SCHOOL OF DESIGN A Thesis submitted in the partial fulfilment of the requirements for the award of the degree of Bachelor of Architecture By: Supervisor: Sai Sowmya Jyothirmayee K Dr. Srinivas Daketi Reg. No. 1170100702 Assistant Professor 2017-2022 Department of Architecture School of Planning and Architecture, Vijayawada May, 2022
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 2 UNDERTAKING I, Ms. Sai Sowmya Jyothirmayee K, the author of the thesis titled “SCHOOL OF DESIGN”, hereby declare that this is an independent work of mine, carried out towards partial fulfilment of the requirements for the award of the Bachelor of Architecture at the Department of Architecture, School of Planning and Architecture, Vijayawada. The work has not been submitted to any organization/institution for the award of any Degree/Diploma. …………………………………………………..
No. 117010070220172022 Bachelor
Sai Sowmya Jyothirmayee K Reg. of Architecture
Department of Date:Architecture30/05/2022
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 3 (To be printed on SPAV letterhead) CERTIFICATE is to certify that the thesis titled “School of Design” has been submitted by Sai Sowmya Jyothirmayee K (Reg. No. 1170100702, Batch 2017-2022) at the Department of Architecture, towards partial fulfilment of the requirements for the award of Bachelor of Architecture. is a bonafide work of the
AssistantDr.RECOMMENDEDstudent.SrinivasDaketiProfessorACCEPTED
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School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 4 DISCLAIMER The content produced in the thesis report is an original piece of work and takes due acknowledgement of referred content, wherever applicable. The thoughts expressed herein remain the responsibility of the undersigned author and have no bearing on or does not represent those of School of Planning and Architecture, Vijayawada. ………………………………………… Sai Sowmya Jyothirmayee K Reg. No. 1170100702 Bachelor of Architecture Department of Date:Architecture30/05/2022
I would also like to express my deepest gratitude to the most important person, my supervisor Dr. Srinivas Daketi, who has been the core support and pillar from the beginning of my thesis, till the end of my thesis. Without his guidance, monitoring, and continuous evaluation this thesis would not have been fulfilled to my satisfaction. He has also inspired me in many ways, motivating me and working hard on my every high and low I saw throughout the journey, playing a vital role in nurturing the best out of me. Again, I thank and applaud our thesis coordinators, Dr. Ramesh Sarikonda, Dr G. Kartheek, Ar. Deepak Kumar, Dr. Iyer Vijayalaxmi Kasinath, Dr. Nagaraju, Dr. Srinivas for the wonderful functioning and management of our thesis semester amidst such unfamiliar pandemic scenarios. I would also like to express my love and gratitude to my close friends and other classmates for supporting me and helping me out and whatever ways you could to ensure the effective completion of this thesis semester. In loving memory of my dear batch mate Naveen Chand whom I dearly miss. Last but not the least, I am deemed to be ever grateful to my mother Mrs K Sridevi, father Mr. K V Prasad, for adapting my workload and routine into their daily life, supporting me and inspiring me in all means to ensure I produce a meaningful result out of my thesis project. I wish they keep supporting me the same and wish me the best of life for me. I am and will remain ever grateful to you. Thank you so very much.
Through the words of this page I would like to express my sincere gratitude to a number of people, who have played an important role, in helping me in the fulfillment of this thesis. The list of people I want to address is huge and I am short of words. First of all, I acknowledge my institute, ‘School of Panning and Architecture, Vijayawada’ for providing us with all the necessary facilities and infrastructure for the constructive completion of my degree.
ACKNOWLEDGEMENTS
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 5
Because of these increasing importance of design and with the changing character of the Indian industry, where it is producing more and more original products, the role of designers is also becoming more intensive. India is now demanding for well skilled and expertise personnel in the field of design. As it produces just few designers per year even after being one of the most populated countries in the world. Whereas, other countries with just 3% of India's population produces 25,000 designers per year. One of the reasons for producing such a low number of designers is due to the lack of awareness among the people about, how important role design plays in one's life and as well what it is capable of, and also the handful number of design institutes that are present and which cannot cater the need for increasing number of designers that are needed to help build the nation. This project aims to address this problem and propose a school of design.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 6
ABSTRACT Design is the term used to describe both the process and the result of giving tangible form to human ideas. We experience design every day in every moment that we live. There is not a single element that is untouched by design. Design can stimulate developing countries from technology stagnation. It can help in bringing out products to satisfy the cultural and social needs of our population. It also offers tremendous scope for growth in the current state of countries economic and environmental growth.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 7 TABLE OF CONTENTS 1. Undertaking 2 2. Certificate …………………………………………………………… 3 3. Disclaimer …………………………………………………………… 4 4. Acknowledgements ………………………………………………… 5 5. Preface/Abstract ….…………………………………………………... 6 6. Table of Contents 7-9 7. List of Tables 10 8. List of Figures 10 11 Chapter 1. Introduction ……………………………………………………... 12-18 1.1 Aim ………………………………………………………………………...12 1.2 Objective …………………………………………………………………. 12 1.3 Scope ……………………………………………………………………...12 1.4 Limitation ………………………………………………………………… 12 1.5 Methodology ……………………………………………………………...13 1.6 Need and Importance ……………………………………………………13 1.6.1. Design as a strategy for developing economy 14 1.6.2. Lack of designers in India ……………………………………………………… 15 1.6.3. Lack of design institutes ………………………………………………………… 15 Chapter 2. Literature Study …………………………………………………. 18-27 2.1. History of design in India 18 2.2. Understanding Design Schools 19 2.3. Understanding the Campus planning 19 2.4. Transition spaces ………………………………………………………. 22 2.5. Interactive spaces in college campus ………………………………… 24 2.5.1. Case study for understanding interactive spaces …………………… 25 Chapter 3. Case Studies ……………………………………………………. 27-54 3.1. NID Ahmedabad ……….………………………………………………. 27
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 8 3.2. NID Gandhinagar …………………………………………………........ 34 3.3. NID Bangalore …………………………………………………………. 42 3.4. NID Bhopal ……………………………………………………………... 47 3.5. Comparative analysis 49 3.6. NID Amaravati (Live Case Study) …………………………………… 50 Chapter 4. Technical study …………………………………………………. 54-64 4.1. Norms Nufert …………………………………………………………… 54 4.2. Telangana state guidelines …………………………………………… 56 4.3. AICTE Norms …………………………………………………………… 57 4.4. Programs ………………………………………………………………... 59 Chapter 5. Site Justification &Analysis…………………………………… 65-75 5.1 Site Selection …………………………………………………………… 65 5.2. Site Location ……………………………………………………………. 66 5.3. Site context 67 5.4. Land use pattern ………………………………………………………. 67 5.5. Site evolution …………………………………………………………… 68 5.6. Outreach ………………………………………………………………... 68 5.7. Context and surroundings ……………………………………………. 69 5.8. Vegetation 70 5.9. Architecture vocabulary 70 5.10. Climate study 71 5.11. Design considerations 72 5.12. SWOT analysis ………………………………………………………. 75 5.13. Inferences ……………………………………………………………… 75 Chapter 6. Area Requirement’s……………………………………………… 76-79 6.1. Area Requirement’s 76 6.2. Student & Faculty Capacity …………………………………………… 76
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 9 6.3. Area Program ………………………………………………………… 77 Chapter 7. Bibliography ……………………………………………………. 79 Chapter 8. Design Sheets ……………………………………………………. 81
