Shabnam A K | Architectural Thesis work 2020

15ARC10.1 ARCHITECTURAL DESIGN PROJECT THESIS 2019-2020

INDO FRENCH KALATHÉQUE

THESIS REPORT JUNE 2020 A project report submitted in partial fulfilment of the requirements for the degree of BACHELOR OF ARCHITECTURE (B.ARCH.)

by SHABNAM A K

R V College of Architecture

(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109 JANUARY- JUNE 2020

R V College of Architecture

(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109

DECLARATION

I, SHABNAM A K, USN , 1RW15AT087 hereby declare that the Thesis Titled INDOFRENCH KALATHÉQUE submitted by me, in partial fulfilment of the requirement for the award of Degree of Bachelor of Architecture as per the university norms, to R V COLLEGE OF ARCHITECTURE, BENGALURU, is a record of my original work with credits given for information collected from any other source.

SHABNAM A K

R V College of Architecture

(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109

CERTIFICATE This is to certify that the thesis project entitled INDO - FRENCH KALATHÉQUE is a bonafide work carried out by SHABNAM A K, 1RW15AT087 towards partial fulfilment of the requirements for the Degree of Bachelor of Architecture JANUARY TO JUNE 2020.

We recommend that the thesis be placed before the examiners for their consideration for the award of Bachelor of Architecture Degree.

GUIDES: Ar. Bakul Jani

Dr. OM PRAKASH BAWANE Principal R V College of Architecture BENGALURU

Ar. Seema Anand Ar. Sundeep Nagaraj Ar. Vagish Naganur

EXAMINERS: SIGNATURE DATE

INTERNAL

EXTERNAL 1

EXTERNAL 2

Acknowledgements To my parents who sat through the endless chaayas and procrastination, to my friends who made this tireless journey fun, mentors who did their best through zoom calls and that anna who helped gather information from this site I hadn’t much access to, I dedicate this thesis.

Here goes my thesis in the time that has been mentioned too much.... *drumroll* Corona time.

designing an Tamil - Franco cultural center through adaptive reuse of an old port in Pondicherry

TA B L E

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C NTENTS

Chapter 1 Introduction to the project Chapter 2 Methodology Chapter 3 Typology & Case studies

Alembic Industrial Heritage and Re-Development, Baroda Cinnamon, Bangalore Transport Museum, Budapest Moderna Museet Malmรถ, Sweden Bharat Bhavan, Bhopal

Chapter 4 Standards and general systems

Auditorium Amphitheatre Music, Dance, Drama/Theatre studios Art gallery Library

Chapter 5 Background study

History of Pondicherry City planning Social division, culture & events Landmarks History of port

Chapter 6 Program development Chapter 7 Adaptive reuse study Chapter 8 Site & contextual analysis Chapter 9 Design development Program zoning Spatial organisation Adaptive reuse strategies Volumetric explorations Design drawings 3d visualizations

Chapter 10 Bibliography & references

Chapter 1 Introduction to the project Pondicherry is a melting pot of rich cultural heritage, a free-spirited seaside town where all Tamilians aren’t Indians and just not all foreigners are tourists! The city owes its eccentric character to its colonial history of Portuguese, Dane, Dutch and most importantly, French rule. Pondicherry has an interesting cross-cultural history and its architecture gives it a unique identity. The old town of Pondicherry is a showcase of the two distinct architectural styles - French and Tamil and the hybrid Franco-Tamil. The French quarter has buildings inspired by the European classical style whereas the buildings in the Tamil quarter are in the vernacular style of Tamil Nadu. The city also has a spiritual side to it owing to the experimental town of Auroville and presence of ashram.

The topic of sustainability is at the forefront of current international discussions. The rising importance placed on green practices has been prompted by the rapid depletion of natural resources, and the increased human interference in the natural climatic balance. Some of the available statistics indicate that the construction and operation of the built environment accounts for: 12-16 % of fresh water consumption; 25% of wood harvested; 30-40 % of energy consumption; 40% of virgin materials extracted and 20-30% of greenhouse emissions.

Meanwhile, within Auroville, several research institutes are continuously working on innovative processes to reduce energy and water use by modifying and integrating new and existing technologies.

Unique experimentations in design, technology and symbolism, and an integration of architecture with nature have been the hallmark of Auroville architecture.

Some cities have, unfortunately, decided to adopt a “newer is better” mindset, causing them to discard perfectly fine, usable resources in order to “upgrade”. This thinking has caused major issues for our environment and will continue to do so until we are able to see value in materials as they age. Adaptive reuse is a great example of how individuals can prove to the larger group that there are creative options for recycling, reusing, and repurposing already existing resources.

Adaptive reuse is the process of converting obsolete uses, while maintaining elements of the original design and structure.

This technique preserves the character of

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buildings

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Architectural Thesis 2020 | Shabnam A K

A view of the proposed design time and place, while accommodating changes in demand, technology, tastes, and uses.

How do we as architects accomodate a function into an architectural complex not at all built for it?

What do we do with wastelands, defunct factories, industries in urban areas grappling for space and land?

What can be done with dead large industrial complexes, precious land they occupy, the memory and their history we don’t wish to lose?

Project description With this project I aim to design an Indo-French cultural hub in Pondicherry, providing an international platform for Tamil and French cultures, by adaptive reuse of an old port at close proximity to the rich context of White town. Create spaces that cater to the varied art forms, events and festivals that dot the Pondicherian calender.

