Built Structure in a Historical Context.

KUCHA SAKNAN-E-KALAKAAR SPACE FOR ARTISTS AND LOCAL CRAFTSMEN

BY ROMESA ALI December, 2017

Thesis Report submitted to the Department of Architecture, National College of Arts, and Rawalpindi Campus in partial fulfilment of the requirement for the degree of B.Arch.

ADVISORS AR. DANIYA ATTA AR. SAIMA SALAHUDDIN AR. EJAZ QADRI AR.ZAHRA HUSSAIN

Dedicated to my parents, and to the great personality Ashfaq Ahmed who made me fall in love with Lahore.

ACKNOWLEDGEMENTS

By the grace of Allah Almighty I would be humbly acknowledging my parents for patiently standing by me and financially backing me to accomplish what have today.

The teachers have been a constant support in my design development process and I am really thankful to, Ma’am Daniya Atta, Sir Ejaz Qadri, Ma’am Saima Salahuddin and Ma’am Zahra Hussain for helping me with the concepts that laid the foundations of my thesis.

I am very thankful to Sir Taimur khan mumtaz for giving me his precious time and helping me to understand the basic concepts.

I am greatly in debt to Arsalan Waseem,Osama Masoom,Bushra Arif, the friends I needed to cope up with such large amount of work and without them I would not have been able to achieve the final product.

Zaigham Atta, Maheerah and Zaineb Ali have always been there to help me.

Lastly, though obviously not the least, come the friends who have been a constant moral support during and before my thesis. Mehr awan, Neha shamim, Rizwan Sheerazi, Aqsa Khaliq and Hiba saadia, you have been the great friends who helped me get to my goals on a routinely basis.

Thank you for your time and concern. Without you it wouldn’t have been bearable or easy.

TABLE OF CONTENTS 1.0 INTRODUCTION ......................................................................................................................1 2.0 OBJECTIVES ............................................................................................................................1

3.0 PROBLEM/BACKGOUND/MOTIVATION ..........................................................................1 4.0 SITE LOCATION .......................................................................................................................2 5.0 Aspect 1 ..................................................................................................................................3 5.1 BACKGROUND/MOTIVATION ................................................................................................3 5.2 HISTORY OF LAHORE ..............................................................................................................4 5.3 LAHORE ARCHITECTURE ........................................................................................................5 5.3.1 THE MUGHALS ...................................................................................................................5 5.3.2 THE SIKH .............................................................................................................................6 5.3.3 COLONIAL ERA ....................................................................................................................7 5.3.4 CULTURE OF LAHORE ..........................................................................................................7 5.3.5 WHY WAS WALLED CITY CHOSEN? .....................................................................................9 5.3.6 DELHI .................................................................................................................................10 5.3.7 THE SHAHI HAMAM ..........................................................................................................11 5.3.8 The CHITTA GATE, DINA NATH WELL AND KOTWALI GATE………………………………….12 5.3.9 MASJID WAJIR KHAN ........................................................................................................13 5.3.10 CHOTTA MUFTI BAQAR...................................................................................................14 5.4 SUBJECTIVE MAPPING .........................................................................................................15 5.4.1 EVENT SPACES ...................................................................................................................16 5.4.1.1 EVENT SPACES conclusions....................................................................................16 5.4.2 VISUAL DEPTH ...................................................................................................................17 5.4.2.1 CONCLUSIONS ................................................................................................................17 5.4.3 BUILT DENSISTIES ..............................................................................................................18 5.4.3.1 CONCLUSIONS ................................................................................................................18

5.5 PATHS AND CONNECTING SPACES ......................................................................................19 5.6 DOCUMENTATION OF THE HOUSES AROUND THE SITE ...................................................20 5.6.1 HOUSE NO 1 ..............................................................................................................20 5.6.2 HOUSE NO 2 ..............................................................................................................22 5.6.3 HOUSE NO 3……………………………………………………………………………………………………….24 5.6.4 HOUSE NO 4……………………………………………………………………………………………………….25 5.6.5 HOUSE NO 5……………………………………………………………………………………………………….26 5.6.6 HOUSE NO 6……………………………………………………………………………………………………….27 5.6.7 HOUSE NO 7……………………………………………………………………………………………………….28 5.6.8 HOUSE NO 8……………………………………………………………………………………………………….29 5.7 PATTERN LANGUAGE ..........................................................................................................30 5.8 CONCLUSIONS ....................................................................................................................31 6.0 INTRODUCTION ...................................................................................................................34 6.1 POSTMODERNISM……………………………………………………………………………………………………35 6.2 IMPORTANCE OF HISTORY ...................................................................................................35 6.3 CASE STUDY 1 .......................................................................................................................36 6.3.1 HISTORY OF EDINBURGH OLD TOWN...............................................................................36 6.3.2 LOCATION ..........................................................................................................................37 6.3.3 HISTORIC SITES…………………………………………………………………………………………………..38 6.3.4 PLAN ..................................................................................................................................39 6.3.5 STRUCTURE .......................................................................................................................40 6.3.6 MATERIAL ..........................................................................................................................40 6.3.7 SUSTAINABILITY ................................................................................................................41 6.3.9 CONCLUSIONS ...................................................................................................................42 6.4 CASE STUDY 2 .......................................................................................................................46 6.4.1 LOCATION ..........................................................................................................................47 6.4.2 FLOOR PLANS ....................................................................................................................49 6.4.3 CONCEPT ...........................................................................................................................50 6.4.3.1 LIGHT CONCEPT .............................................................................................................51 6.4.3.2 MOTION CONCEPT .........................................................................................................51

6.4.3.3 TECTONIC AND PROGRAMMATIC CONCEPT .................................................................51 6.4.3.4 SPACES ...........................................................................................................................51 6.4.3.5 STRUCTURE ....................................................................................................................52 6.4.3.6 MATERIALS .....................................................................................................................52 6.4.4 CONCLUSIONS ...................................................................................................................53 6.5 CASE STUDY 3 .......................................................................................................................60 6.5.1 HUDSON STREET ...............................................................................................................60 6.5.2 CONTEXT ...........................................................................................................................61 6.5.3 CONCLUSIONS ...................................................................................................................62 6.6 FINAL CONCLUSION .............................................................................................................65 7.0 THE TRADITIONAL ISLAMIC GEOMETRY ............................................................................66 7.1 INTRODUCTION ....................................................................................................................66 7.2 THE LAL HAVELI ....................................................................................................................67 7.2.1 LAHORI MANDI BAZAAR ...................................................................................................67 7.2.2 CONCLUSIONS ...................................................................................................................67 7.3 THE CHUNA MANDI HAVELI .................................................................................................68 7.3.3 CONCLUSIONS ...................................................................................................................69 7.4 HOUSE NO D/3264 ...............................................................................................................70 7.4.2 CONCLUSIONS .................................................................................................................70 7.5 BADSHAHI MOSQUE ............................................................................................................72 7.5.1CONCLUSIONS ....................................................................................................................74 7.6 EXPLORING GEOMETRY .......................................................................................................75 7.7CONCLUSIONS .......................................................................................................................75 7.8 CONCLUSIONS ......................................................................................................................76 8.1.0 ISSUES................................................................................................................................77 8.1.1 RESEARCH QUESTIONS .....................................................................................................77 8.1.1 RESEARCH METHODOLOGY ..............................................................................................77 8.1.2 OBJECTIVE .........................................................................................................................77 8.1.3 CONCLUSIONS ...................................................................................................................78 8.1.5 ARCHITECT'S BRIEF............................................................................................................79

8.1.5 DESIGN CRITERIA..............................................................................................................80 8.1.6 DESIGN CONCEPT .........................................................................................................80 8.1.7 DESIGN BRIEF ................................................................................................................84 TABLE OF FIGURES……………………………………………………………………………………………………………...85 9.0 BIBLIOGRAPHY .....................................................................................................................88

1.0 INTRODUCTION

A thesis research, that is good, makes a great contribution to the existing body of knowledge. Although, we literature is available, but exposure to such concepts is fundamental to serve the people in a way that can help them develop a bond with their environment as well as their history. The idea is to bring the human experiences and their heritage to light.