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 10 LIST OF TABLES Table 1: Case Study Comparative Analysis 49 Table 2: Fire and Safety 55 Table 3: Travel Distance ……………………………………………………. 55 Table 4: Parking, Set Back Considerations ………………………………. 56 Table 5: AICTE Norms for Intake of students ……………………………. 57 Table 6: AICTE Norms for Area Provision ………………………………. 58 Table 7: No. of design studios in Hyderabad 65 Table 8: Student and Faculty Capacity …………………………………… 76 LIST OF FIGURES Figure 1: Need of design 14 Figure 2: Make in India 15 Figure 3: Comparison between number designers in different countries 16 Figure 4: List of design education Institutions India 17 Figure 5: geographical distribution of design industry, Industry Statistics 17 Figure 6: College 17 Figure 7: College 19 Figure 8: Walkable distance in a campus 19 Figure 9: Two types of building forms 21 Figure 10: Radial, Zonal, Molecular, Linear 21 Figure 11: transition spaces in a campus 23 Figure 12: Transition Spaces in hallway design 23 Figure 13: CEPT site plan …………………………………………………………. 25 Figure 14: CEPT College photos …………………………………………………. 27 Figure 15: Site plan, Site Zoning of NID Ahmedabad …………………………. 28 Figure 16: Structural System followed in NID Ahmedabad ……………………. 31 Figure 17: Ground Floor Plan of NID Ahmedabad ……………………………… 30 Figure 18: First, Second Floor Plans of NID Ahmedabad ……………………… 31 Figure 19: Courtyard Planning of NID Ahmedabad ……………………………. 32 Figure 20: workshops of NID Ahmedabad ………………………………………. 32 Figure 21: Exhibition Area NIDA …………………………………………………. 33 Figure 22: Auditorium Hall ………………………………………………………… 33 Figure 23: NID Ahmedabad campus pictures …………………………………… 33 Figure 25: NID Gandhinagar campus zoning ……………………………………. 35
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 11 Figure 26: NID Gandhinagar site plan …………………………………………. 36 Figure 26: NID Gandhinagar site section ……………………………………… 36 Figure 27: NID Gandhinagar ground floor plan ………………………………. 38 Figure 28: NID Gandhinagar second Floor Plan ……………………………… 38 Figure 29: NID Gandhinagar ……………………………………………………. 39 Figure 30: NID Gandhinagar courtyard picture ………………………………... 40 Figure 31: NID Gandhinagar technical picture ………………………………… 41 Figure 32: NID Bangalore Campus ……………………………………………. 42 Figure 33: NID Bangalore Site Plan ……………………………………………. 43 Figure 34: NID Bangalore ground floor plan …………………………………… 44 Figure 35: NID Bangalore first floor plan ………………………………………. 44 Figure 36: NID Bangalore second floor plan …………………………………… 45 Figure 37: NID Bangalore third floor plan ……………………………………… 46 Figure 38: NID Bangalore Campus Pictures …………………………………… 47 Figure 39: NID Amaravati Campus ……………………………………………… 50 Figure 40: Product Design 59 Figure 41: Interior Design 60 Figure 42: Upcycle and Recycle Design 60 Figure 43: Jewellery Design 61 Figure 44: Graphic Design 61 Figure 45: Film and Video Communication 62 Figure 46: Interaction Design 63 Figure 47: Game Design 63 Figure 48: Textile Design 64 Figure 49: Comparison with other states 65 Figure 50: Population density of Hyderabad, KTR Call for Designers 66 Figure 51: Site Location 66 Figure 52: Land use Map 67 Figure 53: Mapping the changes …………………………………………………… 67 Figure 54: Site Outreach ……………………………………………………………. 68 Figure 55: Site context ………………………………………………………………. 69 Figure 56: Site study, Site Pictures ………………………………………………… 69 Figure 57: vegetation ………………………………………………………………… 70 Figure 58: Hyderabad Climate study ………………………………………………. 71 Figure 59: Sun Path analysis ………………………………………………………. 71 Figure 60: Design Considerations …………………………………………………. 72 Figure 61: Design Considerations …………………………………………………. 72 Figure 62: Design Considerations …………………………………………………. 73 Figure 63: Shading Devices ………………………………………………………… 74
● The topic in no way aims at challenging the education system of India.
● Understanding the spatial requirements of various departments.
● To design a free and open learning atmosphere that heightens innovative thinking.
1.1 AIM To design an interactive campus for the SCHOOL OF DESIGN to enhance the creative thinking and learning process, and to cater the need of designers to help build the nation.
The scope of this thesis is to develop a campus design, which provides an open and free learning environment for young aspiring designers, after studying and understanding the campus planning, spatial requirements and interactive spaces. And to address the increasing need for designers in the country.
● Understanding the importance of design education and its current situation in India.
● To study and understand the concepts of campus planning.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 12 1. INTRODUCTION
1.2 OBJECTIVE
● To attain in depth knowledge about transition spaces and interactive spaces.
1.3 SCOPE
1.4 LIMITATION
● Design is a perfect response to bind people together and to elevate human life through harmonious synchronization of needs and solutions.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 13 1.5 METHODOLOGY 1.6 NEED AND IMPORTANCE
● Design is something that makes business and social sense at the same time.
● In the present and forthcoming scheme of things design certainly has a very important role to play by helping companies and societies to accept and adapt to the changing climate and to capitalize on the change by turning it into an opportunity.
● Design can help in transforming the way we look at things and can also result in new economic benefits and a better quality of life.
● Design is another way of communication. Every time a designer or artist creates something, they are trying to communicate something to the world. In fact, design makes communication easier as it can project a message in a simpler way for people to understand.
● With the help of expertise and skilled personnel a nation can build green buildings, better and more sustainable products and create an economy.
● Design can be used to solve most of our modern problems.
Fig No:
1.6.1
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 14
● Since independence India has been trying to catch up with the world. Despite being a design conscious society India did not leverage its own design potential, which is starting to happen now. (CII, India Design Report, 2020) 1, Need of design DESIGN AS A STRATEGY FOR DEVELOPING ECONOMY
● Design has evolved from being a vocation dealing with form and function to a new approach of developing business models. (India design report)
● According to a report by the India Design Council (‘The Future of Design Education in India’), the market potential for design in India is expected to exceed
● Even though the design industry in India is very small at present, its economic impact is quite high as it helps major industry sectors by augmenting their business value and competitiveness. (India design report)
● The growing Indian market now demands better services and products designed with Indians in mind.
● According to the commerce and Industry Minister, the Government of India has a need for about 10,000 designers in India, and at present India has just about 5000 design graduates (TOI), meaning that we have only two designers for every millionth persons in India as opposed to Finland with 120 and Japan at 90.
● Design is an integral part of the manufacturing, make in India is not just a manufacturing in India but also design in India.
● MNCs are not just outsourcing low end design or product development work in India now but in the last two years more than 1000 R&D labs have started in India to develop better products for a worldwide audience.
● The Indian market continues to be flooded with foreign goods. This design dependency has made our products less competitive in the world market and has adversely influenced the export performance.
MAKE IN INDIA
Rs 18, 000 crores by 2025. However, only a fifth of this potential is currently being tapped.
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Fig No: 2, Make in India
1.6.2 LACK OF DESIGNERS IN INDIA
● The potential of just the graphic, communication and packaging design industry is estimated to be more than Rs 5,500 crore. (CII, India Design Report, 2020)
● The growing Indian market now demands better services and products designed with Indians in mind. (CII, India Design Report, 2020)
● With the changing character of the Indian industry, where it is producing more and more original products, the role of designers is also becoming more intensive. Yet the design industry lags behind other professional services
● After the launch of Make in India initiative, India has emerged as the fastest growing major economy with GDP growth rate.
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 15
● There are around 7,000 qualified designers in India with perhaps 5,000 studying design, said Paula Graham Gazzard
● The number of designers required by 2020 in India's industrial, graphic, communication, packaging and other design domains is potentially 62,000.
● India produces just 5000 designers per year even after being one of the most populated countries in the world. Whereas, South Korea with just 3% of India's population produces 25,000 designers per year and China 3 lakhs per year.
● There Is enormous shortage of qualified designers in India, but the market for design in the country has huge potential, a leading exponent of creative industries.
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Fig No: 3, comparison between number designers in different countries
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 16 domains in numerical terms when looked at in terms of turnover and number of employees.