Aim & Objective With this thesis I would like to explore industrial heritage and the process of adaptive reuse by reinvigorating a decaying structure in response to contemporary demands.

With the cities growing into urban culture, the need for the growth of a cultural complex and public spaces in the corporate city is often ignored. Therefore, the emphasis is to establish the link between the city and the cultural complex. Also, to generate the new landmark for Pondicherry and to create a holistic environment for learning, teaching and performing arts and spaces. The protection of the cultural heritage should also preserve the particularly sensitive cultural memory, the growing cultural diversity and the economic basis of a state, a municipality or a region. The program is envisioned keeping the aspiration of the union territory of Puducherry seeking for a UNESCO Heritage city tag.

Location justification The site is an abandoned old port built in mid 1900s. Nine acres of land lay unused, owned by the port department.It is situated in the strong context of the old part of town, lying sandwiched between a slum colony on its south and white town on the north side. Existing structures on the site include six warehouses, a pier and a defunct railway track passing through the center of the site.

The Puducherry Smart city board has proposed for an ‘Urban entertainment village’ in the same site.

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Chapter 2 Methodology

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Architectural Thesis 2020 | Shabnam A K

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Chapter 3 Typology Study & Case studies I. Alembic Industrial Heritage and Re-Development, Baroda

The Alembic factory is located in the middle of the cityi and along the main railway line of the city of Baroda. In its 112th year of existence, the first-ever Alembic industrial building in Vadodara has seen multiple surgical interventions.

Starting from manufacturing penicillin to alcohol.

The space within is meant to serve the Alembic Museum, art studios, display and exhibition space with ancillary spaces for a library, AV room, and a cafĂŠ.

Before renovation

The architectural purpose was to approach this as a sculpture is to maintain the true spirit of the building in terms of materials and the physical quality of the space. The only new architectural elements are new partition walls in between studio spaces. The existing building is characterized by arches, which have been blocked. We are opening up as many arches considering the structure of it. The thickness of the main load-bearing walls averages at 0.45m and provides the interior with excellent insulation.

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Architectural Thesis 2020 | Shabnam A K

Typology study Alembic Industrial Heritage and Re-Development, Baroda

They will be using either sandblasting or water jet treatment in order to remove the plaster from the brick. In many areas, the plaster is already peeling off and would like to continue with the same. Another major architectural element is the design of the roof. The trusses are riveted as opposed to being welded.

Programmatic diagram

Many of the trusses were in great condition. Only a handful of the trusses required strengthening.

The existing exterior roof material is of Mangalore tiles. These terracotta tiles are battered and have to be removed. New Mangalore tiles installed with added insulation above the top-chord of the truss. They are very keen to leave the purlins and rafters exposed to express the quality of the structure that it once was. The re-development of the industrial area will see major interventions in other parts of the campus.

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II. Cinnamon, Bangalore

1892

During the Great Famine 1876-78, the miserable condition of the orphans prompted Rai Bahadur Arcot Narrainswamy Mudaliar to set up an orphanage.The foundation stone for the orphanage was laid on 23rd November 1892. He offered to support 40 to 50 orphans and secure the lives of these children. They were fed and clothed in the orphanage.

1892

Now known as Cinnamon, offers beautiful prêt clothing and home decor. It houses one of the finest Indian design labels such as Pero, Aavaran, Vivek Narang and Eko to name a few.

As a boutique this has taken it one step forward, turning its beautiful courtyard as a gateway to a bunch of other boutiques it hosts. At the heart of the courtyard is Cafe Cassia.

Over the years due to various occurrences, the structure has been affected: • Accumulation of dry leaves and seeds from the surrounding trees etc along with rain water getting blocked due to choking of the rain water spouts.

• Growth of moss & seeds & dust / soil particles / lime particles from the waterproof top layers etc lead to germination of peepal tree, in the cracks of these layers. With the growth of the tree, the roof started splitting.

• Ingress of water & moisture into the walls softened the mud mortar and the walls.

• The wooden beams and rafters in touch with the moisture started rotting, especially in the joints to the wall. This also led to the bending of wood, thus decreasing the support the roof.

• The soil condition had repercussions over the 120 years, firstly the soil due to extreme clay content is prone to textural slippage and also more prone to expansion and contraction of volume due to change in sub soil moisture.

The foundation was fractured and the corners of the building began separating from the main body elevations of the building.

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Architectural Thesis 2020 | Shabnam A K

Typology study Cinnamon, Banaglore

In response to the multitude of factors affecting the structure various steps were taken. Some of the important ones to note were: • • • • • • • • • • •

Underpinning of foundation Stitching wall cracks with steel Bridging wall cracks with stone slabs Grouting of cracks Replacement of rafters that were considerably damaged by identifying each and every element in the roof structure Capping of damaged ends of beams and rafter Working out a steel prop system to uphold the major roof support elements (such as the main wooden beams).

Removal of plaster and waterproofing layer, to touch up in same material / mix as original for the exterior in order to prevent entry of moisture to the mud mortar within the wall courses Gravity lime grouting of all cracks in the madras terrace slabs and additional SS layer lime plaster across such conditions above.

Reworking of all rain water down take spouts and all valleys & ridges on the roof surface Maintaining all ornamental features, as per original design.

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Typology study Cinnamon, Bangalore

• Steel prop system to support the main wooden beams.