A city is more than bazaars, building and monuments. The thing that actually defines a city is its atmosphere and ambiance, which is built by the residents of that place who make up the city’s spirit and soul. The walled city is the hub of Lahore and it has greatly influenced the life style of its residents.

My thesis is about making people experience the feeling of living in walled city through architecture. The objective is to create some space in the city that is new to the surrounding, yet it does not change the sense of its surrounding.

2.0 OBJECTIVES

1) Redefining the essence of walled city Lahore through architecture 2) Revival of art in the area, so that the locals can be educated to have a meaningful engagement in the process of art and culture 3) To provide a space which celebrates the culture of walled city 4) To let people experience the rich culture of the area by providing them space within the walled city 3.0 PROBLEM/BACKGROUND/MOTIVATION

The essence, that walled city used to have some time ago, has vanished now. Most of the old buildings i.e Havelis and houses look like ruins now. The reason is that the people who were given the responsibility of maintaining these buildings neither had the knowledge nor the resources to maintain these buildings. The residents of the place are not aware of the importance of the place they are living in, due to this reason some of the buildings also got demolished illegally by the locals.

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The life style of the people of the city as well as its architecture is changing rapidly.

Unfortunately, this change is not very positive. One of the major draw backs of the change is that people are not able to interact as they used to because new buildings being built are not according to the environment of the city.

The major motivation behind this project is to bring the essence of this historical city back to life using architecture as a tool. This project could serve as a major tourists’ site where tourists can have a taste of the rich culture of the city, and fully indulge in its traditions and values.

4.0SITE LOCATION:

Chotta bazzar “chotta mufti baqqar”,Delhi gate, Walled city of Lahore.

Figure 1 SITE

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5.0 ASPECT 1 5.1 BACKGROUND/MOTIVATION At this time, the walled city is undergoing the process of restoration.

AKCSP has collaborated with WCLA to undertake this process. The two parties are in need of skilled craftsmen who are masters of their craft. The task involves the restoration of buildings as old as 13 years old, and that is the reason the craftsmen are being invited from all around the world, so that the process of conservation and restoration becomes a reality.

Figure Mason Working On Figure21.1

WCLA has been working on this project for 7 years.

Wazir Khan Mosque

To fill the void of skilled people there is a need of a training center. The center could help the locals acquire the skill, which could contribute to the process of restoration, and at the same time give the locals an opportunity to earn. Skilled craftsmen from other countries could help in training the locals, and as the trainees become skilled there won’t be a need for the services of foreign craftsmen. The end result would be a publicprivate partnership, where both sectors could benefit each other.

Figure 3 SKETCH OF WALLED CITY

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Figure 4 Wazir Khan Mosque Restoration

5.2 HISTORY OF LAHORE The early history of Lahore is obscure but evidence in the shape of indo batican coins found in the ichra area imply a settlement area sometime in the period from mid-300 BCE to the second century CE.Early histories establish that it was in the possessions of the Rajput Chauhan’s of Ajmer in the second half of the seventh century, and over several centuries may have been in the hands of various other local powers, sometimes from the western afghan Architecture of Lahore represents the era of three different values and cultures like Hindus, Muslims and Sikhs. Every culture has its own type of architecture in it which lends well in the sense to make it one of its kind.

Figure 5 SKETCH

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5.3 LAHORE ARCHITECTURE 5.3.1 THE MUGHALS

There are almost no buildings left in Lahore from pre Mughal times, the basic building material used in Mughal architecture in Lahore were brick and timber was often very elaborately carved but extra ornament was provided using stone particularly red sand stone and marble, polished plaster and kalikashi tile work, stone had to be imported from far afield so it was used in most prestigious buildings.

Mughals were fond of monumental architecture whatever they have built in their reign was very grand from their living palaces to their mosques everything was Figure 6 SHAHI HAMMAM WINDOW

grand in its architecture

Their palaces were arranged around char bagh where fountain was built in the middle and water channels run throughout the building to make environment cooler their accommodation were around those bagh mostly single and double stories they had courtyards in the middle for circulation of air inside rooms They had intricate decorations on their doors and jharokas, mostly done by wood which was hand carved.

Monumental mosques like Badshai mosque

by

Aurangzeb

alamgir

opposite fort and Wazir khan mosque inside Delhi gate by wazir khan was made in Mughal times they are known for their intricate work of stone mostly the planning of these mosques were made on the idea of hasht bahisht which revolves around

Figure 7 SKETCH

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the idea of heaven it is formed due to two rotating squares which evolves into an octagon and then all the geometry of mosques is based on this geometry from elevations to plans to single details all is based on this geometry.

5.3.2 THE SIKHS

Construction style of sikh period is found at chuna mandi haveli, their buildings revaled bricks laid with mud mortar,lime kankar plaster and timber lentils.

Roofs were timber beams laid next to each other or if laid further apartwith smaller joints spanning between them then covered with planks finished with lime screed or floor tiles They decorated their buildings with sculptures of different animals often done with carved stones it is seen in nau nihal singh haveli inside Bhatti gate now known as Victoria school. Use of jaali work is also seen in their buildings.

Figure 8 VICTORIA SCHOOL

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5.3.3 COLONIAL ERA

Most of the buildings of early colonial periods are made by sir Bhai ram Singh he was student of Lockwood Kipling who was head of then mayo school of arts know as national college of arts he took keen interest in architecture of Lahore he did much to enhance the status of local crafts man on brick work he said, “That the practice of cutting and carving burnt bricks is here carried out to unusual perfection” and also praised the brick grilles manufactured to enclose but ventilate rooftop privies, with geometric and sometime even floral perforations He did not Admire plaster work as he thought it was faulty as to both materials and execution.

Figure 9 LAHORE MUSEUM

Bhai ram Singh was involved in designing of lot of colonial public buildings on mall road Lahore. He was master in pattern making he use cut and ornamental bricks as well as terracotta

5.3.4 CULTURE OF LAHORE

The culture of Lahore is a manifestation of the lifestyle, festivals, literature, music, language, politics, cuisine and socio-economic conditions of the people. North-west of

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Lahore contains the heart of Lahore - its original cultural property in the form of mosques, forts, gateways, residential buildings, palaces, tombs, alleyways and open squares. These when coupled with the traditional cultural activities and social relationships, enhance the character of the Walled City with its individual buildings and bazaars. Old Lahore is the dense, tottering, bazaar-city of Kipling's stories, and some of his titles, like The Gate of a Hundred Sorrows, could serve as name plaques every few steps. Old Lahore is anarchic, energetic, crowded, feeble, exuberant, and aromatic; however, it lost much of its grandeur when most of it was burnt down during the partition of British India.

Figure 10 GATE OF LAHORE

The true "Lahori" life is visible everywhere when one walks through its narrow winding alleys. In early morning, the traditional breakfast of "Halwa and Poori" is seen being made by the corner of the street. One really enjoys the paper thin "Poori" made of flour and fried in boiling hot oil with a "Bhaaji" a dish made of grams and potatoes with pickle and onions, followed by "Halwa" a sweet made of sooji, sugar and ghee. After this rather heavy feast, Lahoris never forget to drink a glass of "Lassi” made from yogurt, sugar and water in one gulp.

