source: author) Figure 4.14 view towards cancel (source: author) Figure 4.15 view of the service road Figure 4.16 view of the M.P.green zone (source: author) Figure 4.17 view towards residential building (source: author) Figure 4.18 view of nearby chowk (source: author)

DESIGN CONCEPTION Figure 5.1 desired functional relationship –bubble diagram (source: author) Figure 5.2 unity concept Figure 5.3 Design development (author)

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CONTENTS 1. ABOUT TOPIC..........................................................................................................................................2 1.1 NEED OF THE PROJECT .................................................................................................................... 3 1.2 AIM........................................................................................................................................................ 4 1.3 OBJECTIVE .......................................................................................................................................... 4 1.4 SCOPE OF STUDY .............................................................................................................................. 4 1.5 THE GOALS…………………………………………………………………………………………...4 1.6 THE FOCUS……………………………………………………………………………………………5 2. AREA OF RESERCH AND CASE STUDIES ………………………………………………………….6 2.1 CASE STUDIES ................................................................................................................................. 11 2.1.1 LIVE CASE STUDY 1- VIRASAT-E-KHALSA HERITAGE COMPLEX, ANANDPUR SAHIB, PUNJAB. ................................................................................................................................................... 11 2.1.2 LIVE CASE STUDY 2- SHEIKH ZAYED BIN SULTAN AL-NAHYAN GRAND MOSQUE. .. 16 2.1.3 LITERATURE CASE STUDY 1- HOUSE OF RELIGION ............................................................ 20 2.1.4 INTERNET CASE STUDY 1- LOTUS TEMPLE, DELHI. ............................................................ 29 2.1.5 INTERNET CASE STUDY 2- BAHAI TEMPLE, CHILE……………………...............................33 2.2 CASE STUDY INFERENCE…………………………………………………………………………36 3. DESIGN OBJECTIVE AND DESIGN BRIEF ..................................................................................... 37 3.1 DESIGN OBJECTIVE ........................................................................................................................ 37 3.2 DESIGN BREIF……………………………………………………………………………………...39 4. SITE .......................................................................................................................................................... 43 4.1 SITE SELECTION .............................................................................................................................. 43 4.2 SITE ANALYSIS ................................................................................................................................ 45 4.3 CULTURAL AND MANMADE FEATURES ................................................................................... 46 4.4 NATURAL SURFACE FEATURES .................................................................................................. 50 4.5 AESTHETIC FACTORS .................................................................................................................... 54 4.6 SWOT ANALYSIS ............................................................................................................................. 55 5. DESIGN CONCEPTION ........................................................................................................................ 56 5.1 FUNCTIONAL RELELTAIONSHIP………………………………………………………………..56 5.2 CONCEPT…………………………………………………………………………………………....58 5.3 TECHNOLOGY SYSTEM, PLAN, DESIGN PORTFOLIO 6. BIBLIOGRAPHY .................................................................................................................................... 60

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1. ABOUT TOPIC TOPIC NAME: CENTER OF UNITY, DWARKA, DELHI. INTRODUCTION A Center of Unity with respect to a religion is made to make the humans understand the essence of humanity. It is made to abolish all bonds and ties that separate humans from each other, and a ground that collectively makes every human looks at each other in the same manner beyond the boundaries of cast, creed, religion or class.

It helps to get people to a common ground that is beyond religion, cast and other limitations tied to a person by the society. It is a known fact that if a group, a society, a community or a country has to reach to a stage of peace and stability, the change has to begin with every human associated with it.

The center of unity helps a human go in search, understand or realize, question and find the answers in oneself. Thus the multiplication of thoughts in several humans would result in bringing better changes to the community.

“Where there is righteousness in the heart, there is beauty in the character, when there is beauty in the character, there is harmony in the home, when there is harmony in the home, there is love in the region, when there is love in the region, there is order in the nation, when there is order in the nation, there is peace in the world�

-Dr. A.P.J. Abdul Kalam.

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1.1 NEED OF THE PROJECT Ever since the existence of mankind, we have been talking about religion and its role in a human life.

But it has been very evident from various incidents throughout these years, that we have failed to understand that God in all religions, cast and creed, have always tried to give a message of humanity and with all “Avatar’s” has tried to strengthen the knots of humanity.

To a lot of extent, we have blindly followed and believed in the religious guru’s etc. and we have been seeing god through the lens given by these guru’s. We have never bothered to think about choosing our own paths to reach god, we have never known that the path to a devotee begins with the stairs of agnostism. We have forgot to question everything we are asked to believe in.

We have forgot that the path to a right human, begins within one self and that it starts with recognizing, questioning and interrupting oneself in every step we take, every move we make.

It is about being thoughtful and not frightened, it is about being curious and not careless, and it is about being Sensible before being Sentimental.

Many of us have never analyzed, drawn inferences or conclusions from books like Bhagavad Geeta, Quran and the Holy Bible which ultimately teach humanity.

This is very evident, from the riots that have emerged in different cities all through these years, in the name of religion. The nation has seen days when a human did not hesitate to kill

another

human,

in

the

name

of

religion.

Today, when the people of this nation have felt the necessity to take a bold stand against communal violence, and its impact on the social fabric of the nation. When the people of the country have decided to bring out their voice’s through programs like “not in my name”!

This program and design proposal on a ground (site) which has led to so much of communal violence and has damaged the human body and mind, and has led to a memory of anger and hatred in the psychology of most people all through these years, could therefore be a good attempt to encourage and uplift a thought of humanity first.

Since Architecture is a form of Art that could be felt and Experienced unlike dance or music which could disappear in minutes. If the painters could paint about this issue, if the poets 3

can write beautiful poems, then architecture being the mother of all art forms should definitely attempt to bring in peace, thus this proposal could be all about emotions and feelings that could be experienced in every nook and corner and could be an attempt to set an example for such issues

1.2 AIM The aim is to design a centre where for empirically informed theory development on world religion, ethics and spirituality, while also taking into account the historical and scriptural origins of present-day religion.

1.3 OBJECTIVE 

To promote the safeguarding and protection of all cultural value irrespective of their religious or ethnic identity.



To recognize that all forms of cultural and religious valued as equal in importance.



To promote understanding across diverse communities of the communal value of heritage.



To discuss the need to preserve our religious and cultural heritage. Contribution of religious and cultural heritage in tourism in India.

1.4 SCOPE OF STUDY The area of study includes creating a center of religion which is suitable for a place like Dwarka, Delhi which represents the cradle of religion, culture and social needs of the users.

Choosing such a project to revive this legend and trying to reveal some secrets of this immortality.