• Exposed brick work at junctions to enhance the essence of the old structure.

• Exposed steel stitches to strengthen the cracks

• Braided wires for the exposed service system

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Architectural Thesis 2020 | Shabnam A K

III. Transport Museum, Budapest

As the new home for one of the oldest transport museums in Europe, the proposed project will be sited in a former railway yard, using the idea of ground transportation as a central organizing principle. The design de-familiarizes ground by excavating, lifting, and cutting to produce unexpected environments. DS+R will be working with Hungarian partner Teampannon to bring the new Transport Museum to life.

The project aims to preserve the historic structures while reviving them for community use. The site’s vast footprint, unique spatial organization and impressive industrial monuments all present a unique opportunity to have a great impact on the city. The design aims to showcase the beauty of this historic site with modern means and contemporary architectural concepts.

The Museum of Transport previously left its former home in Varosliget, and the government of Hungary decided to relocate the museum to a seven hectare area located in a Kőbánya, a former industrial area in Budapest. The design features a new Forecourt that will include outdoor galleries, a picnic area, bosques, a café, a children’s playground, and outdoor spaces for the community use of the Törekvés Cultural Center. The museum’s collection will also spill out into the Forecourt: locomotives and carriages will be displayed in a series of breakout vitrines at the western facade of the Gallery Hall, blurring the line between the museum and the public realm.

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IV. Moderna Museet Malmรถ, Sweden

1901

2009

A starting point was that a new art museum, a public and cultural building, represents a rare opportunity to create a new node within the city, the urban balance is changed and the neighborhood develops.

In Malmรถ, in the south of Sweden, there was also the possibility to, starting from the industrial architecture of the former Electricity plant dating from the year 1900, create a new art museum with an informal and experimental character that would complement the main museum in Stockholm.

The greatest challenge posed by the project was the need to adapt the existing industrial brick building to current climatic and security requirements to comply with the highest international standards for art exhibition spaces.

It soon became clear that in reality what was needed was a building within a building, a contemporary addition within the existing shell.

This radical reconstruction not only provided a challenge, but also gave the opportunity for something new.

Original Purpose

Electricity Plant Building(John Smedberg) New Purpose

Museum 2009(Tham & Videgรฅrd Arkitekter)

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Architectural Thesis 2020 | Shabnam A K

Typology study Moderna Museet Malmรถ, Sweden

Seen from the exterior a new extension marks the arrival of the new museum. The extension provides a new entrance and reception space, as well as a cafeteria and a new upper gallery.

Its perforated orange faรงade both connects to the existing brick architecture and introduces a contemporary element to the neighbourhood. The perforated surface gives the faรงade a visual depth, and is animated through the dynamic shadow patterns which it creates. The ground floor is fully glazed so that sunlight is screened through the perforated faรงade.

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V. Bharat Bhavan, Bhopal

Overview Designed by Indian architectural luminary Charles Correa, this multi-arts center first opened its doors in 1982. More than thirty years later, it continues to house a variety of cultural facilities and play host to multitude of arts events. The design of the complex is a product of Correa’s mission to establish a modern architectural style specific to India and distinct from European Modernism. Drawing on the plentiful source material provided by the rich architectural heritage of his home country, at Bharat Bhavan Correa produced a building for the modern era which manages to also remain firmly rooted in the vernacular traditions of India’s past.

Program requirements: Permanent museum, Open air amphitheatre Restaurant Store Special exhibition area Library Toilet

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Green room Indoor theatre Auditorium Workshop Office.

Workshop studio Ticket counter

Architectural Thesis 2020 | Shabnam A K

Typology study Bharat Bhavan, Bhopal

Circulation

Spatial organisation

The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. The dialogue between these two components creates an ebb and flow of energy around the complex, in what Correa described as a “Ritualistic Pathway”.

It has a series of terrace gardens which cascade down till the lake. The visitors enter at the highest level and walk down the pedestrian spin, flanked by a pattern of courtyards in order to reach different parts of the complex.

It houses an art gallery, fine arts workshop, an oat, a studio theatre, an auditorium, amuseum of tribal and folk art, libraries of Indian poetry, classical as well as folk music.

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Chapter 4 Standards and general systems AUDITORIUM DESIGN REQUIREMENTS

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Standards and building systems Auditorium, Amphitheatre, Art Gallery, Design, dance and drama studio

AMPHITHEATRE DESIGN REQUIREMENTS

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DANCE STUDIO REQUIREMENTS As per NDTA- National dance teachers association, UK are as follows. All form of dance including indian dances are included in this: 1. Floor area • The amount of floor area required depends upon three factors: • Number of participants taking part in activities • It would be unwise to allow more than 18 participants at one time • A useful rule of thumb is provide a minimum of three square metre for each participant of primary school age and five square metres for those in the secondary and tertiary age range.

• Studios have been built with variety of shapes, ovals, circular with curving walls.

Such spaces have limitations; for many dance activities it is necessary to be able to locate front and for this reason rectangular space is most useful • 10m x 9m is the minimum size, providing space for eighteen adults to take part in any dance type and providing appropriate dimensions for chorographic work without a feeling of being cramped.

2. Vestibule •

A space of 6-12 sqm within the dance studio but separated from the dance studio floor and act as entrance via entrance of the studio.

• It accommodates space for any musical instrument device, visitor space and locker space.

3. Studio height • The height of the studio relates to the circulation of the fresh air and to the opportunity to jump and lift.