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Life inside the Walled City of Lahore is lively and fascinating. The marriages are a scene to be seen. During the spring season, the festival of kite flying or Basant attracts rich and poor from all parts of Lahore to the Walled City. The life inside the Heera Mandi or the red light area being the part of the Walled City is different from the rest of the Walled City of Lahore. One can see the dancing girls standing in the jharokas of the brothels and music being played especially after late evening.

Figure 11 WAZIR KHAN MOSQUE

5.3.5 WHY WAS WALLED CITY CHOSEN?

Walled city is the place that comprises works of Mughal,sikh and colonial and now modern construction it is also said by historians that there are traces of urban settlements too it is also said that they might have been in fort area and also in the zones of bhati and shah almi gates and inside gumti bazaar on the north. It was fortified by the wall in Mughal era. Walled city comprises of very steep and narrow streets and whole of the city is elevated from the rest of Lahore and it had total of 12 gates and 1 mori.

Name of gates of walled city are 1. Bhati gate 2. Delhi gate 3. Kashmiri gate 4. Lahori gate 5. Roshnai gate

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6. Sheranwala gate 7. Akbari gate 8. Masti gate 9. Mocha gate 10. Shah almi gate 11. Yakki gate 12. Taxali gate 13. Mori Delhi and taxali gates were probably part of the original long distance trade routes

Figure 12 BHATTI GATE

5.3.6 DELHI GATE Delhi Darwaza(gate), one of the most famous gates of Lahore, was built by the Mughal Emperor Akbar The Great. The gate opens towards Delhi, the capital of Mughal dynasty, and it is situated in the east. It was considered one of the busiest gates of Lahore during ancient times. There is an archeological-styled building located north of the gate that is currently being used as a government school for girls. The gate also contains a number of old Havelis that attract tourists.

I chose this site because it was the main entrance of the walled city in earlier times.

Every trader used to stop by this point for entering into the walled city. I believe it could

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serve as an entrance point even today. The restoration process also started from this site that is why there is a need for a training center in the vicinity of the Shahi Guzargah.

Wazir khan, one of the most famous mosques of Lahore, is also situated inside the Delhi Gate. As soon as you enter into Delhi you can see the shahi hamaam, which was used by the Mughals of that area in earlier times. The Shahi Hamam was in total ruins before it was restored by the WCLA and AKCSP. 5.3.7 THE SHAHI HAMAM

Shahi hamam is situated inside Delhi gate as soon as you enter Delhi gate one can see shahi hammam Shahi Hamam also known as Wazir Khan Hamam was built by Wazir Khan in 1633 A.D. who lived during the era of Shah Jehan.

It is said that, in older times, whenever anyone entered the walled city, that person used to take bath first in the hammam and then started any work.It was used for many centuries, but as soon as bathrooms became more and more common the concept of hammam got abandoned. In earlier times it was used for the purpose of sauna bath/steam bath etc. There were special people inside the hammam who used to provide services to the people in the hammam.

The Hamam has a total of 21 rooms. Out of these 21 rooms, eight, with marble pools, were used for fresh water baths. Another eight were hot water baths, while five rooms were steam baths built in the style of Turkish baths. The walls and roofs had exquisite floral paintings, while the roof centers had natural light openings. Along the sides water ran in cascading fashion in specially designed sitting areas. There were special rooms where the bathers would lavish themselves and servants would scrub and oil them to enhance their beauty. To one side the water would pass through a series of revolving brass pipes, under which log fires would heat them. A portion of the water also flowed towards another sets of brass pipes, under which fires would convert them into steam.

Figure 13 DELHI GATE

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Figure 14 INSIDE VIEW OF SHAHI HAMMAM

5.3.8 Chitta Gate, Dina Nath Well and Kotwali Gate Chitta Gate, Dina Nath Well and Kotwali Gate were once integral and prominent feature of Chowk Wazir Khan. At present these have been severely damaged and are broken in their physical relation with Chowk. Chitta Gate which provided the main entrance to Wazir Khan Chowk is in a ruinous condition. Most of the original building fabric has been lost and the remaining structures are vulnerable to natural and manmade threats.

Similarly, the old well of Dina Nath on the north eastern side of the Chowk is seriously damaged and encroached upon.Dina nath haveli is now under use of two families it was allotted to them at the time of partition at first 20 families use to live their but then they started leaving it and now only two families live there Dina nath haveli has very thick walls and it is also said that it has some secret tunnels inside it too it has got excellent circulation system through ventilators and windows its ventilators are designed in a very different way

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Figure 15 DINAN NATH HAVELI

Figure 16 DINA NATH HAVELI VENTILATOR

5.3.9 MASJID WAZIR KHAN The Wazir Khan Mosque, locally known as Masjid Wazir Khan was built in 1634-1635 AD during the reign of the Mughal Emperor Shah Jahan. Kakim Aliuddin (sometimes referred to as Hakim Ilmuddin), the then Governor of Punjab, built the mosque in seven years.

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Without any doubt the Wazir Khan Mosque is the most beautiful mosque built in the era of the Mughals. The mosque is known for its complex tile work and fresco painting.

It has a relatively small prayer hall and a large courtyard, which is typical of the Mughal style architecture. Bricks laid in kankar lime, red sand stone brakets and terra-cota grills are the materials that were used in the construction of the mosque. The ceiling of the mosque is laden with attractive tile work, and the walls are made up of a combination of tile and fresco work. There are four minarets in the four corners of the mosque that are 107 feet high. The minarets have also been decorated with mosaic tiles. The mosque depicts the importance of the Islamic religion, and it also reflects the aesthetics and royalties of that era.

Currently, it is under restoration process, and all the encroachments around this mosque have now been removed.

Figure 17 WAZIR KHAN MOSQUE DOME

5.3.10 CHOTTA MUFTI BAQAR Chotta is the word derived from cho hatta where cho means four and hatta is a pinjabi word meaning bazaar or space to socialize so my site is in chota mufti baqar also known as chotta bazzar

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Chotta bazzar is situated at alongside the back wall of wazir khan mosque it consists of two cho hattas connected together it is connected with the main bazar of Delhi gate and most of its residential properties are converted into commercial ones with the passage of time so this is more like a commercial area outside and residential inside Reason to choose this as my site is that it is very easy for the people currently working on the project there to train and assist the local trainers at the center as it is connected to royal trail and it also features some of hgh architectural merit buildings in it along with some vacant spaces to be designed specifically for the center I can use both old buildings along with the new ones in order to maintain the spirit by complementing old and new style of architecture

Figure 18 AERIAL VIEW OF DELHI GATE

5.4 SUBJECTIVE MAPPING As soon as I entered in this area the most important factor was to know what impact this site has when we first see it or any user of the area so I started with the subjective mapping of

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1. Historical buildings and landmarks 2. Event spaces 3. Existing land details 4. Visual depth 5. Built densities 6. Foliage 7. Paths

5.4.1 EVENT SPACES

The most important of the mapping was event spaces where I highlighted about any event occurring on the site temporary and permanent for e.g. tourist zones, photo walks, local people communicating through their jharokas, people sitting on tharras (informal seating space) What is the purpose of their events,how do the affect the site,and how can I incorporate them in my design.

5.4.1.1CONCLUSIONS Lots and lots of events are taking place all the time in streets

whether its morning or night. 

People are using their windows as part of streets they are all the time peeking into street.