● One of the reasons for producing such a low number of designers is due to the lack of awareness among the people about, how important role design plays in one's life and as well what it is capable of, and also the handful number of design institutes that are present and which cannot cater the need for increasing number of designers that are needed to help build the nation.
● Various industrial sectors have witnessed tremendous growth in recent years and are projected to continue doing so. These sectors employ designers in some of the core activities of their business and their businesses also heavily depend on quality designers.
● A shortage of design professionals will also hamper the growth of the country.
If we look at the present scenario of Indian Design institutes, there are just handful Number of gov. Design institutes and few Other private institutes as shown in the tables. These design schools are not enough to cater the need for increasing number of designers that are needed to help build the nation. DISTRIBUTION OF DESIGN INDUSTRY
GEOGRAPHICAL
Fig No: 6, geographical distribution of design industry, Industry Statistics (Design report 2020)
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 17 1.6.3 LACK OF DESIGN INSTITUTES
● It can be seen according to table 4, that the major concentration of design companies is in four urban areas viz. Mumbai, Delhi, Bangalore and Pune.
● All these four cities are industrially active and are home to the majority of well known Indian companies. The presence of leading design education institutions in these cities is also another reason for concentration of design companies in these cities.
we reached a point where we had a vast historical background, but also a good foot forward to harmoniously step into the rapidly progressing world.
Another concern is the disconnected growth of the education sector from the industry.
● The table shows the maximum concentration of designers is in the area of architecture when compared to other design disciplines.
2. LITERATURE
There have been several commendable achievements in the design field in India, yet they have come far and wide.
● The obvious reason is that architecture as a domain of study and practice has been well entrenched for a long time. (CII, India Design Report, 2020) STUDY HISTORY OF DESIGN IN INDIA
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 18 INDUSTRY STATISTICS
2.1.
The Indian design field received a major set back due to colonisation of the land by foreigners, but it is still commendable to observe that it has lived past the foreign influence and brutality.
A greater cause of concern is the falling interest in this sector of the youth of the nation
Historically, India has been at the forefront of crafts and innovation, and is one of the few cultures on the planet that has managed to sustain for thousands of years.
The crafts of India are diverse, rich in history and religion. The aesthetics of each state in India reflect the influence of different empires. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities.
In ancient India people lived in colonies called and they were used to make utility items for their daily needs.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 19
What is a campus A campus should be a place where a student is confronted with realities of living and working with other people in an environment that provides a wide variety of conditions for the best kind of relationships. It thus sets the stage for the time when a student enters the mainstream of life, bears his own responsibility, and makes his contribution to society.
2.2. UNDERSTANDING DESIGN SCHOOLS
Even within the institute there is a lot the various disciplines can learn from one another. Inter seeding and exchanges of thoughts and ideas are more effective at student level, as the student minds are untouched by real world difficulties and prejudices, which only narrow the vision. (Achyut Kanvinde, 1969)
It is a place where creative minds converge, interact with each other and construct visions of new realities.
2.3 UNDERSTANDING THE CAMPUS PLANNING EXTRACTS FROM CAMPUS DESIGN IN INDIA BY ACHYUT KANVINDE
Fig No: 7, college
It is essential to use the local knowledge base of the workers, the artisan and the professional expertise available. The school cannot keep itself at a distance from the real world outside.
Design schools are typically spaces where teaching and research go together. They are closely linked. Research and teaching are simply different aspects of academic work. (Achyut Kanvinde, 1969)
The ideal size for a university campus depends upon individual circumstances. The demands on the university, the location of the campus, the type of instruction, all influence the size. experience has shown that when an ultimate size was predetermined, the university often continued to grow beyond what was originally considered best. A major controlling factor is walking distance. Ten minutes from hostel to classroom is considered a maximum allowable walking distance. three to five minutes is optimum. (Achyut Kanvinde, 1969) Human Need In an ideal campus environment, regardless of size, classroom and living spaces should be related for the convenience of pedestrian occupants and closely linked to the qualities of the natural setting. Since a campus is for
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 20 (V Ramu, 2020) (Garland, 2016)Nature of an Ideal Campus
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A university campus has been compared to a city on a small scale because it provides most of the needs for the university community unlike a city, however, the university is non commercial and primarily a place of study the campus, therefore ought to be a closely knit, unified cluster of buildings with intimate pedestrian open spaces providing a unique environment for living and studying it should ideally be a quiet, comfortable oasis apart from the normally busy noisy, congested world. (Achyut Kanvinde, 1969)
Fig No: 7, Walkable distance in a campus Size of an Ideal Campus
Fig No: 8, Two types of building forms Pattern of Growth No matter whether a homogenous or heterogeneous approach is used, only certain aspects of growth are predictable: therefore, campus design is usually aimed at finding solutions which minimise strict predetermination of the pattern of future development.
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Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 21 people, it must be designed to measure the man himself, his physical dimensions, his senses, his habits, responses and impulses. (Achyut Kanvinde, 1969)
Fig No: 9, Radial, Zonal, Molecular, Linear
Form of the Buildings Writer suggests two broad categories - homogenous and heterogeneous. Homogenous campuses utilise a kind of geometric pattern using the same materials and forms consistently. Heterogeneous ones are generally made of individually made buildings that are distinct entities not always in harmony with each other. Such a style is open ended, and considerable growth occurs but very little direction for future growth is given.
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 22
Open spaces create an area for both planned and spontaneous activities in a natural setting. Landscape elements in open spaces that provide interactions with users would encourage users' engagement with open spaces. For users who would like to clear their minds from daily work and seek relaxation. (Achyut Kanvinde, 1969)
Transitional spaces are the spaces which have no particular definition. These spaces blend and act according to the context they are put in. These are highly flexible spaces with informal character. (V Ramu, 2020)
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The importance In principle, transition spaces in this type of building have an elastic environment because people tend to spend shorter periods of time in them. This allows the designer some freedom to express space in a way that is not usually considered. Recent architects argued that using the design of transition spaces can create a learning environment that is invaluable to the educational process. (V Ramu, 2020)
Fig No: 10, Foci and interactive spaces in a campus 2.4 TRANSITION SPACES
Additional Factors Making a good Campus Foci Foci in space mark a place of cultural significance. It is usually in the form of a landmark but not limited to it. Foci can visually dominate and make a place distinct from its context in addition to helping people navigate. It is an attraction that draws eyes and movement towards it. (Achyut Kanvinde, 1969)
Interactive spaces
● The architects have considered using some camouflaging furniture and partitions to give the required character to the spaces. Architects believe that these spaces are more efficient than the actual classrooms.
Fig No: 12, Transition Spaces in hallway design
● Hallways take up large amounts of usable space within a building, and given the inherent function of circulation as the means to move from one space to another, this is particularly true in a collage building. (Garland, 2016)
● Hence, here the architects have designed the corridors spaces in such a way that it acts efficiently in highlighting the already happening informal activities.
Fig No: 11, transition spaces in a campus Hallway Design
● Studies have shown that the quality of a school improves by locating learning opportunities both within classrooms and outside of them. By creating learning environments in corridors and other underused spaces, students get exposed to the type of environments they are likely to experience in their educational and professional future. (Garland, 2016)
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 23
● The physical spaces encourage interaction and help to facilitate campus involvement. Natural and built environments of a college campus influence how students discover, built, and sustained community.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 24
2.5 INTERACTIVE SPACES IN COLLEGE CAMPUS
CEPT, Ahmedabad Architect: B.V Doshi Site Area: 12.5 acres Established in: 1961 Site Plan
● The physical environment of a college campus provides the context for learning and social interactions.
2.5.1 CASE STUDY TO UNDERSTAND INTERACTIVE SPACES
● These interactions lead to involved students which help build community, and vibrant communities on college campuses contribute to student persistence and academic success. The students develop meaningful connections with their peers through interactions in outdoor spaces, student organisation offices, academic facilities and recreational areas. (Ahmad, 2015)
● Informal spaces to interact with each other is a benchmark for students to explore themselves in a casual way and through friendly appreciation an individual gains confidence levels which adds to his personality development.