• A plentiful supply of fresh air is necessary for the dancer to replenish energy quickly. But beyond the physiological need the dancer performs best with a sense of being able to expand into space.

• Physically it is important to have a headroom so that the dancer never feels inhibited in achieving height. The opportunity for one 17

dancer to stand on the shoulders of another and raise his/her arms in the air, makes a height of atleast 3.5m ideal. This height gives an appropriate sense of spaciousness.

4. Sound • It is important that sound accompaniment is heard properly and with clarity within the studio but it is essential that it does not contaminate adjoining the workspaces.

• Sound insulation is a primary structural consideration. Cavity walls are invaluable and these may have baffling material enclosed or on the surface. Inner and outer doors should be close-fitting and solid, with spring closures, and the space between such doors needs to be properly baffled.

• Within the space excessive reverberation from hard surfaces needs to be avoided.

Partial walls curtaining has acoustics as well as aesthetic value.

5. Interior design A complete wall of mirror up to the height of 2200mm, in which all participants can easily observe the dance image, is ideal. Mirror should have curtaining which is independent of other curtaining, to cover them.

6. Floor surface • The floor area is most important attribute for the dancer. Every step and jump is responded to by the quality of the floor underfoot. Every dancer step or jump on an unyielding surface wears down the resilience of the body and brings the risk of injury, and the prospect of long term damage, closer.

• The ideal is a fully sprung floor permanently laid and exclusively used for the purpose of dancing.

• Smooth wooden floor is suitable for barefoot dancing. Adequate steps should be taken to eliminate the introduction of grit on the floor as this will cause damage to the surface.

Architectural Thesis 2020 | Shabnam A K

MUSIC STUDIO REQUIREMENTS

DRAMA STUDIO REQUIREMENTS

The requirements of a music studio is similar to that of dance studio. The music studio classroom needs better acoustics and sound insulation though. The requirements for good rehearsal facilities are: • Good sound insulation • Sufficient amount of absorption • Special requirements for the instruments need to be met like floor and reflecting wall etc • Other environmental controls are needed (ventilation, lightning, temperature)

As per time savers standard, a large drama studio is generally divided into 3 parts:

1. Acoustics • Suitable reverberation time for music rehearsals ranges between 0.6 and 1 second. There are two ways to reduce the reverberation time of a room: either the sound absorption must be decreased or the volume must be decreased. Increasing the sound absorption in a classroom is generally easier to achieve than reduction in volume.

• Small music room vary in size and accommodate diverse group ranging from a solo instrumentalist to small music ensembles. Louder instruments need larger rooms. As music students can spend up to 40 hours per week in music practise and rehearsal rooms, these rooms are very important in the daily activity in the music.

• Although rooms with non parallel walls, flooring and ceiling are preferred for music rooms, to maximise the utilization of the available space, the rooms are normally designed rectangular in size with floors and ceiling perpendicular to walls. Curved walls are not recommended for small rooms to avoid focussing and undesirable effects.

• By controlling the ambient echoes in your music room, you deliver back superior sound quality. Acoustic panels, wall or ceiling mounted, can be introduced in the music studio for the purposes of capturing and converting the echoes from your room.

Whether your music room is for teaching, recording or performing, the acoustics inside the room will reach premium quality once the level of reverberation is under control.

Shabnam A K | Architectural Thesis 2020

• A raised platform acting as a stage • Some fixed sitting on an inclined floor accommodating about 30 students, with chairs equipped with movable table arms.

Within some individual teaching practises the area might be preferred with a flat floor with movable chairs • A flat floor area between the two which acts as the playing area for rehearsal, demonstration etc. the total length of the room in this case is about 20m. For practical reasons these large studios are also used for performances for small scale production.

• A drama studio needs a working space of 120–150m², with an area for performance of about 90m² • The shape of the room isn’t essential, but it must be possible to vary the shape within the volume which can be achieved by curtains suspended on tracking • the design should provide at least one exit to the open air; two may be needed to meet health and safety requirements • The studio requires green room or dressing room in all cases along with the storage for props and costumes.

• The stage depth should be at least 4m and height over it more than usual classroom height.

• For smaller studios the seating area is omitted. The studio requires green room or dressing room in all cases along with the storage for props and costumes.

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LIBRARY REQUIREMENTS

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Architectural Thesis 2020 | Shabnam A K

DRAWING STUDIO REQUIREMENTS

ART GALLERY REQUIREMENTS • An art museum or art gallery is a building or space for the exhibition of art, usually visual art.

• To show the art and painting, institution should provide protection against damp, sunlight and dust.

• Exhibits should be displayed in such a way which allows the public to view them without effort.

• The normal human angle of vision starts from 27 degree up from eye level • For a standing person, pictures should be hung 10m away with the top not more than 4.90m • above eye level and the bottom about 70cm below.

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Chapter 5 Background study I. HISTORY OF PONDICHERRY

TIMELINE OF PONDICHERRY’S HISTORY

Pondicherry is one of the historical cities of India. As a matter of fact, it is much older than some of the other historical cities of India such as Shahjahanabad and Jaipur. However, the notable difference between them is that unlike these historic cities, Pondicherry was a port city, and it was colonial.It boasts of an extremely fascinating and dynamic timeline, scattered with remnants of what is a long period of shifty reign.