They all are very connected to their neighborhood.



Artist are all around the space near Delhi gate area there are people who are taking pictures and communicating with local people.



Local people taking interest in ongoing restoration work.

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5.4.2 VISUAL DEPTH

Through visual depth I considered the flat surface of the buildings as one shade and perspective another then one for the path and one for the sky. It all makes up four different colors defining space and rest is all black.

I chose different points of views then did mapping through these points.Through this mapping depth of the area is clear about how to go for any new construction in this space and how does it affect the user.

Figure 19 VISUAL DEPTH

5.4.2.1 CONCLUSIONS There are a lot of visually appealing buildings in walled city but it is so

congested that hardly sky can be seen 

No open areas



Narrow streets



Buildings looks connected visually

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5.4.3 BUILT DENSITIES

In built densities I considered the only built structure of the site which are manmade it contains three colors for poles, bill boards and buildings 

Point of views along the site where same as of visual depth



It gave a clear idea of the built densities of the site their depth and impact on site

Figure 20 BUILT DENSITIES

5.4.3.1CONCLUSIONS Buildings almost have height of 45 feet and less than this streets

are so narrow that there is hardy and space where sky can be seen.

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5.5 PATHS AND CONNECTING SPACE Paths are defined in the map under in three different categories according to their use 

Primary



Secondary



And kucha which is more like a chowk connecting two or more streets

Figure 21 PATHS

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5.6DOCUMENTATION OF THE HOUSES AROUND THE SITE Next step in my documentation was to document the existing houses around the site 5.6.1 HOUSE NO 1

First one was at the back of demolished plot plans and elevations of the houses are under 

This house was used by 7 to 8 families before but now only one family is left rest of them have left it and move to suburbs of the city



Reason to leave this space was increase of family members and no proper space for them in the house along with more and more commercial activities of the area



The ones living inside are there just because they don’t have any other space to move



House is designed typically with the courtyard in the center and rooms around it with the balcony on the first floor providing shade for the people of ground floor to move around easily

Figure 22 PLAN

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Figure 23 COURTYARD OF HOUSE



The only windows which were functional are the ones at the façade others were not functional as they were close due to construction of new houses around this house



Height of the roofs is 17 feet and total floors were three, bricks were used as jali grill on the roofs and jharokas facing courtyard at first floor were present



Wooden brackets beneath balcony were replaced by metal brackets to provide support balconies were also present in front of every window in the façade



Wooden roofs were present only in some rooms others were plastered with cement by the household as the old wood was not fit for rainy seasons

Figure 24 HOUSE FAÇADE VIEW

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Figure 25 ELEVATION, SECTION

5.6.2 HOUSE NO 2

This was present inside a very narrow street where house were constructed very close to each other only balcony and main entry door of the house were visible in its façade

Figure 26 FAÇADE VIEW

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

This house doesn’t had light in its room except for the one window in the main façade which was giving light only to the balcony



There were only two rooms in the house



Total three floors each floor having around 7 family members



House was not sufficient for the present family members



Another very small courtyard was present inside the house which was a communal 6 feet by 6 feet communal courtyard for three houses



Window connecting to this courtyard was not functional as they did not find it safe because other two houses were not in use for many years and they were afraid of insects and snakes which can enter through that window



Height of its roof were 14 feet

Figure 27 PLAN

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5.6.3 HOUSE NO 3



This house was present on the right side of the site



It was long vertical house which was constructed before partition



Roofs of its room were varying in heights



Some were 20 feet and some were 16 feet



It had one room one hall with kitchen and bath



One if its room was used as the parlor by the lady of that house

Figure 28 PLAN

Figure 1.20 29 SECTION

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5.6.4 HOUSE NO 4

Figure 30 PLAN

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5.6.5 HOUSE NO 5

Figure 31 PLAN

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5.6.6 HOUSE NO 6

Figure 32 PLAN

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5.6.7 HOUSE NO 7

Figure 33 PLAN

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5.6.8 HOUSE NO 8

Figure 34 PLAN

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5.7 PATTERN LANGUAGE

o They don’t use ground and first floors because of no presence of sunlight. o For this purpose their roofs and streets serves as a socializing space for them. o Their most favorite activities revolve around food as soon as the lady of the house is cooking everyone gathers around that space and they mostly eat there while she is cooking. o They use balconies to talk to their neighbors o They don’t care much about their privacy so most of the Figure 35 MAN SITTING IN STREET

Figure 36 WOMEN TALKING THROUGH WINDOW

main doors of their houses are open most of the time and their windows were also open.

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o Old ladies of the houses were sitting in the windows connecting towards the street for interacting with other neighbors o They didn’t had whole window covered with jail but they act as balconies when open with only 3 feet grill attached to it o Windows serves as both

5.8 CONCLUSIONS 

To provide light through design which can enter into the building.



To revive small communal courtyards.



Use of design elements as functional elements too for e,g. jail work that helps in maintain temperature of the building by passing cool air through

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

How these elements function as a structure



Maximum interaction inside the building to be designed as per the patterns of their life’s how they like to live



Study of light is very important



Use of glass walls can be incorporated or any open spaces as they don’t have privacy problem with in their area



Streets around the building to be designed specifically for socializing

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Figure 37 SKETCH OF HOUSE ON SITE

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ASPECT 2 DESIGNING WITHIN A BUILT HISTORICAL CONTEXT

6.0 INTRODUCTION A lot of detailed study is required when going on the journey of designing in a rich historical context. This is because you have to take into consideration the already built structures, as well as the new structures being introduced. This means in order to design we have to go back to the history of designing in a historical context.

There are so many distinctive styles of architecture in the world that come from different eras of the human progression and development. All these different styles tell us about the people of that time and place. Then came the concept of modernism that spread in the whole world and prospered everywhere. Since then, the building styles got separated into two categories i.e. Traditional and Modern. Traditional style is specific for a particular area but modern style belongs to the whole world.

Replicating the masters design, in the earlier days, was considered a respectful gesture by the masters. The theories and practices of the Italian Renaissance Architects were based on Classical Roman examples. The Renaissance revival of Classical Rome was as important in architecture as it was in literature. A trip to Rome for studying the ancient buildings and ruins was considered a fundamental part of the training of an architect. The vocabularies of the Renaissance buildings consist of classical orders and architectural elements such as columns, pilasters, pediments, entablatures, arches and domes. The status of the profession from skilled laborer to an artist was raised with the help of architects that were trained to become humanists. Their goal was to make structures that could charm both emotion as well as reason.

Due to this architects stared researching about the kind of design they can come up with in built historical context so then different ideas were applied in which some failed but some were up to the mark, the reason buildings which were design considering their context around were successful The reason being was even if those building were contrasting ones and had glass in their materials but they did not disturbed the sense of place of the area and the material

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they used were local materials which helped in creating the feel of the context around this type of architecture is known as postmodernism

6.1. Postmodernism The main goal of postmodernism is that the architect should take inspiration from history and traditions, ideas of complexity theory, double coding, irony and cultural context. Postmodern architecture is defined by new techniques that are used in an old pattern, and the use of color, texture and classical allusion design strategy to defined modernist principles.

6.2 Importance of history A new building should relate to the essential characteristics of the district and setting and complement the character with creative yet compatible new design.

To

do

so

relies

upon reading and understanding the patterns underlying the

character of each area and each setting, as well as the role of time in creating and maturing ,These patterns evolve the urban landscape. Such characteristics would include: 

the way in which a building is located on its site



The manner in which it relates to the street and its scale height, massing, form and materials.