● Learning areas provide an environment that is simple and enjoyable to work or study in, will support engagement in learning, and persuade a desire to continue activities beyond timetabled classes. (Ahmad, 2015)
Several interactive spaces are used by students within the college campus which serve as a gathering place for students to interact as well as share ideas by group discussions which in turn gives an impact on the overall psychology of an individual and gives him/her opportunity to cater knowledge as well as boost him internally. (Ahmad, 2015) To Understand how interactive spaces, help to develop overall personality of a student.
● The buildings are placed orthogonally with respect to the sides of the site and hence along the cardinal directions.
3. Two entrances on the Western side
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 25 Fig No: 13, CEPT site plan 1.MainApproachAccess Northern side 2. One entrance on the South side
There are two types of Buildings in the CEPT Campus
The central court is a combination of paved and unpaved areas, shaded by trees in certain areas. All entrances are linked to the courtyard by pedestrian pathways. Hence the courtyard is an area of heavy circulation and interaction.
1. Wide spanning, multiple storeyed, usually in transverse groupings.
2. Narrow spanning, single storeyed, vaulted, usually not combined.
● The placement of the buildings themselves spread out and interspersed with loosely held open spaces characterised by terrain features and greenery which creates a set of interconnected, flowing spaces which may be traversed by several combinations of paths taken thus conveying a sense of continuity and openness. (CEPT, 1961)
● The circulation within the building is very complicated with lots of level changes and staircases at different levels. The corridors are less and short in length. All the places within are visually inter connected. (CEPT, 1961)
● Pockets of spaces created intentionally apart from close spaces where unplanned encounters take place and where there is an exchange of ideas.
● It was achieved with the help of volumetric planning of the section instead of the continuous floor approach.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 26
Peer to Peer Learning Environment in CEPT
An open place with hardly any doors. No feeling of restriction to the exchange of ideas & free scope of teaching & learning anywhere. More use of interaction & transition areas like corridors, galleries & courts & foyers ‘throughout the campus.
● So the visual participation of the people here is very important.
● The building design incorporates thermal comfort and natural sensibility.
● The building has simple horizontal lines and merges beautifully with the site.
● The overall planning has been done around the central court with built mass on one side which gives the campus noise protection from traffic.
● When talked especially about the design field one learns comparatively more from a senior’s peer by hanging out with them and helping them with their work than he learns in a classroom.
● This campus successfully binds people together through spatial sequences across all the streams, so there is a harmonious interaction between the students of all the years.
● So the use of levels and double height spaces instead of floor after floor and classroom after class room approach built a vertical interaction among all the years.
● In between spaces that are created act as public spaces for multi use activity
● The studios have large openings which open into the greenery outside. Panels at the sides help the students to put up the important and useful sheets.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 27 Fig No: 14, CEPT College photos 3. CASE STUDIES 3.1 NID Ahmedabad Architect: Gaira Sarabhai & Charles Eames Client: Ministry of Commerce and Industry Site Area: 20 acres Built Up Area: 27,488 sq. m (approx.) Established in: 1961 3.1.1. Location National Institute of Design is a design school in Ahmedabad, Paldi
● Service entry is provided for the various workshops at the eastern side.
● Keeping in mind that Education being the major activity on site, it is placed near the main entrance for easy access & without disturbing the privacy of other areas.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 28 (India, 2018)3.1.2. Site zoning
3.1.3. Site plan Fig No: 15, Site plan, Site Zoning of NID Ahmedabad
● The shape of the site is such that it divides the site into two parts. The site is sloping towards the Sabarmati River.
Vehicular movement is restricted only till the entrance for the visitors.
3.1.5. Parking There is one covered parking for 2 wheelers for staff just at the entry point of the institute body.
● Pedestrian and vehicular movement are not separated. (NID, 2015)
● The Site has been zoned from the main access in a hierarchy of Interaction > Educational > Recreational > Residential.
3.1.4. Vehicular Movement
● Students and faculty can take their vehicle to the residential areas & academic block by service road provided at the western side of the campus.
● The structural formation is grid.
● Large trees protect the building from the harsh sun rays and thus, provide shade on surface glazing and courtyards.
One side of the monument has been converted into the backdrop for the open amphitheatre, which has become an area for many informal gatherings, features, seminars and cultural performances.
3.1.8. Structure and Material Construction with exposed bricks catches everyone’s attention.
● Basic dimension of | grid is 6.15m x 6.15m Centre to Centre.
● Grid 12.3m X 12.3m, 6.15m X 6.15 m.
● The external cladding is prefabricated and consists of heat resisting glass in metal frames in workshops and in rosewood frames in studios.
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● Winds from the riverside are invited in the studios and workshops from the windows & terraces by the adjustable glazing. (NID, 2015)
● This enables structural perfection, and also allows freedom in quick flexibility, growth and change.
3.1.6. Movement about the site Emphasis has been given on pedestrianizing the site, and one is encouraged to walk around the building and discover it slowly and steadily.
● The ground level is 2.51 metres below the high flood level recorded in 1875. Hence the entire building is on stilts, the main floor standing 3.24 metres above the ground level.
● Thus 9570 sq. metres of floor space becomes available on the ground floor, which is profitably utilised as public area, common rooms for staff members and students, canteens, and for the storage of raw materials such as logs of wood, iron, steel, etc. not likely to get damaged by the occasional flood.
3.1.7. Site Landscape
Fig No: 17, Ground Floor Plan of NID Ahmedabad
The whole process of building the physical form around two main courts and planning the grid based on function makes the building easy to use and understand. The massive blocks of NID devoid of any aesthetic features, suggest an introverted planning.
The architect’s main emphasis has been on structural Clarity leading to functional perfection in the largely complex spaces like studios and workshops. (NID, 2015)
Fig No: 16, Structural System followed in NID Ahmedabad
3.1.9. Planning
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 30
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 31 Fig No: 18, First, Second Floor Plans of NID Ahmedabad
Fig No: 19, Courtyard Planing of NID Ahmedabad
3.1.10. Studios
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3.1.11. Workshops
All workshops have North South orientation. Workshops of wood and metal have double height clearance. There are sliding panels starting from skirting to sill height which provide sufficient natural light and also helps merge the mechanical interior with outside skirts. Due to large openings there is good light and ventilation, moreover these are connected to open courts which further provides light and ventilation and also acts as outdoor work areas. (NID, 2015)
Fig No: 20, workshops of NID Ahmedabad
All studios have been designed specially depending on the specific requirement of the courses. All of them are on the external walls and well-lit with natural light. The studios the in formalness of the working methodology which is a very important basis of the design education, there are well maintained permanent exhibitor spaces on both sides of the design street, separate spaces have been provided for separate disciplines.
3.1.13. Auditorium Auditorium is placed on the second floor, its capacity is about 230 people, it could be directly approached by the main staircase from the foyer, but due to its location it’s become a private entry it is fully air conditioned and used for cultural program, lecture, display, etc. (NID, 2015)
3.1.12. Exhibition Exhibitions in glass walls. Used to display the latest products by the institute, display of posters & other written materials regarding achievements of the institute in various fields in order to tell the visitor What this institute is all about. Light filtering into the semi dark ground floor area, creating the play of light and shadow.
Fig No: 23, NID Ahmedabad campus pictures
3.1.15. Architectural Observations & Inferences
Fig No: 21, Exhibition Area NIDA
All the workshops and laboratories, administrative offices and a showroom are located on the first floor.
Fig No: 22, Auditorium Hall
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3.1.14. Interior Character
A feeling of informal atmosphere has been achieved with a low ceiling for a large open entrance space. Materials in exposed form thus provided under a lit surface giving a feeling of intimacy. An informal set up of reception and waiting space with informal rural kinds.