The Tamilians who were native to this small oval-shaped patch of land of about 20 square kilometres experienced a major change in their economy, society, and culture as the Dutch traders set foot in the city in the early 1600s.

Portuguese set up a factory

Phulchery (Mughal records)

Pallava dynasty

Pandya dynasty

Chola dynasty

Sultanate of Bijapur

Vijayanagara empire

Source : Pondicherry, that was Once French India by RaphaĂŤl Malangin

Puducheria

Danes setup factory

Dutch buy textiles

Dutch rule

Podechery (Dutch map)

French rule

First French settlement

Poelisjeri

Pre-colonial history

A weaving and fishing village before Dutch arrived 21

Architectural Thesis 2020 | Shabnam A K

Background study History

Fort Louis in present day Puducherry was constructed around the year 1709. It was built on the French plan. The fort was designed by an engineer, de Nyon, and had a pentagonal shape. It boasted five bastions and a couple of gates and had underground chambers to store arms, ammunitions and other commodities.

Source : Pondicherry, that was Once French India by RaphaĂŤl Malangin

Pondicheri

Town razed to ground

British rule

French rule

British rule

French rule

Town reconstructed

French rule

Shabnam A K | Architectural Thesis 2020

British rule

French rule

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Background study City planning

L A N D U S E

E V O L U T I O N

City Planning

2.1694 Design of a large new town, with a very regular geometric layout, rectangular blocks of houses, seperated by staright streets, intersecting at right angles.

Since the beginning of time, the French town has a noteworthy geographical feature- a canal cutting right through the site of habitable land which makes up the city of Pondicherry. This fact is worth remembering because it plays an enormous role in the planning of the historical city. As it gained reputation for trade, it turned into an important port city. Traders from lands far and wide crossed the great waters and banked upon the mighty and highly temperamental tides along the rocky seashore of Pondicherry. The number of merchants escalated quickly, and soon there was a need for foreign colonies on the Indian Territory.

Although the traders wanted to expand business prospects in the local markets, they wanted their families to stay safely away from the native population while inside the city. Hence, the role of the previously mentioned canal came into play. As it ran essentially parallel to the coast, the colonial settlement happened strictly in the portion of land enclosed by the sea on one side and the canal on the other. The native Tamil population was, resultantly, pushed to the other side of the canal.

As time advanced, this canal got established as a strict line of control in the city, with occasional connections between the two parts. The disparity between the lifestyles of the two almost-halves of the same city was astounding! It is as if the canal is not a geographical feature dividing a city into two, but a thin line of connection between two parts of the world, extremely opposite in every respect.

1.Before Dutch arrived Primarily, a weaving and fishing village.

3.1705 French executed Dutch plan.

old

The grand canal French town Orthogonal pattern of streets Beach promenade

4.1880 Grid pattern proposed

by Dutch in 1694 according to prevailing caste system.

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PUBLIC

RESIDENTIAL

COMMERCIAL

AGRICULTURE

Tamil quarter

SITE

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Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

The Social Division, Culture and Events The fortified town, planned on a grid pattern in oval shape, encompasses two different partsTamil and French, divided by the canal. The Tamil town in turn has an intimate fabric of Hindu, Christian and Muslim quarters.

The French town has structures in the European classical style comparable to the Parisian villas of the “Hotel particular” (urban upper middle class in France) while the buildings in the Tamil have a strong vernacular influence of surrounding Tamil Nadu.

The two contrasting styles, existing side by side, have influenced each other, resulting sometimes in a unique blend of European and Tamil architectural patterns, reflecting the crossculture impact and giving the built from a certain “Pondicherry-ness.”

F R E N C H

Q U A R T E R

HINDU

TA M I L CHRISTIAN

FRENCH

MUSLIM

SITE

T A M I L

Q U A R T E R

The French quarter has buildings inspired by the European classical style.In French quarter each building with different design – the interior of the building with its colonade, portico, porch and garden made with total privacy from the street outside.

In contrast, the Tamil houses can be said to be ‘extrovert’ with their verandas (thalvaram) with sitting platforms (thinnai) opening on to the street, welcoming neighbors and passes by for a chat or visit.

French houses one can say are more “introvert” the massive gate being the connection between the inside and outside.

While the entrance verandas are very welcomed, they also preserve the privacy of the inner house as only family and close friends are allowed inside.

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Background study The Social Division, Culture and events

Example of French colonial house Source : INTACH

During the times when Pondicherry was rebuild neoclassicism was the popular building style in France. This style was also adopted in the colonies, often with a few minor adaptations to the local climate. Nearly all colonial buildings in Puducherry have been built in this style.

S T Y L E

E L E M E N T S

The most recognizable feature of classical buildings is the use of simple geometric forms such as triangles, squares and circles.

Neoclassical buildings use the same forms, trying to mimic the ancient buildings. An example of the use of triangles is the pediment, the triangle on top of the entrance.

The Pantheon is from the classical times (built around 110AD), the plans for the capitol building are from 1793 and the Ayi Mandapam was constructed during the reign of Napoleon III (1852-1870). Both show typical pediment, pillars to support the structure and an entablature (the horizontal band on top of the pillars).

The second vital style element is symmetry.