When these design variables are arranged in a new building to be similar to those seen traditionally in the area, visual compatibility results These

basic design

relationships are more Fundamental than the details of individual Architectural styles.

It is possible, therefore, to be compatible with the historic context of the district, While creating a design that is identifiable as being Newer than the historic buildings of the area.

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6.3 CASE STUDY 1 SCOTTISH PARLIAMENT BUILDING

Architects: Enrique Mirales Location: Old town, Edinburgh, Scotland Area: 322917.3125 sft Project Year: 2004

In July 1998, the architects EMBT of Barcelona and Scottish partners RMJM Scotland, won a competition to design the new building for the Scottish Parliament at Holyrood.

The team presented a series of charts showing where the design of Parliament: as a leaf and branch, with a strong symbolic meaning.

This drew the attention of the jury and led to winning the proposal Before the parliament house the site belong to brewery company they had their factory there then the building was not in use for many years and because of its historical context it was given for the parliament

6.3.1 History of Edinburgh old town The Old Town of Edinburgh stretches from the gates of Edinburgh Castle, down the length of the Royal Mile, and outwards from that cobbled ‘spine’. The narrow ‘closes’ originating from Royal Mile give this part of Edinburgh it’s character. In the 16th century one of the high-rise buildings, that the area was then dominated by, collapsed.

At present there is a plaque in its place that commemorates the victims. Edinburgh is not only famous for the castle, but also for Edinburgh’s ‘Underground City’. “Mary Kings Close’ is the most famous of these excavated areas that attracts visitors.

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Figure 38 LOCATION DIAGRAM

6.3.2 Location The building is located on land owned by a brewery of 1.6 hectares, where he was the Queensberry House (a historic mansion that is used as a military hospital) and is an area that is surrounded by Dutchman style buildings.

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Buildings

built

before

1900

around

site

Figure 39 INFOGRAPHICS OF HISTORIC SITE

1. Cannon gate office

3.Queens house

5. White Holyrood house

2. The Scotsman house

4.white ford house 6. Earth pavilion

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6.3.4PLAN

Figure 2.3 40 PLAN

6.3.4.1 CONCEPT 1 Public Entrance 2 Plaza 3 Pond 4 Press Tower 5 Debating Chamber 6 Tower one

7Tower two 8 Tower three 9 Tower four 10 Tower five 11 Main Staircase 12 MSPs' Eterance

13 Lobby 14 Garden 15 Queensbery House 16 MSP building 17 Turf roof 18 Carpark and vehicular entrance

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The design has a very strong symbolic basis: one thinks a building that reflects the land on which it arises.

The study based its proposal on three points: the Scottish landscape, its people and its culture. That’s why the building is situated like a small town, with streets and buildings of varying scale, and allowed to go through different feelings while it runs.spacesthe buildings are arranged in two groups, container buildings, which form an “L” and contains a group of three buildings: the mansion Queensberry, the Royal Mile and Cannongate tower and the south wes tby the contents of buildings “ L” a series of leafshaped towers that house services for parliamentarians. Before them lies the great hall of parliament, crowned by a group of naturally lit skylights and give identity to space.

In the east side are the most important buildings: the tower of the press and the House debates, and before they have a pergola that connects the building with the outside.

Towards the south will feature a series of gardens worked by Miralles.

6.3.5 STRUCTURE

Each space has a different structure. The entrance building endings are characterized by their high quality concrete and has three domes dotted with crosses (taking the image of the Scottish flag). The columns invade apparently arbitrarily.

In the debating chamber, the roof consists of three large wooden trusses with 120 knots, and fabricated stainless steel connectors in Aberdeen especially for the building.

The elements comprising the structure are laminated European oak compression elements and stainless steel for the elements in tension. The assembly buildings have been designed in prestressed concrete to get lights for more than 14 m.

6.3.6 MATERIAL

It is used largely for banana timber Scottish European oak and banana, as well as concrete and stone. Although each sector has materials that characterize them: In the towers of the assembly, using reinforced concrete frames, covered Kemnay granite, from Aberdeenshire. There are decorative panels made of oak and black and gray granite. The roofs are covered with stainless steel.

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On the west side, the representative office, there are windows of stainless steel.

Some of the windows have exterior design with a lattice of oak.

In the debating chamber, all based coatings are made from European oak and banana.

The western side of the camera has 1000 m2 of laminated glass panels. Each panel has a sheet of banana strips placed in horizontal layers between two glass and shaping the forms that mimic human forms. The furniture was held in banana and oak.

6.3.7Sustainability The Parliament’s heating and hot water systems are all highly efficient and air conditioning is limited to the IT server rooms, all of which minimize emissions of carbon dioxide. In the majority of areas, instead of air conditioning, a central system controls a large number of windows which can open at night during warm weather to allow the building to cool. This system is supplemented with air handling units.("Scottish Parliament - Data, Photos & Plans - Wikiarquitectura")

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6.3.9 Conclusions 1) The main parliament block of the building is attached with the old building but it doesn’t dominate the old building as its elevation height is lower than the old buildings elevation so it respects the historic building

Figure 41 BUILDING ELEVATION

Figure 42 BUILDING COMPARISON

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Figure 43 BUILDINGS AROUND THE SITE

2) Colors of materials used in the outer façade of the building matches with the other buildings surrounding it 3) Use of materials is same as buildings around

Figure 44 BUILDINGS AROUND THE SITE

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4) The residential building is very close to the building around now known as THE PARK BUILDING which has residential plus other functions such as dental practices etc. so the parliament buildings section is not much ornamented, elevated or strange in manner but it is more simpler towards this side the only element is the use of window shape is same as that of the rest of the building .

6.3.9.1RESIDENTIAL BUILDING

Figure 45 Street

views through Narrow Street between the park building and residential block of parliament building

44

5) The elevation of the building is with varying heights to match the terrain of the area which

helps

in

creating

feel`

of

the

place

Figure 46 ELEVATION ALONG CONTOURS

Figure 47 ELEVATION

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6.4 CASE STUDY 2

THE ACROPOLIS MUSEUM

Architects: Bernard Tschumi Architects Location: Acropolis, Athens, Greece Area: 21000.0 sq.ft Project Year: 2009 Exhibition space: 90,000 square feet The Museum is conceived as a base, a middle zone and a top, taking its form the archeological excavation below and from the orientation of the top floor toward the Parthenon.The Museum stands less than 1,000 feet southeast of the Parthenon. The topfloor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern AthensAt street level the building is a 21st century architectural wonder. Its glass reflects a 1940s Romantic Byzantine building, and it is designed to maximize the light pouring in through the giant windows.("New Acropolis Museum / Bernard Tschumi Architects")

Figure 48 Figure VIEW OF 49 SITE VIEWAROUND OF SITE AROUND IN GLASS IN GLASS FACADE FACADE

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Figure 50 LOCATION INFOGRAPHICS

6.4.1 LOCATION It sits on the site of ancient Makrygianni and the ruins of Roman, and early Byzantine, Athens. The site is still being excavated today and large columns hold the new museum above the ruins where archeologists are still digging and revealing

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Figure 51SITE INFOGRAPHICS

SOCRATES PRISON

HADRIANS ARCH

PANTHEON

OLYMPIOS DIOS

THEATRE OF DINOSES

CISTER

SOLDIERS SAILORS MONUMENT

TEMPLE OF HEPHAESTUS

Table 2.2

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6.4.2 FLOOR PLANS

Figure 53 PLANS

49 Figure 2.17

Figure 55 PLAN

Figure 54 PLANS

6.4.3 CONCEPT

The New Museum of the Acropolis was designed to accommodate the most remarkable sculptures of ancient Greece. It is situated adjacent to the Parthenon, which is one of

50

the most significant buildings of the western civilization, lying in a region of earthquakes surrounded by warm weather. The museum has simple architecture with mathematical and conceptual clarity of ancient Greece.