● Drafting studios, seminar rooms and the library are on the mezzanine floor.
Double glazing between the studios and the workshops enables students to literally see what is actually happening on the production floor, without being disturbed by the noise from the machines.
● The showroom can be reached directly from the main road on the north by a narrow bridge for pedestrians.
2018) Fig No: 24, NID
● Provision has been made for expansion, not only of each workshop but for three new workshops in the future
● Spiral staircases from the studios provide direct access to the workshops.
● The staggering of the studios to the east and the west permits open planning and at the same time ensures privacy.
3.2 NID,
Built Up Area:
Architect:
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m Established(approx.) in: 19th
● The library has a lounge with open book-stacks for browsing and a separate area for quiet study.
● Open to sky terraces in between the workshops provide outdoor work areas.
pictures
2004
Banker Architects Site Area:
● Garden terraces attached to the library overlook the river to the north. GANDHINAGAR Sen Kapadia& 16 acres 16,137 sq. July (DOMUS, Gandhinagar campus
● Each technology (such as wood, metal, pasties, ceramics and glass, printing and photography) is assigned a separate wing connected to the central core (which can be used for product assembly) but separated from each other by courts,
3.2.1. Location National Institute of Design is a postgraduate campus, an extension campus of the parent institute in Ahmedabad, located in Gandhinagar bypass road near Info city which is one of the leading global Its Outsourcing hubs in Gandhinagar. (DOMUS, 2018)
● The Interaction zone (Convocation plaza) consisting of auditorium, OAT, design showroom, etc.
Fig No: 25, NID Gandhinagar campus zoning
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● The Institute zone, consisting of all the workshops, laboratories, classrooms, rooms,lecture studios, offices, resource center, showrooms, etc
3.2.2. Approach ● There are two main approaches for entering the campus: ● West gate to the institute block which is proposed to be the main entrance to the campus ● South gate to the hostels and faculty residences
3.2.3. Site Zoning The campus is divided into 4 zones:
● The Residential zone, consisting of student hostels and faculty residences.
● Old academic zone which is presently serving as carpentry workshop, gymnasium, music. (DOMUS, 2018)
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 36 3.2.4. Site Plan Fig No: 26, NID Gandhinagar site plan 3.2.5. Site Section Fig No: 27, NID Gandhinagar site section
● The outer street has a series of landscaped and variable built forms, whereas an inner street will be a north lit route with fountains and open spaces topped with a shaping device. (DOMUS, 2018)
● The campus seems to evolve along an organic river flow, the river being the main access road, and its tributaries - the involving pedestrian routes.
3.2.6. Concept
● The internal street provides connectivity to various academic disciplines and is interspersed with foyers and courtyards for spontaneous informal assembling, which are covered with landmark signage and display potentials.
● The building is like a spread of ‘fragments’ appearing to open out their arms to the surroundings.
Fig No: 26, NID Gandhinagar planning concepts 3.2.7. Conceptual Ideas of Climatology and Landscape
● The design accounts for the extreme climatic factors by adhering to passive solar architecture with natural cooling and day lighting supported by north-south orientation and roof cover to avoid heat.
Landscape and natural forces orient the design to create function driven voids for the students and academic norms, where the landscape becomes a neutral backdrop to highlight a building. (DOMUS, 2018)
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● The landscape then filters into the built fabric, appearing to be stitched into the sloping earth lands.
The plan follows the profile of the site along east west direction maintaining its character. The ground floor consists of administration, classrooms and studios, labs, faculty chambers, library and knowledge management center. It also has a sunken table tennis court provided with steps. Planning is done around 3 atriums to allow ample light and openness to the building. Entrance has a large foyer which reflects the grandness of the building. It is also provided with a ramp which leads to the upper floors for easy movement of display boards. (DOMUS, 2018)
Fig No: 27, NID Gandhinagar ground floor plan
3.2.8. Planning
● This is counterbalanced on the southern edge with landscaped sloped embankments of units with people functions such as design shop, design gallery and auditorium.
3.2.9. Ground Floor Planning
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The masterplan is evolved as a dense linear layout with center dense street, suggestive of traditional shaded and interactive streets of Ahmedabad and many other mediaeval towns, the main institute building comprises classroom, labs, studios and administration areas which is in northern zone. (DOMUS, 2018)
Fig No: 29, NID Gandhinagar
Fig No: 28, NID Gandhinagar second Floor Plan 3.2.11. Academic Block A small entrance to a grand inner space Use of indirect lighting according to the different special needs. This acts as an aesthetic as well as functional element.
3.2.10. First Floor Plan First floor consists of all kinds of labs like digital lab, MAC lab, historic process lab, mechatronics lab and studios like LAD studio and photography studio. It also includes color dark room and black & white dark room. It also has various other services like shooting floor and an equipment store. (DOMUS, 2018)
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● Ramp provided to help in the easy transportation of heavy goods, wheel chair, trolleys, etc. to the first floor. (DOMUS, 2018)
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3.2.12. Discussion Area
● The partition wall given in a wavy form and seating provided in the gaps, an effective usage of space.
● Two courtyards, one large and one small.
3.2.13. Courtyard
Fig No: 30, NID Gandhinagar courtyard picture
● Ceiling Coffered Slab is utilized as design element by providing lights in the grids
● An informal discussion or meeting area provided facing the large ● courtyard.
● The large courtyard, partially covered, gives openness to the whole interior.
● The roof is intentionally inclined a bit so that the whole daylight can be captured.
From morning to evening, light falls first over the knowledge center, then to the ground.
● Roof of the same plays with light and shadow, a wonderful design element. The daylight filtered in patterns fall all over the interior.
● The second courtyard, rich in greenery gives the whole atmosphere a cool and open feeling. It also accounts for lighting and ventilation. (DOMUS, 2018)
The workshop space is shared by both 1st yr. and 2nd yr. students. As the interaction between them is necessary to develop the imagination skill for the students. The ideas shared by them are incorporated in their design works. (DOMUS, 2018)
3.2.16. Future Expansion
● Thus in case of any future expansion, horizontal expansion of the academic block is only possible.
Fig No: 31, NID Gandhinagar technical picture
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● Granite & marble flooring in entrance foyer and circulation space.
The possible construction on site has ceased.
● The vertical development of the academic building is not possible due to the structure of the roof provided.
3.2.15. Workshops
● Plain cement floor finish in classrooms & labs. (DOMUS, 2018)
● Stone grit kota chips finish is used in the outer facade of the building.
● R.C.C. frame structure with steel columns supporting the atrium roof.
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3.2.14. Materials Used
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 42 3.2.17. Architectural Observations As a result, the student or visitor to NID experience a meandering street analogy being a character of traditional shaded interactive streets of Ahmedabad,
● The building is revealed as a non monolithic form with specific scale and character assigned to the different academic, residential and public spaces to create a vibrant campus plan.
Fig No: 32, NID
3.3 NID
● The multifaceted atrium offers opportunity for interaction, landscaping and essential student activities. Bangalore Bangalore
Campus Architect: Karan Grover & Associates Site Area: 2 acres Established in: 31st March 2006
● Function works with the form to deliver the convocation grounds where open stage gets aligned with buildings which provide seating during functions and isolation work as landscape elements.
3.3.2. Site Zoning consists of a Single Block which consists of OAT & Water Body. No others are provided at the Site as the area is only 2 acres. The various spaces are at building level.