1.5 THE GOALS Preservation by revivifying old spirit to new thought of these ages is the main goal. Instead of freezing and museumizing archaeological remains, the project targets to promote global 4

vision about Ancient to their maximum extends beyond the limits of “time-space�. This global sustained spirit needs to be prevailed again.

1.6 THE FOCUS The Center will focus its efforts on a general but fundamental question: How are we to understand the role of religious beliefs, traditions, and institutions in shaping the modern world? It will recognize the importance throughout history and in all societies of the impact of religion on culture at large, including art, architecture, literature, music, group and personal identity, education, political structures and values, concepts of justice, and treatment of women, outsiders, and marginalized groups.

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2. AREA OF RESERCH AND CASE STUDIES

PUBLIC SPACES

RESERCH FRAMEWORK

LANDCSAPE ARCHITECTURE

CLASSICAL ELEMNT

Figure 2.1 research framework (source: author)

PUBLIC SPACES Public spaces are created and maintained for citizens. They are owned by the public, serve the public good and promote social cohesion. By definition they are accessible to all citizens, regardless of their income and personal circumstances.

Public spaces are where people meet and interact; socialize and discover common passions; and where they affirm their shared rights to the city. In a people-centre city public space is central to the notion of a livable and human environment.

Public space can become the ideal platform for building a sense of community and to move on to even more ambitious collective goals.

Types of public spaces Public spaces exist for various uses and in different forms. One can distinguish between open public spaces such as beaches, parks and other natural spaces, pavements or squares and closed public spaces such as libraries, museums or religious, spiritual and heritage sites.

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Other spaces of public use such as transport interchanges, sports grounds and recreational facilities can be either open or inside buildings. Streets or sidewalks can be considered as more ubiquitous and flexible public spaces that have to exist to promote mobility.

Public spaces promoting democratic values Any equitable city or town needs to offer a substantive and accessible amount of quality public space, accessible amenities and useful.

Public space is a powerful instrument of social inclusion. This is of great importance to cities. It means that all those who happen to be in a city and behave responsibly are treated as equals, at least in those spaces of a city that are public.

One can even argue that, following the logic of freedom as a universal value, the city itself is a public space.

Figure 2.2 attributes of good public spaces (c) Project for Public Spaces (http://www.pps.org)

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CLASSICAL ELEMENT The existence of five basic elements. Of these, four were the physical elements – fire, air, water, and earth – of which the entire world is composed. Alchemists eventually associated four triangular symbols to represent these elements.

The fifth element, which goes by a variety of names, is more rarefied than the four physical elements. Some simply call it Spirit. Others call it Aether or Quintessence (literally "the fifth element" in Latin).

In traditional Western occult theory, the elements are hierarchical: Spirit, fire, air, water, and earth – with the first elements being more spiritual and perfect and the last elements being more material and base. Some modern systems, such as Wicca, view the elements as equal.

Relation between religion and elements

Figure 2.3 religious requirements with respect to classical elements (source: author)

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Figure 2.4 connectivity chart of religion and classical elements (source: author)

LANDSCAPE ARCHITECTURE Landscaping is the development and modification of visible features of an expanse of land or space enhancing the various amenities of the entire property, land and estate, by utilizing and involving nature, natural and human elements. 

As it is clear from all the definition that Landscaping is both science and art, and requires good observation and design skills. Hence the knowledge and understanding of the elements of nature and construction (human elements) to blends them accordingly is very essential for Landscape Architects and landscapers.



Design of outdoor public areas, landmarks, and structures to achieve environmental, social- behavioral and aesthetic outcomes.



Field incorporating aspects of -Botany -Horticulture -Fine arts -Architecture Industrial design -Geology -Earth sciences -Environmental psychology -Geography -Ecology



Apply creative and technical skill, scientific, cultural and political knowledge in the planned arrangement of natural and constructed elements on the land integrating ecological sustainability.



Resulting environments shall serve useful, aesthetic, safe and enjoyable purposes

o urban design and site planning

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o storm water management o energy efficient landscaping o parks and recreation planning o green infrastructure planning and provision o private estate and residence landscape master planning and design 

The elements used in landscaping are described below,

o Living elements, such as flora or fauna; or what is commonly referred to as gardening, the art and craft of growing plants with a goal of creating a beautiful environment within the landscape. o Natural elements such as landforms, terrain shape and elevation, or bodies of water; o Human elements such as structures, buildings, fences or other material objects created and/or installed by humans and bodies of water ; and o Abstract elements such as the weather and lighting conditions.

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2.1 CASE STUDIES 2.1.1 LIVE CASE STUDY 1- VIRASAT-E-KHALSA HERITAGE COMPLEX, ANANDPUR SAHIB, PUNJAB. Intent of the case study- To study overall built environment and outdoor spaces.

Introduction The Khalsa heritage complex was designed to commemorate 300 years of one of the novel religions and most vibrant cultures in Indian history: THE SIKHS. The project has been designed by the internationally acclaimed architect, MOSHE SAFDIE. The complex is intended to transform itself into a narrative of the history and culture of the Sikhs. It has been located overlooking the ancient fort of Guru Gobind Singh, the tenth and last guru of the Sikh sat Anandpur sahib. The Khalsa heritage complex, the first of its kind, will provide a space in which the impassioned drama of this heritage shall unfold. “For the Sikhs, this complex would serve as a reaffirmation of roots. For the non-Sikh, it will be an inspiring journey into a spirited culture, providing a fascinating insight into the Sikh faith and its history.

Anandpur sahib was founded by Guru Gobind Singh baptized his first five ‘pyaras’ coming from different regions and belonging to different castes and established the order of Khalsa.

Sri Anandpur sahib, the holy city of bliss is one of the five important sacred places.

Figure 2.5 Aerial view Image by Michal Ronnen Safdie (source: www.behance.net )

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Location: Anandpur sahib

Client: Anandpur sahib Foundation Trust

Architect: Moshe Safdie & Associates, Boston, USA

Inception date: 1998-01-01 Completion date: 2010-04-13

Associate Architect: Ashok Dhawan, New Delhi

Total area: 100 acre

Museum design: National Institute of Design, Ahmedabad

Built up area: 40 acre

Construction: Larsen & Tourbolimited, India

Project cost: Total estimate including exhibits 224 crores

cost

Concept 

The design has woven threads of the vernacular aesthetic into the very fabric of the Museum's visual language to highlight a robust, living culture.



A narrative museum that endeavors to tell a story that is deeply spiritual, and filled with stirring emotion.



The design approach relies on the creation of unique scenography environments that effectively engages multiple media to present a truly immersive experience for all audience types.