The project is based on three concepts that transformed the potential limitations of the site: electricity, motion and tectonic and programmatic concept.

6.4.3.1 Light Concept

More than any other museum, the light was taken as a primary concept in design. As this exhibition of sculptures, the conditions differ from those found in an exhibition of paintings. It is, first, a museum of natural light, related to the presentation of sculptural objects within it.

6.4.3.2 Motion Concept

The tours offer visitors a rich sequence based movement, both through time and spatiality.

6.4.3.3 Tectonic and programmatic Concept

The manifestation of the building structure is reflected on the outside and inside of it.

It is structured in such a way that is designed around the specific needs of each part of the program.

6.4.3.4 SPACES

The volume of the building is articulated at the base, middle and upper level, designed in a magnificent manner that serves the specific needs of each part of the structure. The entrance hall lies at the base and looks over the Makrygianni excavations, temporary exhibition spaces and all the support services as well as a gift shop.

The large square of double-height trapezoidal shape lies in the middle of the museum that accommodates the galleries of the archaic period of the Roman Empire. A multimedia auditorium, a bar that overlooks the archeological excavation restaurant

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with a terrace and spectacular views of the Acropolis are housed in the mezzanine of the museum. The Parthenon Gallery has been placed in the upper part. The gallery has been arranged around a covered space transparent. Ideal light is provided by the transparent cover to the sculptures. One of the objectives of the main gallery is to bring the Parthenon Marbles, currently scattered in various museums. The circulation in the museum is raised in chronological order, so that the visitor crosses an architectural and historical tour.

6.4.3.5Structure

The building was built on a network of columns, carefully preserving archaeological remains from the site. The piles penetrate the ground to the underlying bedrock and float on roller bearings capable of withstanding an earthquake of magnitude 10 Richter scale.

6.4.3.6Materials

The building was designed in relation to the durability and resistance to the passage of time, so that the building age with grace, despite the heavy volume of traffic in an international tourist destination. The materials were selected for their simplicity and sobriety: glass, concrete and marble.("New Acropolis Museum - Data, Photos & Plans Wikiarquitectura")

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6.4.4Conclusions

Figure 56 PANTHEON AND MUSEUM

Acropolis museum proportions are same as the proportions of pantheon which is the reason why both buildings complement each other whereas one is purely postmodern and pantheon dates back to ancient Greek times Golden ratio is used in acropolis museum same ratio was used in pantheon

53

Orientation of the pantheon museum which is the top most floor of the building is arranged accordingly with the pantheon so as when visitors are moving around they can have perfect view of pantheon along with its artifacts displayed

Figure 57 ORIENTATION

54

Building aesthetics are same as that of pantheon whereas material is different in the new building but feel is same as pantheon Use of column in pantheon whereas Columns are not used as façade in the museum whereas windows and there frames works same as columns.

Figure 58 MUSUEM SIDE VIEW

View of the museum has been considered in its design one can view historical buildings around it from inside and when viewed from outside same buildings reflects through its reflecting glass material

Figure 59 MUSEUM INSIDE VIEW

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Ruins are respected in the construction of the museum, whole buildings stands on frame structure.

Glass floor is used to get proper view of the ruins from museums floor

Figure 60 MUSEUM SECTION

Figure 61 EXCAVATED SITE

Figure 62 EXCAVATED SITE

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Figure 64 SITE RUINS AND PILLAR STRUCTURE

Figure 63 SITE RUINS AND PILLAR STRUCTURE

Artifacts are placed in a chronological order when visitor starts walking they can view buildings along with artifacts. They are placed according to their connection with buildings.

Figure 65 ORDER OF ARTRIFACTS

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Walls of the museum have casted sculptures of the original pantheon wall to create sense

of

pantheon

Figure 66 CAST ON WALLS

58

There is a special space designed for restaurants so social programming is also considered with its other important elements. Use of natural light, circulation and program is designed properly

Figure 67 RESTURANT

Use of natural light is designed properly

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6.5 CASE STUDY 3 124 HUDSON STREET

Architect: BKSK Architects Project Type: Multi-Family Project year: 2003 Location: Tribeca, NYC Area: 9-story, 92,000 square foot It is a residential building, designed as a contemporary homage to the elegant loft structures of the Tribeca Historic District. It occupies a long-vacant site facing the Holland Tunnel clearing, and takes advantage of that openness and light with its industrial-scale The design was praised by the Landmarks Preservation Commission as sensitive to the neighboring buildings, and is now much admired as a handsome and well-detailed addition to the already rich historic context. The residential interiors are conceived with a modern sense of simplicity and spaciousness that reflect the character of a loft setting, while offering the full range of amenities that would be expected of a luxury apartment.("124 Hudson Street")

6.5.1Hudson Street

Hudson Street is a north-south oriented street in the New York City borough of Manhattan running from Tribeca to the south, through Hudson Square and Greenwich Village, to the Meatpacking District.

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Figure 68 SITE FOR BUILDING

6.5.2 Context

This area was used as a parking lot before

61

Figure 69 NEIGHBOURHOOD

6.5.3 CONCLUSIONS

Figure 70 ELEVATION

Building’s façade matches it surrounding buildings very well it has same frame structure with window and cantilever shades at ground floor

62

Sill and lintel level of the buildings around 124 building is same which creates a continuation within buildings

Figure 71 WINDOWS COMPARISON

Figure 72 FAÇADE VIEW



Triparted windows are used in the building same style of windows is used in older buildings around it.



It has connected parapet which makes it feel like one building at first glimpse

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

Use of colors of the material is same.



Use of frieze in the building to match connected building

Figure 73 COURTYARD



Courtyards have also been used in buildings around.



124 is connected to the buildings around visually but it has a courtyard space inside it which allows other buildings to have privacy and breathing space so it is connected visually but it doesn’t intervene in others context

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6.6 CONCLUSIONS 

Difficult sites if observe keenly can help in achieving good architecture



With sensitivity it is possible to accommodate a modern design which will complement the old one



The use of traditional materials are not incompatible with contemporary architecture.



Good design extends into public areas beyond the building



Successful architecture can be produced either by following historic precedents closely, by adapting them or by contrasting with them



Views and vistas can be enhanced by the building



Contrasting buildings which are not designed with same style as that of buildings in it context can still have the feel of that place



Sense of place can be achieved through



The buildings design which is the result of dialogue between architect and local people of the area can produce good results in terms to create feeling of the place

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ASPECT 3 GEOMTRY 7.0 THE TRADITIONAL ISLAMIC GEOMETRY

7.1 INTRODUCTION

In nature, we can see geometry all around us the sense of unity and oneness in nature is all through the geometry which is sometimes underlying and as we explore it we get to know it This principle of connections and unity among nature describe harmony and rhythm and how does it affect us that is why architects and artists have created masterpieces by exploring geometry and reading through cosmos. Many forms in the nature are associated to geometry for example the formation of sunflower or hexagonal cells of honey bees In the art and architecture of traditional society these principles inspire ones creativity to explore it and use it, the use of geometry in tradition architecture in historical buildings and monuments which is available to us to read and research tells us about the history and how they have used it in architecture along with the functionality if the building Nature forms systems that are symmetrical or in rhythm and sometimes both, man has used theses in architecture by creating symmetry or rhythm with these symbols this all is created with one center which is the basis of the rhythm or symmetry which also tells us about the first principle of Islam(TAWHID) I have tried to find and know how these systems and geometry are used in the buildings inside walled city and in other traditional buildings

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7.2 THE LAL HAVELI 7.2.1 LOHARI MANDI BAZAAR

Figure 74 PLAN

7.2.2CONCLUSIONS LAL HAVELI

Figure 75 ELEVATION

What I came to know through the geometry of lal haveli was that although its site is not based on a perfect square but it is still following the rules of traditional geometry the lines of two rotated square marks the walls of the room and the rest is designed according to function

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7.3 THE CHUNA MANDI HAVELI

Figure 76 PLAN

THE CHUNA MANDI HAVELI

Figure 77 PLAN

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Figure 78 ELEVATION

7.3.3 CONCLUSIONS THE CHUNA MANDI HAVELI

The chuna mndi haveli’s courtyard does not follow the rules of geometry as it is not centralized but the spaces inside the haveli and the rooms deigned inside totally follows the basic rule of hasht bahisht geometry The elevation of the house is based on half hasht and the heights are also based on the geometry.