3.3.1. Location National Institute of Design is an R & D campus, an extension campus of the parent institute in Ahmedabad, located in Off Tumkur Road, Bengaluru (Associates, 2010)
3.3.3. Site Plan Fig No: 33, NID Bangalore Site Plan 3.3.4. Concept The Building is in Circular Oval Shape with a Central round corridor. The block consists of various wings which serve as different uses or spaces assigned. It is a Multi Level Building Which rises from the basement all along the circular corridor in Sloppy manner. The OAT in the centre with waterbody act as a void in the building. (Associates, 2010)
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Fig No: 34, NID Bangalore ground floor plan
Fig No: 35, NID Bangalore first floor plan
3.3.6. First floor planning
The 4 modules/units would be accessed from the central ‘Forum’, the defence related product design centre is located under the central forum like a bunker/catacomb with a landscape of skylights above. (Associates, 2010)
The forms are subtle curvilinear and are planned along east west axis. The building is divided into separate individual modules connected with a circular path. The built forms largely face the north taking advantage of the best natural light at the same time exposing the building to minimal heat. The workshop in the ground gets lighting from skylight.
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3.3.5. Ground floor planning
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At
Fig No: 36, NID Bangalore second floor plan Third Floor No: 37, NID Bangalore third floor plan
The width of the various academic blocks is kept such that there is sufficient penetration of natural daylight. Between every block is a landscaped courtyard. the heart will be a ‘Forum’ A central amphitheatre and water body, which will become the stimulating centre connector the interface between the public exposition spaces and the privacy of the academy (Associates, 2010)
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3.3.8.
3.3.7. Second floor planning
Fig
3.3.10. Vertical Circulation
● The green yard between blocks brings in light and proper cross ventilation is allowed for all blocks. (Associates, 2010)
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● Classrooms at the ground have landscaped platforms outside, used by students.
The corridor spaces in the building are very directional and well connected. These spaces are made interesting with play of different levels which are accessible by ramps and steps. These allow access to allow all the rooms along the corridor path and the basement also. (Associates, 2010) Fig No: 37, NID Bangalore Campus Pictures
3.3.9. Transition Spaces
All the vertical circulation areas are painted with bright colours and has the view of courtyard with a pool which gives a lively experience and pleasant feel.
● The areas around the courtyard are well planned and lighted, giving an institutional feeling but few interior areas are dark even in the daytime.
● Stones are used as sit outs Small shrubs as edges to the hard paved pathways.
● This space brings in diffused light and also serves as an interaction space.
3.3.12. Architectural Observations
● The circular connecting the individual blocks gives a feel of openness on both sides because of the presence of green yards in between the blocks.
Connectivity and communication is a key feature, the “form” is a connector between the E W blocks through N S passages. The form holds the modules together.
3.3.11. Spatial Analysis
The central green courtyards act as a foyer which includes a small OAT for 100 people
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 47 3.4 NID Bhopal Fig No: 38, NID Bhopal Campus Pictures Architect: Gian P Mathur Architects Site Area: 28 acres Established in: 2019 Client: NBCC Fig No: 39, NID Bhopal Planning
3.4.3. Learning Spine
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Fig No: 38, NID Bhopal Campus concept, details, pictures
3.4.1. Zoning Zoning of the campus guided with three factors Estrame contours on the site The segregation of public, student and private staff students The creation of corridors /spines to control space utilization.
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3.4.2. Concept Planning and designing of the blocks are inspired by the NID logo. The characteristics N triangle from the logo has been used to form the shapes for academic, Admin and workshop blocks. (Planners, 2019)
The path from the administrative block to the library, located at the highest point on the site, is punctuated by an elaborate, stepped landscape, aesthetically and functionally accentuated by planters that double up as seating spots for the students as well as the faculties. The idea was to create spaces that reinforce the students individuality by allowing for privacy, yet ensuring a feeling of openness, being Cocooned within a bigger space. Designed to creaté a feeling of grandeur, the elevation treatment Attempts to break away from the traditional notions of design. (Planners, 2019) A facade that clearly reflects the Triangular form inspired from the NID logo,coupled with the exterior of various zonal blocks that seamlessly integrates the columns,lends a sense of coherence and homogeneity to the overall design language.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 49 3.5 Comparative Analysis of Case studies Table No. 2. Case Study Comparative Analysis
facilities and amenities.
High
Site
Residential
3.6.1. surroundings AP University beside the campus building to the west of campus court of Ap on North of campus vegetative land to east of the university.
Programmes Communication Design Industrial Design Textile Design
3.6.3.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 50 3.6. LIVE CASESTUDY 3.6. NID Amaravati Fig No: 39, NID Amaravati Campus Architect: Design Well (INDIA) PVT. LTD Client: Ministry of Commerce and Industry Site Area: 20 acres, 30 acres future expansion Established in: Under Construction Located near secretariat road, Amaravati Andhra Pradesh
3.6.2. road is the main access to the campus the south side there is a bridge coming up. 20km away from Vijayawada which has all the
VIT
On
Open
Accessibility 14m
All the three blocks stand as monoliths. Due to sloped roof there is no scope of vertical expansion. The green roofs can be used mostly during the evening due the direct sunlight.
But it helps in providing the thermal comfort inside the building.
3.6.7. Planning (Academic Block) The main structure follows simple grid pattern. Ground spaces are planned for open exhibition ages and cafeteria. There one main service core and 4 other staircases for the vertical circulation. Toilets are planned beside the main service core.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 51 3.6.4. Strength and In-take: 25 seats per programme Total 75 per batch/year Total college strength 304 students 3.6.5. Structure and Material RCC Grid form structure Brick walls, glass for openings and skylights Tandoor stone tiles for circulation areas Ceramic tiles for class rooms, rooms. Ss Railings 3.6.6. Form
Front facade has slight slope to avoid glare.
East and west facade have building envelopes and corridors to protect from harsh sunlight.
Simple form with a large subtraction in the facade to capture the views and natural lighting. The structure feels massive due to its scale and proportion.
Green can act as a spill over area for library.
Administrative department has been planned in the ground floor.
First floor is planned for Library and computer labs. Second floor is left for future expansion.
First and second floors consists of studios, Audio visual rooms, discussion rooms and faculty cabin.
Openings have been provided on all the sides of the building which captures beautiful views.
3.6.8. Circulation and Interaction
Two more double height voids have been added in the first floor to increase the level of interaction between different floors.
Rooms open into the corridors which allow interaction from built form to the recreational areas.
3.6.9. Planning (Administrative, Library and computer lab Block)
Canteen can become a spill over area into the recreational spaces in front of it.
There are two main courtyards which have skylights on the roofs.
Two stairways are of fire stairways and other are for daily use.
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One courtyard for achieving natural lighting.
4 open to vertical voids for vertical interaction between the floors.
Ground floor is left for idea exchanges and exhibiting their works.
Two staircases in the front side.
Simple circulation pattern as the spatial planning follows symmetry.
No lift provision Toilets have been planned in different places in different levels.
Ramps have been provided for universal accessibility.
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The floor plate kept reducing as for every level due the building form which has green roof.
Toilets are planned at different places at different levels. No lift provision. There are openings on building capturing the views. One staircase. Interaction between different floors due to double height ceiling.
3.6.10. Planning (Workshop Block) This block consists of workshop areas in 2 floors. One central courtyard and an additional skylight in the second floor. Simple Circulation pattern. Ground floor has double height ceiling giving a spacious and massive structure feeling. Floor plate of different floors kept reducing due to the green roof.
3.6.12. Inferences Three spine zoning. learning, recreational and residential. Recreational and interactive spaces acting as the transition spaces Administrative and auditorium Blocks near to entrance. Facade to be designed in a way that is allows lighting but also cuts off the harsh sun. Openings to capture the beautiful views from the context.
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Another skylight is provided in second floor for the lighting.
3.6.11. Planning (Auditorium Block) 360 seats auditorium First bock from the entrance One staircase Two toilets One skylight and an additional skylight in second floor. Consists of Green rooms, Store, Electric, Ahu, Projector room and lobbies.
Ground floor as exhibition space which will act as knowledge gaining space, welcoming entrance. (Nufert and National Building codes for educational buildings)
Play of voids across various levels for interaction and lighting purpose
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Green roofs to provide thermal comfort from the harsh weather conditions.
4. TECHNICAL STUDY 4.1 NORMS
Simple circulation pattern within the building as the spaces are planned in a symmetrical manner.