To create an experience of this scale, the spoken word will play a role of greater significance over the written one. Thus, a trigger based audio guide serves as a seamless overlay on the scenography exhibit environments as the visitor moves from one exhibit and gallery to the other.



In this case, the simple use of objects and artifacts will not capture the narrative and its contexts, nor will the images and text.



Arranged in groups off five, the galleries reference the Five Virtues, a central tent off the Sikh faith.



The symbolic themes off earth and sky,, masses and lightness,, and depth and ascension are represented by the museum's sandstone towers and reflective silver roofs,, and are further echoed inside the



Museum’s galleries.

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Figure 2.6 Concept Sketches by Moshe Safdie (source: https://www.behance.net )

About complex 

Khalsa Heritage Complex is a new museum of the Sikh people located on a 100acre site in the holy city of Anandpur sahib.



The museum celebrates 500 years of Sikh history and the 300thanniversary of the Khalsa, the scriptures written by the last and tenth Guru Gobind Singh, founder of the modern Sikh faith.



The complex is located on a plateau and situated on a75-acre site, straddles two sides of a ravine and overlooks the ancient fort of Guru Gobind Singh, the second holiest temple to Amritsar.



The23.225sq.m museum complex, which rises 20m on either side of the ravine, is organized into two main buildings that are connected via a pedestrian bridge.



As far as possible, the natural landscape has been left untouched and the structure has been ‘fitted’ into the natural topography.

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

Another feature affecting the siting of the building was the presence of the Gurudwara in the vicinity of the structure.



As a result, the complex had to be sited in such away so as not to become too overpowering in relation to the surrounding monuments.

Figure 2.7 view from pedestrian entry (source: author)

Facilities provided

Figure 2.8 site plan (source: https://www.scribd.com/document/336155299/6-virat-e-khalsa-pdf )

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COMPLEX –A

Kitchen

Auditorium

COMPLEX –C

Library

Permanent exhibit building

Temporary exhibit gallery

Heritage building

Meeting rooms

Petal building

Mechanical rooms

Office areas

COMPLEX –B

Stores

Cafeteria

Conclusion This type of heritage complex which based on religion is relatively a new concept in our country but the movement growing is the new perspective way towards life and humanism for future development.

The Virasat-e-Khalsa, the first of its kind, will provide a space in which the impassioned drama of this heritage shall unfold. For the Sikhs, this Complex would serve as a reaffirmation of roots. For the non-Sikhs, it will be an inspiring journey into a spirited culture, providing a fascinating insight into the Sikh faith and its history.

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2.1.2 LIVE CASE STUDY 2- SHEIKH ZAYED BIN SULTAN ALNAHYAN GRAND MOSQUE, ABU DHABI, UAE. Introduction The Sheikh Zayed Grand Mosque construction began during the presidency of the late HH Sheikh Zayed bin Sultan Al Nahyan, Sheikh of the United Arab Emirates (UAE), who wanted to establish a structure that would unite the Islamic world’s cultural diversity, historical and modern values of architecture and art. His final resting place is in the gardens beside the same mosque. It is the largest mosque in the United Arab Emirates and the eighth largest mosque in the world. The space it occupies is approximately equivalent to the size of five football fields.

As great mosque of the country, is the key place of worship for Friday meetings and prayers of Ramadan, when it can be accessed by more than 40,000 people.

Figure 2.9 view from main entrance (source: https://www.google.co.in/search )

Location

Engineer

Maqtaa, Abu Dhabi, United Arab

Tractabel Al Khaleej

Architect

Electrical Engineer

Yusef AbdelkiHalcrow

Speirs and Major Associates

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Construction Company

Jeque Zayed bin Sultan Al Nahyan

Impregilo

Built in

Developer

1990-2007

Gobierno Municipal de Abu Dhabi

Height

Decorator

351 m

Spatium Architects

Built-up Area

Founder

22.412 m²

Vision The Sheikh Zayed Bin Sultan Al Nahyan Mosque is inspired by a vision of tolerance rooted in the traditions of the golden Islamic era, based on respect and the exchange of ideas for the enrichment of human life and society. (Retrieved from http://www.szgmc.ae/en/message-of-the-mosque) Concept The design of the Sheikh Zayed Mosque has been directly influenced by the architecture of Moorish and Arab mosques Mughal architecture, particularly the Badshahi Mosque in Lahore, Pakistan with the dome and the plant and the Hassan II Mosque in Casablanca, Morocco. Its arches are Moorish and its minarets essentially Arab. The mosque design can be defined as a fusion of Moorish architecture, Moorish and Mughal. 

Interior Concept

The lighting design was crucial to give coherence to the complex architecture and interior design, must be sensitive to the different materials used. There were numerous challenges, including spaces for various purposes, including TV events. Architectural details should be revealed carefully, being essential to hide from view as much as possible all the equipment necessary for the proper functioning.

The light sources were integrated into caves, ledges, niches and behind the carved wooden latticework known as Mashrabiya. The aim was to achieve the greatest appearance of lightness and the necessary levels of indirect light. The result is that the building seems to 17

glow with a natural luminosity, despite the predominance of artificial light sources. The designers emphasize the particularities of construction: marble panels, glass mosaics, carved plaster panels and calligraphy. Each material is lit with an appropriate technique that reveals its texture and natural grain. Qibla The prayer wall, pointing to Mecca, has become a unique piece of art, with an integration of light and the material in a symbolic light panel.

An essential step for the success of the program was in a constant process of trial and trial design workshops, developing concepts and models to ensure that the many lighting effects create a unique composition. 

Outdoor Concepts

The general concept was designed to ensure that the building had a historical impact on the region and provide impressive interior spaces. Because the Islamic religious calendar based on the lunar cycle, the moon became a source of inspiration and a unifying element of the design.

The mosque was created with a poetic, based on the image of the full moon with wisps of clouds moving across her face. The building changes its appearance as you go lunar cycle, bathed in cold white light of the full moon, and changing color every two nights, growing gradually bluer as the moon wanes. In the fourteenth evening the mosque is lit in deepest blue to signify the darkness, but the viewer is unable to perceive the change from one color to another.

Jonathan Speirs, the architect responsible for developing lighting said: “… In the same way that the moon influences the tides, we wanted the moon had an impact on the building. The idea was to have a building that, at full moon, will light sparkling white light, but with a textural quality evocative of clouds slowly drifting in front of a full white moon… “.

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Figure 2.10 grand mosque floor plan (source: http://www.abudhabimosque.com )

GRAND MOSQUE FLOOR PLAN

D. South entrance

A. The main prayer hall

E. VIP area

B. The open prayer hall

F. The “SAHAN”courtyard

C. North entrance

Take away from case study 

gathering space for large number of people with proper entry and exit



to main tend the overall temperature of the structure internally



There greatness and structural system.