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7.4 HOUSE NO D/3264 SOOTAR MANDI BAZAAR

Figure 79 PLAN

70

Figure 8O PLAN

7.4.2 CONCLUSIONS

HOUSE D/3264(SOOTAR MANDI BAZAAR) This house totally follows the geometry as its site is square but a part of it which does not come inside the geometry is there fulfilling its function and the wall thickness of the plan is also taken from the small hasht made inside the square if the room which is followed in th plan of house

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7.5 BADSHAHI MOSQUE

Figure 81 PLAN

Figure 80 GEOMETRICAL ANALYSIS OF PLAN

72

Figure 81 GEOMETRICAL ANALYSIS OF PLAN

Figure 82 GEOMETRICAL ANALYSIS OF PLAN

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Figure 83 GEOMETRICAL ANALYSIS OF ELEVATION

7.5. CONCLUSIONS BADSHAHI MOSQUE

Its plan is totally based on hasht bihisht the path toward the iwan and the dome all follow the geometry the centralization of the iwan and the grammar of A B A is used everywhere in the design with all this it totally respect the function along with aesthetics

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7.6 EXPLORING GEOMETRY (UNIVERSAL/ARCHETYPALCONCEPTS)

The reason why I looked for the geometry in older buildings inside walled city and others based on those concepts of geometry was to know and explode how architects of those time have used these proportions in their buildings How do the cater function along with the geometry and these concepts are common to man even till now as they are regardless of time and place Even till today viewing Badshahi mosque is still as magnificent as it used to look ten years ago so the feeling of these buildings will remain like this forever With this I started exploring plans and elevations of various houses inside walled city and others based on geometry those were majorly pre-colonial and some were these which were traditionally inspired

7.8 CONCLUSIONS HASHT BIHISHT

Theoretically Ebba Koch thesis provided the guidelines regarding hasht bihisht According to her “In architecture Hasht-Bihisht (lit. Persian - Eight Paradises) refers to a specific type of floorplan common in Persian architecture and Mughal architecture whereby the plan is divided into 8 chambers surrounding a central room.

The eight divisions and frequent octagonal forms of such structures represent the eight levels of paradise for Muslims. The paradigm however was not confined solely to Islamic antecedents. The Chinese magic square was employed for numerous purposes including crop rotation and also finds a Muslim expression in the wafq of their mathematicians. Nine fold schemes find particular resonance in the Indian mandalas, the cosmic maps of Hinduism and Buddhism” (Koch, Ebba. The Complete Taj Mahal) In the book sense of unity the writer Nader Ardalan has describe it as “the most significant interaction of the circle and square in traditional art is the mandala or cosmogram which has been represented in many form throughout the cultures of man.as the refelction of the cosmos and the cosmic processes within all things the mandala works through numbers and geometry it recapitulates the permanence of paradise as an idea and its impermanence as a temporal reality”

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According to my investigation this form of traditional geometry creates a sense of unity as how two squares act together to create one central space it creates rhythm and harmony in the building the overall look of the building creates the spiritual feeling E.Koch has describe this plan form as: “the complete nine fold plan as it became current in Mughal architecture consists of a square (or rectangle), sometimes with corners fortified by towers but more often chamfered so as to form an irregular octagon (termed ‘muthamman Baghdadi’ by the Mughals).the layout is divided by four intersecting construction lines into nine parts, comprising a domed chamber in the center rectangular open halls in the middle of the sides in the form either of pishtaqs or of flat roofed verandahs supported by pillars(the Mughal ‘iwan’) and two storey vaulted rooms or blocks in the corners, reflected on the façade by superimposed vaulted niches (nashiman)..(in the radially planned versions of this scheme the corner rooms are linked to the main domed chamber by additional diagonal passages….the term ‘hasht bihisht’(“eight paradises”) has been interpreted as a reference to the eight rooms surrounding the central chamber’ (Koch Ebba ,1991)

7.9 CONCLUSIONS After investigating all the plan forms I have concluded that one becomes aware of the use of traditional geometry along with the function as how to use it without disturbing the function of certain space. By this I get a clear idea of how to use rhythm proportion and harmony in the plans and how sometimes take function over geometry but in a certain manner, and how to relate man made things with their archetypes, how beauty can be enhanced according to geometry and how to create timeless architecture

SITE:

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Chota Mufti baqar, Delhi Gate (walled city of Lahore)

8.1.0 Issues   



There is no space for artists inside walled city where they can work and conduct researches No proper space where data about the city is archived People around the city don’t have any idea about how meaningful and important their area is and how they can help authorities to save this culture and architecture The historical city is not helping the country economically wherever it can do wonders for the economy of Pakistan

8.1.1 RESEARCH QUESTIONS  

How local people can be incorporated in the process of restoration to help uplifting their area



What is the need of this space(walled city)



How can it become a hub for artists where they can work alongside local people



What kind of space uplift the value of a site?

8.1.2 RESEARCH METHADOLOGY

Numerous websites have also been visited in order or educate oneself of the information on walled city By visiting o the site several times and by living there for a day Communication with local people there and with the craftsman working there for restoration By visiting walled city Lahore authority office and collecting various information

8.1.3 OBJECTIVE:

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 Providing platform for local artisans and for artists throughout the world  To create public private partnership     

To help understand local community the importance of buildings around them through providing them platform Artists’ professional development Economic benefits for the artist, the host, the region, etc.

Cultural development for the artist, the host organization, the local community Organizational learning and capacity building for the host organization and for community organizations

8.1.4 CONCLUSIONS Space where artists from all over the world and people who wants to conduct research can live and enjoy the true essence of walled city To create a space where local people can learn basic techniques to be used in process of restoration so that they can help the authorities and both can benefit each other in a meaningful way

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8.1.5 ARCHITECTS BRIEF

Figure 84 INFOGRAHICS

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8.1.6 DESIGN CRITERIA

The basic design has been achieved by exploring geometry around the site 

Use of courtyards inside the building to help with the weather conditions as well as the design followed around the site.



Massing of the plan through references of hasht bihihst geometry.



By creating a space which blends in with its surroundings by using basic design elements for e.g. jharoka etc.