Two circulation paths peripheral road for the vehicular movement and internal road for pedestrian movement.
Play with scale and proportion to achieve the massiveness and openness in the built form.
Use of recreational spaces as spill over spaces of other activities happening inside the built form which provided inside out feeling.
Planning of skylights and courtyards to achieve comfort levels in the built form.
Balcony placements in a way that the cuts of the harsh sun and also act a space for interaction from built form to open spaces.
• Unless otherwise specified, all the exits and exit passageways to exit discharge shall have a clear ceiling height of at least 2.4 m. However, the height of exit door shall be at least 2.0 m
• An exit may be a fire exit doorway; an internal staircase, exit passageway, external doorway, external staircase and those having access to the street or to a Veranda or to a refuge area or to the terrace or roof of a building. An exit may also include a horizontal exit leading to an adjoining building/fire compartment having its further access to unlocked/public exit at the same level.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 55 Table No. 2 Fire and Safety Table No. 3 Travel Distance Fire SubdivisionSafety B 2 All others/training institutions
This subdivision shall include any building or a group of buildings under single management which is used for students not less than 100 in number.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 56 • The dead end corridor length in exit access shall not exceed 6 m for educational, institutional and assembly occupancies. • No exit doorway shall be less than 1 000 mm in width except assembly buildings, where door width shall be not less than 2 000 mm • The slope of a ramp shall not exceed 1 in 12 (8 percent). 4.2 TELANGANA STATE BUILDING GUIDELINES Table No. 4 Parking, Set Back Considerations
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 57 4.3 AICTE NORMS Table No. 5 AICTE Norms for Intake of students
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 58 Table No. 6 AICTE Norms for Area Provision
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 59 4.4. Programmes Three Departments 1. Industrial design Product design - Interior design Up cycle and recycle design Jewellery design 2. Communication design Graphic design - Film and Video Communication 3. Textile design - Textile design 4. IT Integrated design Interaction design - Digital game design 4.4.1. Product Design Fig No: 40, Product Design
Products are part of immediate surroundings, our living spaces and our culture. Product design is the creation of objects of utilitarian value to people. Products function as part of larger systems, and the product designer's role is constantly growing as she/her understands the larger implications of products, and the relationships with users. Demand for product designers in India has increased over the years and is currently growing at an annual rate of 10% as per Confederation of Indian Industry (CII) reports. With a dearth of skilled product designers in India, the need for qualified designers has increased. (CII, India Design Report, 2020)
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 60 4.4.2. Interior Design
Interior Design defines the immediate physical environment of a human being, encompassing spiritual, philosophical, mental and emotional relationships that connect man and space. Being an intrinsic part of human endeavours towards adaptability, creativity, expression and the act of living well, it has to accommodate and provide for changing needs of the individual and the world (Nambiar, 2014) Rapid urbanisation in big cities like Delhi, Mumbai, Ahmedabad, Bangalore, Chennai, Kolkata, Hyderabad, Pune, etc. has changed the Indian life style drastically. There is also a noticeable growth in the income & purchasing power of the Indians and the homeownership rates. This is the reason now many Indians spend more on the interior design of their homes to make them unique, well equipped, and sophisticated. All these developmental trends and lifestyle changes with Indians are leading to a remarkable growth of the interior design industry in India. From the past few years, the industry has been expanding by 30-40%.
Fig No: 42, Upcycle and Recycle Design
Fig No: 41, Interior Design
4.4.3. Up cycle and recycle design
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Fig No: 43, jewelry Design
t’s the process of transforming waste materials/objects, useless, or unwanted products into new products and/or materials of better quality, with a different function and often with better environmental value. Designing something where one has to use an old object or material is quite hard and challenging. Besides environmental benefits, upcycling also stimulates jobs and enhances individuals’ living conditions. Participants, often craftsmen and skilled workers, utilize discarded materials/objects and turn them into amazing upcycle products designed by well-known designers. This way trash turns into treasures. Recycling involves the destruction of waste in order to create something new.
4.4.5. Graphic Design
4.4.4. Jewellery Design
I
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Jewellery designing, manufacturing and trading has been an integral part of the human society five thousand years and more. It is the art or profession of crafting, creating, fabricating, or rendering designs for jewellery. The market in jewellery designing and technology in India is developing rapidly. Also Hyderabad is famous and was also known as pearls city and diamonds trade, nizams jewellery of the famous jewellery India.
Fig No: 45, Film and Video Communication
Common uses of graphic design include identity (logos and branding), publications (magazines, newspapers and books), print advertisements, posters, billboards, website graphics and elements, signs and product packaging. Graphic Design in a developing country with its varied cultural heritage has a vital role to play in national development.
The Film and Video Communication discipline aims to transform students into versatile, design informed directors, fluent in the conception and production of films for a range of educational, cultural, social, entertainment and marketing needs. The discipline focuses on building a strong foundation in visual communication skills, social studies and theoretical as well as technical aspects of film making. (Nambiar, 2014) Film making in Hyderabad was started in early 1917 by Lotus film co during the Nizam's era. The city is home to the Telugu film industry, popularly known as Tollywood, the second largest in India after Bollywood. Since 2005, parallel to Tollywood and Bollywood the city base Hyderabad lingo movies initiated by Hyderabad Deccan Film Club" Deccan wood, had gained popularity in the region. The Ramoji film city located in Hyderabad since 1996, as the world's largest film studio.
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Fig No: 44, Graphic Design Graphic design is created to convey a specific message (or messages) to a targeted audience. Graphic designers use various methods to create and combine words, symbols, and images to create a visual representation of ideas and messages.
4.4.6. Film and Video Communication
Fig No: 47, Game Design
Fig No: 46, Interaction Design
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The Interaction Design discipline focuses on aspects of design and behaviour across a wide range of products and sectors. It caters to domains related to innovation and developments in technology like AI, machine learning etc. and prepares students to develop concepts, practices and processes in the area of interaction design. The design projects offered, progressively move from conceptual, web and mobile platforms to dynamic, interactive interfaces and finally look at physical products and appliances within a spatial context. (Nambiar, 2014) The IT city of India, the educational and research activities at the campus are in sync with the city ecosystem and focus on bringing digital inclusion in their products, processes across the various disciplines.
4.4.8. Game Design
The Digital Game Design Department aims to provide students with the necessary theoretical and practical skills in game design and creation. From concept development and idea generation to the production methodologies applied in today's leading game studios with the education they receive in this department; students create a perspective on game design and the production process. The Digital Game Design Department combines the creative imagination of students with the latest technologies to create games and experiences.
4.4.7. Interaction Design
4.4.9. Textile
Fig No: 48, Textile Design
With more digital entertainment companies entering Hyderabad to establish their offices, the city has emerged as one of the biggest gaming destinations in the country. Gaming ecosystem will continue to expand in the State, said Telangana IT Minister KT Rama Rao. Design
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The Textile Design discipline encourages students to engage with a wide spectrum of materials and technology, from the perspectives of industry, sustainability, social responsibility and inclusive design. The curriculum emphasizes on building a variety of skills through increasingly complex design projects related to the apparel, furnishing and allied industries, with inputs in social sciences, craft economics, trends, brand identity, technology and computer aided design. The programme includes several interdisciplinary projects for enhancing livelihoods/public spaces/exhibition/interiors and for the automobile industry. (Nambiar, 2014)
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● Government of Telangana is also inviting design institutes of national importance to establish the institutes in Telangana and make Telangana designer’s hub.
● Establishing a design college in such a rapidly developing city will also help bring awareness.
● All these four cities are industrially active and are home to the majority of wellknown Indian Companies.
● So, it can become an advantage not only for Hyderabad city but also the surrounding developing towns and districts which are rich in design heritage.
Table No: 7, No. of design studios in Hyderabad Fig. No: 49, Comparison with other states
● Hyderabad Capital of Telangana is a metropolitan city.