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Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Besides these two vital style elements, there are a number of other elements that can be observed in Puducherry. The streetscape in the Ville Blanche is characterized by INTACH (2004) as following:“...continuous wall to wall construction, full or partial street frontage, high garden walls, elaborate gateways, and solid walls divided into smaller panels by the use of verticals (pilasters) and horizontals (cornices). These street façades are usually plain and austere, enhancing the effect of the straight and perpendicular grid plan of the town. The exterior wall panels feature flat or segmental arched windows with bands and louvred wooden shutters. In the case of two storied buildings wooden balconies supported on wrought iron brackets are common. The building composition is completed by a continuous parapet usually decorated with loopholes or terracotta pot balusters, or curved.

In the case of important buildings decorative features and end ornaments are commonly used.” One last style element is the colour of the buildings, many buildings are painted bright white but others are painted in creamy yellow, terracotta or other mild colours.

TAMIL-FRANCO STYLE Some buildings in the Ville Noire are influenced by the building style of the French, they employ a number of style elements, while still maintaining their typical Tamil looks. These buildings are often quite large and appear to have been owned by upper-caste Tamils.

Normally the ground floor of these buildings is traditionally Tamil with a veranda connected with the verandas of adjacent buildings. The Tamil people spent many hours on these verandas, chatting with acquaintances, observing street life and the men of the house tended to sleep on them at night. The first floor has some neoclassical style elements, such as pillars, louvred wooden shutters before large windows or a parapet. Unlike the buildings in the Ville Blanche, the creators of Franco-Tamil buildings did not care about style conventions and only adopted those style elements they appreciated.

Shabnam A K | Architectural Thesis 2020

A prominent citizen’s house in the ‘black’ township in late 19th century Source : INTACH

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Background study The Social Division, Culture and events

Tamil and French style windows

There are over hundreds of heritage building in Pondicherry, in which many variety of doors & windows can be seen. In French quarter gates & doors are of different designs and no two gates & doors are exactly the same, whereas most French windows are similar and elaborate size however with individual variations. They are made of bricks.

In Tamil quarter doors are similar, but windows are different. Windows placed near thinnai & door, are mostly flat with teak wood frames set into the walls.Tamil windows particuarly francotamil windows feature many beautiful ornamental plaster decorations. This edition is intended in illustrating such windows of Pondicherry.

Source : PondyDoorways

27

Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Tamil and French style doors

Door are similar to windows – featuring high and arched or flat with bands, splayed jambs with masonry rebate and louvered or paneled wooden leaves. Some doors have a second operable shutter with canework that cuts off vision and ensures privacy while allowing enough light and ventilation. Doors are fixed by hinges directly from the wall and fastened by long brass or wrought iron bolts. Strong crossbolts and in some cases hotels in the jambs are provided to accommodate wooden cross bars for secure closing.

Entrance doors are finely carved and the elaborate frames are made of many layers of wood. The shutters are thick and often of two pieces – the front one with carved cut-out and the rear one just plain. The doors are fixed to the frames by iron hinges. There is a surprising consistency in the carving pattern of these doors.

The relief on top the door frame has symbols pertaining to the community of the owner.

Source : PondyDoorways

Shabnam A K | Architectural Thesis 2020

28

Background study The Social Division, Culture and events

Streetscapes of Pondicherry

Tamil and French streetscapes Source : INTACH, Pondicherry

The French streets are usually characterized by continuous wall to wall construction, full or partial street frontage, high garden walls, elaborate gateways, and solid walls divided into smaller panels by the use of verticals (pilaster) and horizontals (cornices). These street facades are usually plain and austere, enhancing the effect of the straight and perpendicular grid plan of the town. The exterior wall panels feature flat or segmental arched windows with bands and louvred wooden shutters. In the case of two storied buildings wooden balconies supported on wrought iron brackets and common. The composition is completed by a continuous parapet usually decorated with loopholes or terracotta pot baluster, or curved. In the case of important building decorative features and end ornaments are commonly used.

The Tamil streets are mainly characterized by the thalvaram (Street verandah with platform and lean-to-roof over wooden posts) – a social extension of the house – and a thinnai (semipublic verandah space with masonry benches for visitors). These talking streets, so called because of their intimate scale and interactive nature, are typical of the vernacular Tamil architecture (also to be found in Kumbakonam, Tanjore, Chidambaram, Srirangam, Mylapore), and the entire street stretch is homogenous because of the use of connecting elements like lean-to-roofs, cornices (horizontals), pilasters or engaged columns (verticals) and ornamental parapets. These Tamil building usually feature a combination of flat and pitched roofs.

Source: INTACH, Pondicherry

29

Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Clockwise from top: Kalatheeswaran Koil Street, Calve Suppraya Chetty Street, Rue Cazy, Lal Bahadur Shastri Street, Rue Mahatma Gandhi, Rue Nidarajapayer, Rue Francois Martin & Goubert Avenue.

The houses on Tamil streets are vibrantly coloured with primary shades while the French streets have greys, yellows and pastel shades.

Buildings owned by the Ashram are usually painted grey.

Shabnam A K | Architectural Thesis 2020

30

Background study The Social Division, Culture and events

Timeline of events and festivals

• •

PONDY HERITAGE FESTIVAL INTERNATIONAL YOGA FEST

JANUARY FEBRUARY MARCH

• • •

HERITAGE VEHICLE FEST PHF BIRTH ANNIVERSAY OF MOTHER IN THE AUROBINDO ASHRAM

APRIL MAY

•

JUNE

MASIMAGAM

JULY AUGUST

•

BASTILLE DAY

•

VEERMAPATTINAM CAR FESTIVAL

SEPTEMBER

•

OCTOBER

FRANCOPHONE FEST

NOVEMBER DECEMBER

31

Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Pondicherry heritage festival Jan - Feb

Now in its fifth year, the Pondicherry Heritage Festival continues to celebrate the singular character of this extraordinary town and its environs. Originally conceived as a way of drawing attention to the need to conserve Pondicherry’s outstanding architectural legacy, the festival has expanded its scope to embrace all manner of intangible traditions.