8.1.7 DESIGN CONCEPT

Figure 85 EASY AND HARD ACCESS ZONES

80

Figure 86 GEOMETRY,CENTER AND NODES

Figure 87 ENTERANCE EXIT POINTS

81

Figure 88 HAPTIC ZONES AND HEIGHTS

82

Figure 89 GEOMETRY OF SITE

8.1.8 DESIGN CONCEPT

The Design of the residency has to act as a tool that reflects the uniqueness of the walled city and their history the idea is to create a space where one can communicate with each other and experience their surroundings

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Figure 90 DESIGN EVOLUTION

8.1.9 DESIGN BRIEF

The design is conducted to maintain an experience with surroundings, built (archaeological site) and buildings surrounding it The buildings are placed in a way that views of Wazir khan mosque can be seen from most of the parts of the buildings artists’ studios have been given utmost importance while considering views and their functions Elements like courtyards, tharras, jharokas, waterbodies,char bagh,arches etc have been used in the buildings according to their functionality and requirement

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12 TABLE OF FIGURES Figure 1 SITE .....................................................................................................................................2 Figure 2 Mason Working On ...........................................................................................................3 Figure 3 SKETCH OF WALLED CITY ..................................................................................................3 Figure 4 Wazir Khan Mosque Restoration .....................................................................................4 Figure 5 SKETCH ...............................................................................................................................4 Figure 6 SHAHI HAMMAM WINDOW .............................................................................................5 Figure 7 SKETCH ...............................................................................................................................5 Figure 8 VICTORIA SCHOOL .............................................................................................................6 Figure 9 LAHORE MUSEUM .............................................................................................................7 Figure 10 GATE OF LAHORE ............................................................................................................8 Figure 11 WAZIR KHAN MOSQUE ...................................................................................................9 Figure 12 BHATTI GATE ................................................................................................................ 10 Figure 13 DELHI GATE ................................................................................................................... 11 Figure 14 INSIDE VIEW OF SHAHI HAMMAM ............................................................................. 12 Figure 15 DINAN NATH HAVELI .................................................................................................... 13 Figure 16 DINA NATH HAVELI VENTILATOR ............................................................................... 13 Figure 17 WAZIR KHAN MOSQUE DOME .................................................................................... 14 Figure 18 AERIAL VIEW OF DELHI GATE ...................................................................................... 15 Figure 19 VISUAL DEPTH .............................................................................................................. 17 Figure 20 BUILT DENSITIES ........................................................................................................... 18 Figure 21 PATHS ............................................................................................................................ 19 Figure 22 PLAN .............................................................................................................................. 20 Figure 23 COURTYARD OF HOUSE ............................................................................................... 21 Figure 24 HOUSE FAÇADE VIEW................................................................................................. 21 Figure 25 ELEVATION, SECTION ................................................................................................... 22 Figure 26 FAÇADE VIEW ............................................................................................................... 22 Figure 27 PLAN .............................................................................................................................. 23 Figure 28 PLAN .............................................................................................................................. 24 Figure 29 SECTION ........................................................................................................................ 24 Figure 30 PLAN .............................................................................................................................. 25 Figure 31 PLAN .............................................................................................................................. 26 Figure 32 PLAN .............................................................................................................................. 27 Figure 33 PLAN .............................................................................................................................. 28 Figure 34 PLAN .............................................................................................................................. 29 Figure 35 MAN SITTING IN STREET .............................................................................................. 30 Figure 36 WOMEN TALKING THROUGH WINDOW ..................................................................... 30 Figure 37 SKETCH OF HOUSE ON SITE ......................................................................................... 33 Figure 38 LOCATION DIAGRAM ................................................................................................... 37 Figure 39 INFOGRAPHICS OF HISTORIC SITE .............................................................................. 38 Figure 40 PLAN .............................................................................................................................. 39 Figure 41 BUILDING ELEVATION .................................................................................................. 42

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Figure 42 BUILDING COMPARISON .............................................................................................. 42 Figure 43 BUILDINGS AROUND THE SITE..................................................................................... 43 Figure 44 BUILDINGS AROUND THE SITE..................................................................................... 43 Figure 45 Street views through Narrow Street between the park building and residential block of parliament building .................................................................................................................. 44 Figure 46 ELEVATION ALONG CONTOURS .................................................................................. 45 Figure 47 ELEVATION .................................................................................................................... 45 Figure 48 VIEW OF SITE AROUND IN GLASS FACADE ................................................................. 46 Figure 49 VIEW OF SITE AROUND IN GLASS FACADE ................................................................. 46 Figure 50 LOCATION INFOGRAPHICS ........................................................................................... 47 Figure 51SITE INFOGRAPHICS ...................................................................................................... 48 Figure 52 PLAN .............................................................................................................................. 48 Figure 53 PLANS ............................................................................................................................ 49 Figure 54 PLANS ............................................................................................................................ 50 Figure 55 PLAN .............................................................................................................................. 50 Figure 56 PANTHEON AND MUSEUM .......................................................................................... 53 Figure 57 ORIENTATION ............................................................................................................... 54 Figure 58 MUSUEM SIDE VIEW ................................................................................................... 55 Figure 59 MUSEUM INSIDE VIEW ................................................................................................ 55 Figure 60 MUSEUM SECTION ....................................................................................................... 56 Figure 61 EXCAVATED SITE ........................................................................................................... 56 Figure 62 EXCAVATED SITE ........................................................................................................... 56 Figure 63 SITE RUINS AND PILLAR STRUCTURE .......................................................................... 57 Figure 64 SITE RUINS AND PILLAR STRUCTURE .......................................................................... 57 Figure 65 ORDER OF ARTRIFACTS ................................................................................................ 57 Figure 66 CAST ON WALLS............................................................................................................ 58 Figure 67 RESTURANT ................................................................................................................... 59 Figure 68 SITE FOR BUILDING ...................................................................................................... 61 Figure 69 NEIGHBOURHOOD ....................................................................................................... 62 Figure 70 ELEVATION .................................................................................................................... 62 Figure 71 WINDOWS COMPARISON ............................................................................................ 63 Figure 72 FAÇADE VIEW ............................................................................................................... 63 Figure 73 COURTYARD .................................................................................................................. 64 FIgure 74 plan…………………………………………………………………………………………………………………… 67 figure 75 ELEVATION………………………………………………………………………………………………………… 67 FIGURE 76 PLAN………………………………………………………………………………………………………………….68 FIGURE 77 PLAN………………………………………………………………………………………………………………….68 FIGURE 78 ELEVATION...……………………………………………………………………………………………………69 FIGURE 79 PLAN………………………………………………………………………………………………………………..70.

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FIGURE 80 PLAN…………………………………………………………………………………………………………71 FIGURE 80 A GEOMETRICAL ANALYSIS OF PLAN…………………………………………………………72 FIGURE 81 GEOMETRICAL ANALYSIS OF PLAN……………………………………………………………73 FIGURE 82 GEOMETRICAL ANALYSIS OF PLAN……………………………………………………………73 FIGURE 83 GEOMETRICAL ANALYSIS OF PLAN……………………………………………………………74 FIGURE 84 INFOGRAPHICS…………………………………………………………………………………………79 FIGURE 85 EASY AND HARD ACCESS ZONES……………………………………………………………….80.

FIGURE 86 GEOMETRY CENTER AND NODE………………………………………………………………..81 FIGURE 87 ENTERANCE EXIT POINTS………………………………………………………………………….81 FIGURE 88 HAPTIC ZONE AND HEIGHTS…………………………………………………………………..…82 FIGURE 89 GEOMETRY OF SITE…………………………………………………………………………………83 FIGURE 90 DESIGN EVOLUTION……………………………………………………………………………….84

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9 BIBLIOGRAPHY      

Lahore the architectural heritage by lucy peck Topophlia of space and place anna suvvorova Making Lahore modern by William j glover Streets: Critical Perspectives on Public Space History of Lahore by kuhniya laal Images reference: all images of aspect 1 are taken by me

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