● But Hyderabad has just 1 recognized design college.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 65 5. SITE STUDY 5.1. SITE JUSTIFICATION
● According to census 2011 Hyderabad is one of the top 10 densely populated cities in India.
● Hyderabad has turned into a prime hub for any field you name.
● As the site is closer to the outer ring road which is now well connected to the developing Warangal district (weaver’s hub), it can act as a pull factor for the design companies.
● Hyderabad is well connected to surrounding cities and rapidly developing towns.
● It can be seen according to table 4, that the major concentration of design companies is in four urban areas viz. Mumbai, Delhi, Bangalore and Pune.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 66 ● The presence of leading design education institutions in these cities is also another reason for concentration of design companies in these cities. Fig No: 50, Population density of Hyderabad, KTR Call for Designers (Times of India 2020) 5.2. SITE ANALYSIS Location Bahadurpally, Maisammaguda Road, Hyderabad, Telangana Site Area - The area of the site is Approximately 20 Acres Site location The Site is located in Bahadurpally area which is a part of Shambhupur Mandal of Hyderabad, Telangana. Longitude 17°33'44.8"N Latitude 78°25'23.5"E Fig No: 51, Site Location
School of Design
5.4. Land Use Pattern Majority of the area is under the residential and multipurpose zones, in bahadurpally. All the buildings under multiple use zone are educational buildings, so the area is free from noise and is favourable for educational buildings.
Fig No: 53, Land use Map
5.3. Site Context Located in the northern region of Hyderabad, Shambhupur is largely an educational hub for Hyderabad. Well connected to the heart of Hyderabad, well laid out networks of roads, service lanes and highways and formal division of the region into multiple sectors are its key features.
Fig No: 52, Site Location
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 67
Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 68
School of Design
5.5. Site Evolution Historical images of the site highlighting its changing usage. The Image also indicates the various attempts at natural road development within the site, the addition of various educational institutions and various sectors over the years, and addition of various service facilities and utilities and the site's ability to facilitate the growth of trees and vegetation.
Fig No: 54, Mapping the changes
5.6. Outreach Modelled as the ideal expansion of the city, Bahadurpally enjoys a very strategic location. By having reserved forest, industries, residences, institutions and hostels, it showcases a major potential for the school of design. Its proximity to the major roads, highways, bus stops and metro station will allow the students to explore the city and understand the real world problems that a design can solve. Also it provides facilities for recreational activities.
Fig No: 55, Site Outreach
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 69 5.7. Context and Site Surroundings Fig No: 56, Site context
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 70 5.8. Site Study Fig No: 57, Site study, Site Pictures 5.8. VEGETATION Fig No: 58, vegetation 5.9. Architectural Vocabulary Built relatively recently, most of the structures follow the conventional: column beam RCC framed structure. As it is a developing area the upcoming buildings will follow contemporary facades and conventional construction methods.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 71 5.10. CLIMATE STUDY Fig No: 59, Hyderabad Climate study Fig No: 60, Sun Path analysis
Fig No: 61, Considerations
● Building facade envelopes to be applied: To decrease heat gain, to increase the contact with air movement, to reduce the exposure of the sun to the surfaces, and to create a more effective cooling.
● Corridors can be located on the southern facade with perforations for air circulation. This can reduce the entry of direct sun from south into the dwelling units.
● Openings on the SW side for good air circulation.
Design
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 72
5.11. DESIGN CONSIDERATIONS
Compact form with low S/V (Surface to volume) ratio is recommended.
East and west orientation should be protected by buffer spaces, shaded walls, etc.
● Close arrangement around the courtyard for the effect of cold air drainage during nigh time to increase daytime cooled spaces.
● Play of volumes to achieve shadows on to open spaces.
Orientation
Longer walls must be oriented towards North and South side
Operable exterior shading devices are useful because they respond to daily and seasonal variations in solar and weather patterns in ways that fixed shading devices simply cannot do. The operation of a movable shading device can be as simple as twice a year adjustment for example, manually extending roller shades, awnings,
Various Shading design elements can be used such as shading by overhangs, louvers, and awnings etc. shading by roofs; shading by trees and vegetation; shading by textured walls.
Fig No: 61, Design Considerations
Exterior shading is more effective than interior shading as it blocks sunlight before it enters through windows.
Operable Shading Devices
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 73
Insulation Green roofs or roof gardens can also be used as they help to reduce heat loads in a building. The additional thickness of the growing medium provides extra thermal insulation. These also retain moisture from rainwater further cooling the roof surface.
Shading Effective shading can be provided by proper placing of trees and shading devices
Fig No: 61, Design Considerations
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 74 rotating fins, or louvers at the beginning of summer and retracting the shade after the hot season has ended (in fall). These devices are very effective at blocking low sun angles from the east or west. More complex movable devices are typically on automated daily and seasonal programs. Although many facility managers are of the opinion that movable exterior shading devices require high maintenance and are prone to malfunctioning, the designer can apply appropriate technology to provide a low maintenance solution. Fig No: 62, Shading Devices INFERENCES of Climate Study Implemented in Design Fig No: 63, inferences
7. Good views from the site and there no threat of losing them in future.
2. Site shows a capability of vegetation but lacks good quality soil.
3. Use of pile and raft foundation.
5. The wind pattern changes over the year but there is a constant circulation of the wind. Since, the prominent wing type is wind from SE and W, the building orientation should be such as to utilize the maximum possible.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 75 5.12. SWOT ANALYSIS 5.13. INFERENCES
4. The natural site slope is in sync with the drainage pattern of the city hence, this can be taken as the strength of the site as there would be no need for any built method to deal with this issue.
6. As the site isn't completely flat there is a requirement of levelling it.
10.As the main orientation is N S northern lighting which is favourable for studios have to use is appropriately.
1. There is only one approach road to the site which makes the internal circulation system less flexible.
9. During the peak summers, the building tends to heathen up which will decrease the comfort levels, hence built structure should consider passive techniques to deal with it.
8. The site sits in a clam and quite area which favourable for educational environment.
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 76 6.AREA REQUIRMENTS 6.1. Area Requirement’s 6.2. Student & Faculty Capacity Table No: 8, Student and Faculty Capacity
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 77 6.3. Area Program
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 78
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 79
School of Design Sai Sowmya Jyothirmayee K, 1170100702, 2017 22 80
National Institute Of Design, Bhopal. V Ramu, N. T. (2020). Transitional Spaces in Higher Education as Efficient Informal Academic Learning Spaces. Young, E. &. (2011). Spotlight on India's entertainment economy: Seizing new growth oppurtunities.
7. Bibliography Achyut Kanvinde, H. J. (1969). India Design Report. Ahmad, F. (2015). Assessment of Interactive Spaces in College Campus. Retrieved from https://www.slideshare.net/azain143/assessment of interactive spaces in college campus Associates, K. G. (2010). National Institute Of Design R&D Centre, Bangalore. CEPT. (1961). CEPT University . Retrieved from https://cept.ac.in/about CII. (2015). India Design Report. CII. (2020). India Design Report. Retrieved Eames,https://www.cii.in/webcms/Upload/a2.pdffromC.R.(1958). The India Report, Ahmedabad: National Intitute of Design. Fisher,Ahmedabad.K.(2005).
Identifying Effective Learning Environment. Garland, J. (2016). The Hallway as a classroom. Retrieved from https://www.arrowstreet.com/2016/03/the-hallway-as-a-classroom/ IDA, i. (2011). World Design Survey. India, D. (2018). NID Gandhinagar Campus_Sen Kapadia. Koshy, D. D. (2011). Importance of Design as a Factor of Competitiveness. WIPO International Symposium onDesign. Santiago, Chile. Nambiar, A. (2014). Proposal for Design School at Navi Mumbai. Mumbai. NID. (2015). NID History & Background . Retrieved from Planners,https://www.nid.edu/about/history-of-nidG.A.(2019).