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2.1.3 LITERATURE CASE STUDY 1- HOUSE OF RELIGION Intent of the case study- To study overall built environment and internal spaces.

Introduction The Europaplatz Multipurpose Centre (Phase 1) with its distinctive shape takes over the function of a new city gate in the west of Bern and defines the Europaplatz train station. It lies in between the city of Bern and the western suburbs. The building stands as a symbol for different worlds that meet each other, the old city-center and suburbs with a high percentage of people from many different cultures.

Figure 2.11 front elevation of the structure (source: http://arcdog.com/portfolio/europaplatzmultipurpose-center-house-of-religions/ )

Duration:

2004-2015

Budget:

â‚Ź 70 Mil. Sfr

Name:

Center Europaplatz

Type:

Commission

Location:

Bern, Switzerland

Status:

Finished

Project:

Mix-Use Building

Client:

Halter Ag, Zurich

Program: 6 Religious Groups, 19 Apartment Types, 2 Shopping Centers, Offices and Public Square Size:

27,500 sqm

Project Architect: Madir Shah (Urban office), Stefan Graf (Bauart) Collaboration: Bauart Architekten Und Planer Ag, Bern

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Aims The House of religions is used by cultural and religious communities of the city and the canton of Bern that previously had no rooms adapted to their needs. They represent Alevi, Christian, Islamic, Buddhist and Hindu faiths. Partners in the dialogue are also the Jewish community, the Baha'is and Sikhs. A dialogue of cultures, access to experience, knowledge and spirituality of other cultures and religions are taught, as they have been found in the Bern region their home. Haus der Religionen will provide a center of excellence for dialogue its services. Everyone involved in the project knows the inviolable dignity of the human being, the idea of tolerance and mutual respect obliged. We were dreamers, utopians, do-gooders far from any reality, said Guido Albisetti, president of the association. But now the Haus der Religionen is built, and past experience showed that the common dialog is possible and fruitful.

According to the operators, the architecture of the building allows the various communities to engage with each other, but also to withdraw. The building's design enables that the sacred spaces on either side of a so-called dialog area are accessible to everyone, and therefore are arranged on two floors.

Site

Figure 2.12 site plan house pf religion (phase1) (source: http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ )

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About structure At Europaplatz a multi-functional building with vertically stacked, multiple uses has been created. In addition to the 88 modern apartments located in the building there are flexible administrative areas, various shops, dining establishments and most importantly – in the heart of the building – the House of Religions & Dialogue of Cultures.

Different parts of the program structure the building volume The new building consists of a 20mts. deep 85mts. long, 10-story main building along the railway line and a 3-storey plinth building at the base. Below the visible part are 195 parking spaces, organized on three underground levels. The stacked different parts of the program are using accented facade joints and different window holes, which have been developed from the inside out, specific to the use.

The different fenestration is an expression of the inner wealth of different programs and typologies and facade joints helps to identify each building block.

Figure 2.13 zoning of phase 1 (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ )

At the heart of the building, The House of Religion – Dialogue if Cultures At Europaplatz social sustainability is lived as an example. The house is the new home for people who have left their original home. It also makes it possible to Establishing contact with people from different cultural backgrounds.

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8 world religions live and pray together. 5 religious groups have a private prayer area. All this is held together by a common element, the dialogue area where people of different cultures meet, discuss, and celebrate together. The dialogue area also serves as a public platform for questions about religious or cultural topics. The House of religions – Dialogue of Cultures is a globally unique place for conversation and encounter between different population groups and religious communities.

The House of Religions embodies a new architectural typology, which has a private and at the same time open character. Inside the house is completely transparent and therefore fully connected to the surrounding context and the city. From the outside, the house radiates an interesting multi-layered appearance that makes one curious about the interior. The glass facades on both sides are applied with abstract symbolic pattern designed from combining different religious symbols. The glass facade changes according to the weather and lighting conditions, and represents the dynamism and life behind the facade.

The result is a unity in diversity!

Figure 2.14 ground floor plan (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ )

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Figure 2.15 first floor plan (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ )

Figure 2.16 second floor plan (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ )

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Figure 2.17 transverse section (source: http://urbanoffice.eu/wordpress/portfolioitem/europaplatz-2/ )

Rooms of the faiths The two largest facilities will be the mosque with about 500 square meters (598 sq. yd.) and the Hindu temple with about 800 square meters (957 sq. yd.). Alevi’s, Christians and Buddhists claim space in the size of 160 square meters (191 sq. yd.) to 180 square meters (215 sq. yd.). The public part with infrastructure, cafeteria, exhibition, course and event spaces comprise about 1,300 square meters (1,555 sq. yd.).



Alevites

Förderverein Alevitische Kultur represents the Alevite faith. Primarily important is that people feel comfortable, and the ritual small fire pit will be a symbol of purity. In addition to the meeting and prayer room with seating for about 70 people, a children's corner. A library and a room for religious instruction and a kitchenette are provided, based on budget and furnishings collected amount.

Figure 2.18 Alevites prayer room (source: http://arcdog.com/portfolio/eur opaplatz-multipurpose-centerhouse-of-religions/ )

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

Buddhists

A member of the community told in an interview of the pitfalls when setting up the Buddhist rooms, which take place at least in the common building. In the entrance area is tiny temple, besides a small information room and a room with kitchen, where a teacher may also temporarily reside. The main room is kept simple: oiled oak floors, yellow walls and a 1.2 meters (4 ft.)-high sculpture of the Buddha from Thailand. So Buddhists of all currents should feel addressed. Aimed is a beautiful space, in which people in any way recognize and feel comfortable. The finances were decisive for the size of the room. Each square meter costs 110 Swiss Francs IA year, the monthly costs amount to approximately 2,000 Swiss Francs, which are paid with donations.

Figure 2.19 Buddhist temple (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-house-ofreligions/ )



Christians

Interested Christians, church communities, are involved since 2009 in the Club "Kirche im Haus der Religionen.

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Figure 2.20 Christian chapel (source: http://arcdog.com/portfolio/europaplatz-multipurpose-center-house-ofreligions/ )



Hindus

The Hindu temple of the Saivanerikoodam association was not yet finished in December 2014, but the interior rooms are shaped after the 'typical' South Indian temple architecture.

For ten Hindu deities shrines are to be built, integrated into a temple of about 800 square meters (957 sq. yd.). There are also rooms for seminars, yoga, meditation, and for cultural and language training for children and adolescents. Of central importance will be the vegetarian cuisine, which come into contact with either meat or animal products. For the entire interior decoration, the Hindu community expects costs of two million Swiss Francs.