We boast a diverse built environment, an idyllic seaside natural setting, a rich spiritual and intellectual history, and fascinating combination of indigenous and imported cultural practices.

It is the interplay of these factors that gives Pondicherry its distinctive flavour.

• Heritage • Environment • Spiritual / intellectual history • Indegenous / imported cultural practicesv

Shabnam A K | Architectural Thesis 2020

32

Background study The Social Division, Culture and events

Veerampattinam car festival August

Veerampattinam village has the history of over 1000 years and is famous for Car Festival celebrated here on the occasion of the six weeks long village temple (Sri Sengazhuneer Amman Temple) festival since the date immemorial. It attracts thousands of people from far and near.

Veerampattinam is also famous for Masi Magam (gathering of several deities in front of beach) which is held in February/March of every year.

Francophone festival March

This festival features performing arts ranging across theatre, dance, music and elements of circus.

The festival takes after the “Les Francophonies en Limousin”, an annual event in Limoges, France, for over three decades that has been bringing together artists sharing their theatrical practice in French-speaking countries.

Masimagam festival March

Every year on a full moon day in Maasi- between February and March- the streets bordering Pondicherry’s shoreline turn into an explosion of colour, chatter, religious fervour and a sea of humanity. Deities from temples all around Pondicherry and even neighbouring districts in Tamil Nadu make the long voyage and are taken in procession through the city’s heritage streets right up to the seashore at Vaithikuppam for the annual “theerthavari “ ceremony. Thousands of devotees accompanying the deities pour onto the Beach Road making it into the local holiday that it is.

Source:PondyLive Heritage Car Rally Organized by Madras Heritage Motoring Club in collaboration with Department of Tourism, Government of Puducherry. Flamboyant procession of vintage car from Chennai to Pondy. The rally is an annual event organized as a spectacle for the Tourists and Pondicherrians.

33

Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Shabnam A K | Architectural Thesis 2020

34

Background study The Social Division, Culture and events

35

Architectural Thesis 2020 | Shabnam A K

Background study The Social Division, Culture and events

Shabnam A K | Architectural Thesis 2020

36

Background study History of port

HISTORY OF PORT There have been at least four ports already constructed in Pondicherry: 1. The Ancient Port (Roman Port) There is evidence of an ancient port town situated on the bank of Ariyankuppam river about eight km south of Pondicherry. This port town has a history that dates back to the second century BC. An excavated ancient port town, Arikamedu had strong trade links with Rome and Greece between 100 BC and 100 AD.

Location of 1866 French port Location of 1962 port ( selected site) Location of current harbour Location of ancient Roman port Map showing location of all four ports

2. The French Port In 1674 Francois Martin, the first Governor, started to build Pondicherry and transformed it from a small fishing village into a flourishing porttown and centre of international trade. By the 20th Century the French port comprised a pier in the Centre of Pondicherry Town. Before World War II the port had more than 150 country boats of 2 ½ ton capacity specially built to operate in open sea conditions. During the Second World War the trade came almost to a standstill and even after the war the trade remained much diminished.

The French pier was damaged in a cyclone

in 1952 and was not usable thereafter.

The remains of the French port are submerged in the water.

Picture showing remains of pier as seen now

The port office is now a popular cafe named Le cafe, its heritage conserved by INTACH, Pondy.

37

Architectural Thesis 2020 | Shabnam A K

Background study History of port

3. The 1962 New Pier Port (Selected site) In 1962 a New Pier and port was built south of the town. The New pier and its associated 11 Acre walled port land was used to berth small lighters that transhipped goods from ships that lay at anchor off the coast. The associated port has a number of warehouses and two rail sidings that have recently been converted to broad gauge.

The New Pier was in use until quite recently.

However, the support works to the pier are now severely corroded making the pier unsafe for heavy loadings. The port area is now also therefore largely unused.

4. The current port The current port was built in the early 1990s at Thengaithittu.

Site pictures( The 1962 port)

C L I M AT E D ATA

The climate of Pondicherry is classified by the Köppen climate classification as tropical wet and dry (As), similar to that of coastal Tamil Nadu. Summer lasts from April to early June, when maximum temperatures reach 41 °C (106 °F). The average maximum temperature is 36 °C (97 °F). Northeast monsson sets in mid October and the region gets its bulk of rainfall from Oct - Dec. Since the site is on the seaside it is important to keep in mind the effect of wearing and eroding of materials due to the high humidity. The existing steel members show moderate effects of the same.

The design conciously avoids use of exposed steel members thus pushing to find better technologies.