Figure 2.21 Hindu temple (source: http://arcdog.com/portfolio/europaplatzmultipurpose-center-house-of-religions/ )

27



Muslims

The Muslims community is represented by Muslimischer Verein, needing about 500 square meters (598 sq. yd.) as the second largest community. The Mosque is located on two floors, the prayer rooms for men and women are interconnected. Planned were a 200 square meters (239 sq. yd.) large prayer room for women and an approximately 300 square meters (359 sq. yd.) large room for the men. Skip offices and a café in the mosque were also planned.

Figure 2.22 mosque (source: http://arcdog.com/portfolio/europaplatzmultipurpose-center-house-of-religions/ )

5.3.7 Working and shopping Besides the apartments, in the main body of the building, are located 2’600 m2 office areas, which can be divided into flexible office units. The building depth of 20 mts. allows the organization of many different office typologies.

On the ground level, various shops and restaurants are oriented directly towards the public square under the highway. Europaplatz emerges as a new center for the neighborhood and for the commuters who use the places as a transfer hub.

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5.3.8 Take away from case study 

5 religion are the central focus of the centre and integral part of the structure.



A variety of places are available for people, including a dialogue area, discussion room, café area, women and children area.



The bright colors give a vibrant and positive look to the structure.

2.1.4 INTERNET CASE STUDY 1- LOTUS TEMPLE, DELHI. Intent of case study To study geometric form of structure and floating water body concept.

Introduction In the architecture of India, perhaps more than in other places, it is possible to the see the religious roots in a clear and different manner. The representative symbols which can be seen on the buildings and in their decorations, and which include the surroundings in which they have been placed, are inspired by the religious convictions of the people; convictions which are integrated and form part of the way of life of the country. The bushes which grow in the corner of a temple courtyard or the color of its walls can indicate to us to which religion the temple is dedicated. In this way we can also discover the allegorical significances which the forms, colors or statues wish to convey to us, in such a way that we can consider Indian architecture as an architecture of story-telling and symbols, in which hidden meanings dwell in every form. These hidden meanings have an intimate and inspired connection with the lives of the people of this place.

Figure 2.23 side view of lotus temple (source: author)

29

Concept Observing Hindu architecture, you can see that despite the external difference between the various temples, they all show meaningful and sacred symbols common to all of India’s religions. These are symbols which have emerged in other countries and religions. One of these symbols is the sacred flower of the Indians: the lotus flower.

Figure 2.24 concept of the structure (source: https://en.wikiarquitectura.com/building/lotustemple-bahai-house-of-worship/ )

Fariborz Sahba developed the project for the temple inspired conceptually by this flower which symbolizes purity and cleanliness in Hindu tradition. This concept had to be converted into defined geometric forms, such as spheres, cylinders, toroid’s and cones, which were translated into equations and later used as a base for the structural analysis and engineering plans. The resulting geometry was so complex that the plans for the temple took two and a half years to complete.

Geometric adjustments Unlike traditional structures, in which the elements are defined by the dimensions and levels, here the forms, the thicknesses, the measurements and other details are indicated in the plan only by levels, radii and equations. These parameters had to be converted into a group of dimensions in terms of length, width, height and thickness, as easy to understand 30

for the head engineer as by the carpentry foreman. To achieve this through a system of coordinates, they used a computerized conversion system and built eighteen reference stations outside of the building to establish the parameters of the arcs of the leaves, inside as well as out, using 18 radial lines which began in the centre of the building and travelled to each of the stations. These stations were utilized to determine the lines of the apex, the entrances and the inner and outer leaves.

For example, to arrive at curve AB, the point A with coordinates XA, YA, ZA is defined in relation to 0. AB was established by means of a theodolite and the curve AB was determined by a stepped model. Curved templates were precisely made according to the requirements of the radii and were used to develop the surface between the resulting boundaries.

Figure 2.25 geometric formation of structure (source: https://en.wikiarquitectura.com/building/lotus-temple-bahai-house-of-worship/ )

Figure 2.26 plan (source: https://en.wikiarquitectura.com/building/lotus-temple-bahaihouse-of-worship/ )

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Figure 2.27 panoramic view of site (source: author)

Figure 2.28 water body (source: author)

Figure 2.29 ceiling view (source: https://en.wikiarquitectura.com/building/lotustemple-bahai-house-of-worship/ )

Figure 2.30 top view of structure (source: https://en.wikiarquitectura.com/building/lotustemple-bahai-house-of-worship/ )

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2.1.5 INTERNET CASE STUDY 2- BAHAI TEMPLE, CHILE. Intent of case study- To study form of structure and material.

Project Facts Location: Arboretum Sur 11,000, Peñalolen, Santiago de Chile, Chile Architect: Hariri Pontarini Architects Architect-in-Charge: Siamak Hariri Structural analysis, construction and work (steel and roofing): Josef Gartner GmbH, Würzburg, Germany Software: Dlubal Software GmbH, Tiefenbach, Germany Site area: 9.287 ha.

Building footprint: 794 m2 Gross floor area: 2438 m2 Status: in progress End construction: 2014 Building owner: National Spiritual Assembly of the Bahá’ís of Canada

Figure 2.31 aired view of temple (source: https://www.architecturalrecord.com/articles/11651bahai-temple-of-south-america-by-hariri-pontarini-architects )

Its nine monumental glass veils frame an open and accessible worship space where up to 600 visitors can be accommodated. Looking up to the central oculus at the apex of the dome, visitors will experience a mesmerizing transfer of light from the exterior of cast glass to an interior of translucent Portuguese marble. At sunset, the light captured within the dome shifts from white to silver to ochre and purple.

33

Concept Inspiration was drawn from a myriad of sources, such as the magic of dappled sunshine beneath a canopy of trees, the rotation of a Sufi whirling dancer, the interwoven strands of Japanese bamboo baskets, and the fragmentation of shattered glass. Developed through hand sketches, physical models and state-of-the-art digital technology, the final design is composed of nine identical, gracefully torqued wings that frame an open, accessible, lightfilled space for prayer and meditation. The aim was to achieve an interplay of seeming contradictions: stillness and movement, simplicity and complexity, intimacy and monumentality; a solid structure capable of dissolving in light.

Figure 2.32 plan (source: http://aasarchitecture.com/2014/04/bahaitemple-of-south-america-by-hariri-pontariniarchitects.html )

Figure 2.33 sectional view (source: http://aasarchitecture.com/2014/04/bahaitemple-of-south-america-by-hariri-pontariniarchitects.html )

Materials An investigation into material qualities that embody light resulted in the development of two cladding materials: translucent marble from the Portuguese Estremoz quarries for the interior layer, and cast-glass panels for the exterior.

The super-structures of the wings are comprised of hundreds of unique, individually engineered slim-profile steel members and nodal connections. Each of the wings rest on concrete rings and columns on elastomeric seismic isolators, so that in the event of an earthquake, the concrete pads slide horizontally to absorb the shock.

34

Translucent marble panels form the interior wall of the Temple. Flat pieces were water-jet cut from slabs to the exact shape defined by the computer model. Each wing of the ninesided Temple contains over 870 unique pieces of marble.

Figure 2.34 front view of temple (source: https://edition.cnn.com/style/article/bahai-templechile/index.html )

Figure 2.35 inverted top view (source: https://edition.cnn.com/style/article/bahai-templechile/index.html )

Figure 2.36 cladding material (source: https://www.dezeen.com/2017/04/10/bahai-temple-southamerica-chile-hariri-pontarini-architects-features-torqued-wings-steel-glass/ )

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2.2 CASE STUDY INFERENCE Various factor such as the spatial configuration, religious and cultural reflection in complex, crowd attraction, the crowd movement pattern, successful outcomes, prevailing problems faced were analyzed in the case studies taken. Studying them in depth and analyzing, gives the basic core design strategies, which can ensure successful outcome.

It concludes that the bigger, the complex, the more the crowd movement gets staggered and disoriented. Hence there needs to be a balance of spatial proximities between main exhibits, encouraging people to stroll around, as well as not get lost. The exterior environment plays a huge role for religious experience. Hence utmost care, with consideration of all factors needs to be taken as it has the capabilities to completely kill the feel or increase it manifold.

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3. DESIGN OBJECTIVE AND DESIGN BRIEF Religion is designed with interaction space, not theory, at its centre. The main aim of this Centre is to bring intention and creativity to the experience of religion. For most of the people, the religion thing about particular community is not being like that, but its space for dialogue of culture.

The main goal is Preservation by revivifying old spirit to new thought of these ages is the main goal. Instead of freezing and museumizing archaeological remains, the project targets to promote global vision about Ancient to their maximum extends beyond the limits of “time-space”. This global sustained spirit needs to be prevailed again.

A Master Plan for the site will be proposed, indicating massing, relationships and open spaces and religious element. The project have four part: historical part, cultural part, entertainment part, administrative part. The program will include Public Square, gathering yard, amphitheater, food court, panoramic cafeteria, dialogue space, gallery, internal display area, exhibition area, diversity frame, workshop, museum, library, meditation center, recreational spaces and landscape etc.

There will be a strong focus on its efforts on a general but fundamental question: How are we to understand the role of religious beliefs, traditions, and institutions in shaping the modern world? It will recognize the importance throughout history and in all societies of the impact of religion on culture at large, including art, architecture, literature, music, group and personal identity, education, political structures and values, concepts of justice, and treatment of women, outsiders, and marginalized groups.

3.1 DESIGN OBJECTIVE 

Data Collection and Analysis



Study of site conditions, Site analysis, site planning.



Understanding traffic patterns and transportation.



Integrate outdoor spaces with whole composition.



Zones of public, private. Semi private and service elements



Accessibility



Links made to campus and community 37



Landscape and outdoor living spaces



Outdoor Play area for children.



Providing opportunity for community interaction.

Out of all the states in India, Delhi is the one of the state that comes under officially the National Capital Territory of Delhi (NCT), is a city and a union territory of India.

The main consideration to be kept in mind while designing the structure would be the historical important as well as capital of India.

The following are the few points that can be considered while designing1. colossal, scattered, chaotic Planning 2. direction of movement: horizontal or vertical; 3. type of use: public or private, front of house or back of house; 4. frequency of use: common or emergency; and 5. Time of use: morning, day, evening, continuous.

6. direction: Horizontal circulation, Vertical circulation 7. use: Public circulation, Private circulation 8. road/pathways be clear and unobstructed 9. Follow the shortest distance between two points.

10. Water Bodies, fire element 11. North – East or South-West Orientation 12. Importance to be given to Landscape with scared geometry

38

3.2 DESIGN BRIEF The building should be divided into private, semi-public and public zones. The waiting area and reception should be at the entrance so that visitors can enquire conveniently without disturbing the other functions.

The project start with an outdoor interaction platform for celebration at the roof of three floor layers for the three eras of different religion. Visitors can move among these parts respectively using stairs and ramps. A great hollow space extend smoothly and wavily across a series of museums and galleries in different walking levels. Visitors can enjoy their journey within the real past life.

The site is remark with a square-shape and triangle frame that define different kinds of cuneiform statements and expressions, which reflects the bridge between first era, mediator era and last era.

The amphitheatric nature of the project continue again and again according to a hierarchy matching the rhythm of subdivisions. I use the water canal lead the way ahead in this historical journey around the circular theater returning back toward interaction platform.

The gallery program has been generated through excerpts and the common points mentioned in the Bhagvad Geeta, Quran, bible, Buddhism and Sikhism holy book.

The best method to express these emotions is believed to be through Art. The description of the character of these spaces have been mentioned below.

THE GALLERY OF CO-EXISTENCE: The gallery of co-existence, comes from the point, “the earth, the soil, the sky and the water are only elements are only a place of rest and they exist to teach us lessons of coexistence”.

The gallery aims at making a space that converges at a point that brings together the earth, the soil, the sky and water together and then talk about the beauty of co-existence.

GALLERY OF HUMANITY: 1. The Karma Gallery: (MIME ART) The Karma gallery, has been derived from the point, “we are responsible for our own 39

Actions”.

The gallery aims at Understanding and Enhancing on Karma, its importance, the initial thought and its aftermath through.

2. The Gallery of Life and Soul: (PAINTINGS) the gallery of life and soul, comes from the point, “Every Living thing has a soul” and “Only god can give and take life”.

The gallery would aim at enhancing the importance, respect and care one has to offer to any living soul.

3. The Gallery of Hell and Heaven: (ILLUSION) The gallery of hell and heaven, comes from the point, “The Hell and the Heaven, the Angels and the Devil, all exist on the Earth itself”.

The gallery aims at making the visitor understand the hell and the heaven on earth based on the actions (karma), and bringing people out of the myths and misconceptions about the hell and the heaven.

4. The Gallery of Righteousness and Truth: (SCULPTURES) the gallery of righteousness and truth, comes from the point, “Do not lie to yourself, or to the others”.

The gallery aims at creating an awareness of the importance of truth, honesty and sincerity in a human’s life, the impact and the changes it brings to the character.

5. The Gallery of Anger in Time: (POETRY) The gallery of anger in time, comes from the point, “Do not hurt people, emotionally and physically”.

The gallery aims at throwing back the result of decisions taken in anger, fury, grudge and enticement.

The damage and destruction done to humanity and the evaporation of feelings and warmth.

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Design Brief RELIGIOUS SPACES Requirements

No. of unit to be provided

Area required for one unit (sq.mt.)

total Area (sq.mt)

Religious spaces

5

1900

9500

Total

9500sq.mt.

ACTIVITY SPACES Requirements

No. of unit to be provided

Area required for one unit (sq.mt.)

total Area (sq.mt)

OAT stage seating

230 250

1.66

415

Green room

70 Total

715sq.mt.

ADMIN, TICKET COUNTER, INFORMATION DESK Requirements

No. of unit to be provided

Ticket and information

2

Admin and av room

2

Area required for one unit (sq.mt.)

total Area (sq.mt)

155 420

840

Queuing

200

checking

200

Gathering space

2 Total

150

300 1695sq.mt.

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PARKING Requirements

No. of unit to be provided

Area required for one unit (sq.mt.)

total Area (sq.mt)

Two wheelers

160

3.75

562

Private car

250+225

23

10925

Private bus

15

40

600

Total

12087sq.m t.

SERVICE Requirements

No. of unit to be provided

Area required for one unit (sq.mt.)

total Area (sq.mt)

DG room

120

transformer

150

Storm water management

60 Total

330sq.mt.

UNITY SPACE Requirements

No. of unit to be provided

Humanity gallery

1

Various display spaces

6

380

2280

Food court

2

370

740

library

2

380

760

Total

Area required for one unit (sq.mt.)

total Area (sq.mt)

5854

9634sq.mt.

Built up area

33,961 Sq.mt

30% of total built up = corridor space

10,188 Sq.mt

Total

44,149 Sq.mt

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4. SITE 4.1 SITE SELECTION Delhi is the capital city of India and is regarded as the heart of the nation. The city is popular for its enriched culture and heritage. The city hosts some famous historical monuments and is developing with the passing of time.

The influence of religious diversity can be seen in the city along with the cultural impact of the Mughal, the ancient Indian and the British. There are many beautiful gardens in the city, away from pollution and busy city life that provide opportunities to walk leisurely in the midst of greenery.

Figure 4.1 location map of Delhi and location map of dwarka (source: https://en.wikipedia.org/wiki/Dwarka,_Delhi )

4.1.1 Location The Dwarka Sub-city is situated in the south-west of Delhi and forms part Zone K having an area of 12056 ha. It is bounded by Najafgarh Road on the north-west, Pankha Road on the north-east, the Rewari Railway line on the south-west and the Najafgarh drain on the west.

The total area of the sub-city is 5648 Ha. This is bisected by the underground MathuraJullandhar oil pipeline into Phase I on the North-East and Phase II on the South-west. Area under Phase I is 3652 Ha while under phase II, it is 1996 Ha. 43

4.1.3 DWARKA-SUB CITY ANALYSIS Area: 5648ha.

Density: 19,000/Sqkm.

Population: 1100000

Existing Built-Up: 1688ha



DWARKA sub city was a part of urban expansion programme, the first area that was developed as a part of DDA’s strategy of urban expansion.



1.3million people expected to live-MPD 2021



It is frequently referred to as the “Model Township “and it’s thought to be the most organized and cleanest of all parts of Delhi and nearby township.

Demographics

Inference 

Dwarka has very good connectivity, community spaces, including greens and sports complex.it can serve as the community hub for all the unplanned residential areas around.



So far, the nallah has functioned as a divider in terms of development.



The scale of built forms in Dwarka and Najafgarh is very different.



Dwarka consists of either G+10 to G+3 building.

44



Scale of tree in Dwarka is very small, owing to its new development. It’s well planned city after New Delhi in Delhi.

Justification 

Location in capital global iconic recognition.



Proximity to core Delhi, Gurgaon and airport connection to these areas strengthens development.



Developing area available large chunk of land.



Culturally neutral people accepting various cultural aspects.



Increasing need for new recreation areas with increased metro population.



More number of wealthier people luxurious lifestyle.

4.2 SITE ANALYSIS 4.2.1. Location

Figure 4.2 location of site (source: www.googleearth.com)



Area:

1, 70,014.8 SQM. [42.0 ACER] [17 HECTOR]



Location:

Sector 11, Dwarka



Accessibility:

Directly accessible from mall road and road no. 221



Immediate surrounding:

-Dwarka sports complex -Najafgarh canal -Vacant plot-institutional and commercial -Housing societies- ashok enclave, shahjahanabad society, etc.

45



-M.B.S. international school, sector 11 gurudwara and mosque Topography: The Najafgarh canal 2m below the level of the site _The site is almost flat and has gentle slope towards the canal



Drainage:

_Natural drainage towards the canal



Vegetation:

_Most of the site is barren land with bushes and wild grass cover. _Kikar trees exist along the canal



Soil type:



Geographical coordinates are: 28.5915° N, 77.0493° E



Elevation: 214 meters. Above Sea level



seismic zone: The project area falls in seismic Zone IV-Moderate

_Alluvial soil

Figure 4.3 site location and surrounding (source: author)

4.3 CULTURAL AND MANMADE FEATURES 4.3.1 Land Use  • •

The site comes under two land uses: 18.53 Acres under Recreational. the DDA has planned to make a socio center 23.48 Acres under the mandatory greens along the cancel.

By laws: Far: 1.20

Ground coverage: 30% 46

Building height: 18m Setbacks: front-15m, side-12m Parking: 2ECS/100 SQ.M. Of floor area.

SITE

47

(Source: author)

48

(Source: author)

49

4.4 NATURAL SURFACE FEATURES 4.4.1. Climate The site which is in Delhi falls under composite climatic zone. Delhi situated at an altitude of 227m above sea level.

4.4.1.1 Average Highest and Lowest Temperature The climate and weather of Delhi is balance. The summer season runs from Mid-March to October and touches the temperature of 43°C. In Delhi, winters are comparatively cooler than summers. The winter season prevails from the month of October till the month of March. The temperature falls to the level of 5°C in the nights.

Fig 4.4 solar intensity diagram for Delhi (Source: www.meteoblue.com )

Climate

Average Temperature

Summer Temperatures

Minimum: 23°C Maximum: 43°C

Winter Temperatures

Minimum: 5°C Maximum: 28°C

4.4.1.2 Annual Rainfall Observation Monsoons arrive in the month of June heralded by dust and thunderstorms. The city annually receives around 797.3 mm of rainfall. This scanty amount of rainfall makes

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Udaipur more humid. The humidity reaches to the extent of 73 % during the months of Monsoons.

Figure 4.5 Monthly rainfall graph of Delhi (Source- https://weather-and-climate.com )

4.4.1.3 Wind Observation The movement of the wind is from west-northwest to east from May to November. From December to April, the direction of the wind flow is from east to west-northwest. Since there is some obstruction in the surrounding areas, the wind moves with a medium velocity throughout the year.

Figure 4.6 win doe flow diagram of Delhi (Sourcewww.meteoblue.com )

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4.4.1.4 Humidity From month May it raises from 25 % and reaches78% at the month of august. 40 % humidity at the month of October whereas, 40 – 50 % from November to January months.

The average humidity is 44 %. The humidity is highest in the month of August at 78 %.

Minimum humidity – 25%, and Maximum humidity – 78 %.

Figure 4.7 annual humidity graph (source: www.meteoblue.com )

4.4.1.5 Solar Intensity and Sun Path Observation The movement of the sun is from the east direction to the west direction via south.

Figure 4.8 sun path diagram (source: author)

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Figure 4.9 solar intensity diagram of Delhi (Source- www.meteoblue.com )

4.4.1.6 Topography The site is predominantly a flat site with a slight slope towards the north which helps in ease in drainage. The area has alluvial soil. Site is approximately 1.5ft below the road level.

Water cannel on north side which help for drainage system.

Figure 4.10 schematic site section (source: author)

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4.5 AESTHETIC FACTORS 4.5.1 Views of the site

Figure 4.11 view towards entry (source: author)

Figure 4.12 view to the northwest (source; author)

Figure 4.13 panoramic view of the site (source: author)

Figure 4.14 view towards cancel (source: author)

Figure 4.15 view of the service road

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Figure 4.16 view of the M.P.green zone (source: author)

Figure 4.17 view towards residential building (source: author)

Figure 4.18 view of nearby chowk (source: author)

4.6 SWOT ANALYSIS STRENGTH •

Location-the site lies in sector-11, Dwarka. Which is almost the centre of Dwarka

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Accessibility- the site is accessible from 2 primary roads

WEAKNESS •

Untreated sewerage creates ‘stench corridor’ and gives rise to water brane disease.

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Gated community development treat the cancel as an undesirable entity which further makes it a dumping zone.

OPPORTUNITIES •

The canal can be revitalized and green belt along it can be used as an open recreational space thus, inviting people and creating more social spaces.

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These social spaces could be ungated.

THREATS •

A high tension line passes through the site restricting the built mess.

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5. DESIGN CONCEPTION Design conception involves ideas, notions, and practical issue considerations in a primitive overlapping form, which then iterates to arrive at the best solution. Concept derivation and ideas evolve periodically, with varying factors like religious elements relation with classical elements and its relation with architectural geometry.

The main integral ideology behind this design is to create a responsible and active hub where people can enjoy, recreate and in the process, also learn and spread the concept of structure-unity in diversity or humanity. Relatability of the space is most important for the space to be dynamic and active, which is generally lost in huge complexes.

5.1 FUNCTIONAL RELATIONSHIP For proper utilization of the designed spaces and intended functional usage, the functional relationship analysis in site level and building-level are necessary. in consideration to older people, who would prefer less walking and in contrast for tourists, who would like to stroll and look around spaces are such designed with flexibility for all, giving multi experience.

The core exhibit spaces are grouped in closer proximity and other ancillary supporting spaces are scattered all around the complex.

The building should be divided into private, semi-public and public zones. The waiting area and reception should be at the entrance so that visitors can enquire conveniently without disturbing the other functions.

The project start with an outdoor interaction platform for celebration at the roof of three floor layers for the three eras of different religion. Visitors can move among these parts respectively using stairs and ramps. A great hollow space extend smoothly and wavily across a series of museums and galleries in different walking levels. Visitors can enjoy their journey within the real past life.

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Zoning

SEMI-PUBLIC

PUBLIC

PRIVATE

Administrative block, library, OAT, dialogue area etc.

Exhibition gallery, museum, display area, auditorium, food court etc.

Office, admin area, service area etc.

Figure 5.1 desired functional relationship –bubble diagram (source: author)

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5.2 CONCEPT PRIMARY CONCEPT is UNITY, uniting the users within the building to create a sense of community as well as uniting the public with the display area across the street.

Transparency and Movement are supporting concepts that enhance the concept of community/unity. Below are sketches of inspirational images that I have annotated with my thoughts on how the concept will be implemented into the design of the facility itself.

The transparent sphere represents UNITY and bringing everyone together as a whole through TRANSPARENCY. The Unity and transparency encourage MOVEMENT which is visually communicated in the ripple outwards from the “whole’.

Figure 5.2 unity concept

MOVEMENT is a supporting concept to that unity and transparency in the project.

Transparency and movement encourage unity, therefore enforcing the primary concept TRANSPARENCY is a supporting concept that encourage movement in spaces.

Transparency will be used such a way to encourage movement from space to space.

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SECONDARY CONCEPT is The Co-existence of five basic elements. Of these, four were the physical elements – fire, air, water, and earth – of which the entire world is composed. Alchemists eventually associated four triangular symbols to represent these elements. The fifth element, which goes by a variety of names, is more rarefied than the four physical elements. Some simply call it Spirit. Others call it Aether or Quintessence.

Figure 5.3 Design development (author)

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6. BIBLIOGRAPHY Websites https://www.saferspaces.org.za/understand/entry/public-spaces https://www.cmgsite.com/what-makes-a-good-public-space/ https://www.scribd.com/document/336155299/6-virat-e-khalsa-pdf https://www.behance.net/gallery/35869005/Khalsa-Heritage-Centre https://arcspace.com/feature/khalsa-heritage-memorial-complex/ https://www.iesve.com/case_studies/pdf/ies_case_study_grand_mosque__single_pages_.p df http://www.abudhabimosque.com/en/the-mosque-of-the-flowers.html https://en.wikiarquitectura.com/building/sheikh-zayed-mosque/ http://urbanoffice.eu/wordpress/portfolio-item/europaplatz-2/ http://arcdog.com/portfolio/europaplatz-multipurpose-center-house-of-religions/ https://www.dezeen.com/2017/04/10/bahai-temple-south-america-chile-hariri-pontariniarchitects-features-torqued-wings-steel-glass/ https://edition.cnn.com/style/article/bahai-temple-chile/index.html https://www.architecturalrecord.com/articles/11651-bahai-temple-of-south-america-byhariri-pontarini-architects https://www.archdaily.com/797194/bahai-temple-hariri-pontarini-architects

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