Shabnam A K | Architectural Thesis 2020

38

Chapter 6 Program development

39

Architectural Thesis 2020 | Shabnam A K

Program development Program

CORE FUNCTIONS HERITAGE LANGUAGE & LITERATURE TAMIL AND FRENCH

ART

VISUAL ARTS & PERFORMING ARTS

FOOD

Shabnam A K | Architectural Thesis 2020

40

Program development Area statement

AREA STATEMENT SL. NO A

USE

NO. OF USERS AREA/USER(SQ.M) NO.S AREA(SQ.M) CIRCULATION AREA(SQ.M) TOTAL AREA(SQ.M) INDO-FRENCH CULTURAL HUB PERFORMING ARTS(MUSIC THEATRE AND DANCE)

400

-

1

-

EXHIBITION SPACE/INTERPRETATION

30

1

1

30

9

39

MUSIC STUDIO

30

4

2

240

72

312

DANCE STUDIO

18

9

3

486

145.8

632

DRAMA STUDIO

30

1

-

1

30

9

39

A.TOTAL AREA

2877

APMHITHEATRE

200

AUDITORIUM

500

OPEN AIR PERFORMANCE SPACE(MELA SPACE)

EQUIPMENT ROOM B

C

-

LECTURE HALLS

30

1.85

2

111

33

144

60

3

1

180

54

234

RESEARCH ROOM

15

2

2

60

18

78

B.TOTAL AREA

456

HERITAGE INTERPRETATION

30

1

1

30

9

39

AUDIO/VISUAL ROOM

30

1

1

30

9

39

1

300

90

390

30

1.85

1

55.5

16.65

72

C.TOTAL AREA

540

ART TEMPORARY GALLERY

1

300

90

390

PERMANANT GALLERY

1

600

180

780 195

ART STUDIOS

30

2.5

2

150

45

LECTURE HALL

30

1.85

1

56

16.65

72

D.TOTAL AREA

1437

FOOD COURT/STREET FOOD COUNTER/BACK KITCHEN

30

10

300

150

150

90

390

RESTO BAR

300 E.TOTAL AREA

G

840

ADMIN RECEPTION

2

10

2

40

12

52

MANAGER'S OFFICE

1

12

2

24

7.2

31

STAFF ROOM

6

1.85

2

22.2

6.66

29

MEETING ROOM

8

1.4

2

22.4

6.72

29

TOILETS

1

4.5

10

45

13.5

59

MAINTENANCE STORAGE

10

10

1

10

3

13

F.TOTAL AREA

213 52

COMMON FUNCTIONS TICKETING

4

10

1

40

12

VISITOR'S INFO

4

5

1

20

6

26

ENTRANCE LOBBY/WAITING AREA

30

3

1

90

27

117

HELPDESK

6

1.8

8

RETAIL SPACE

100

30

130

SOUVENIR STORE

50

15

65

CHILDREN'S ACTIVITY AREA

75

22.5

98

CAFETERIA

75

22.5

98

1

45

13.5

59

1

9

2.7

12

G.TOTAL AREA

1063

TOILETS

10

4.5

PRINT SHOP MULTIMEDIA LIBRARY

I

420

160

SEATING

F

203 1500

EVENT SPACE

EXHIBITION ROOM

E

1

LANGUAGE AND LITERATURE

LECTURE HALL D

1

400

PARKING CYCLE

25

0.9

1

22.5

6.75

29

2 WHEELER

50

5

1

250

75

325

4 WHEELER

15

15

1

225

67.5

293

BUS

2

54

1

108

32.4

140

STAFF 2 WHEELER

50

5

1

250

75

325

4 WHEELER

25

15

1

375

112.5

488

I.TOTAL AREA

1600

TOTAL AREA A+..+I

9026

SERVICES + CIRCULATION

1354

TOTAL BUILT UP AREA

10380

EXISTING BUILT 1 WAREHOUSES TYPE1

45.5M X 15.00M X 5.50M

5

3412.5

SQM

TYPE 2

92.0M X 18.00M X 6.50M

1

1656

SQM

102.15M X 15.0M

1532.25

SQM

197.85M X 6.0M

1187.1

2 PIER 300M LONG WORKING END

41

SQM TOTAL BUILT UP (EXISTING)

7788

TOTAL SITE AREA

36091

Architectural Thesis 2020 | Shabnam A K

Program development Area statement

Shabnam A K | Architectural Thesis 2020

42

Chapter 7 Adaptive reuse study • Adaptive reuse refers to the process of reusing an existing building for a purpose other than which it was originally built or designed for. It is also known as recycling and conversion.

• Adaptive reuse is an effective strategy for optimizing the operational and commercial performance of built assets.

• Adaptive reuse of buildings can be an attractive alternative to new construction in terms of sustainability and a circular economy.

• It has prevented thousands of buildings’ demolition and has allowed them to become critical components of urban regeneration.

Not every old building can qualify for adaptive reuse.

• Architects, developers, builders and entrepreneurs who wish to become involved in rejuvenating and reconstructing a building must first make sure that the finished product will serve the need of the market, that it will be completely useful for its new purpose, and that it will be competitively priced.

43

Architectural Thesis 2020 | Shabnam A K

Adaptive reuse study Strategies of adaptive reuse

Strategies of adaptive reuse

Shabnam A K | Architectural Thesis 2020

44

Chapter 8 Site L O C AT I O N

The union territory of Pondicherry comprises four enclaves in three South Indian states and includes the seaside towns of Pondicherry and Karaikal in Tamil Nadu, Yanam in Andhra Pradesh and Mahe in Kerala

Neighbouring areas include Villupuram, Vanur, Tindivanam.

45

Cuddalore,

Pondicherry region includes the communes of Ozhukarai, Villianur, Mannadipet and Nettapakkam. They are scattered within the state of Tamil Nadu.

Architectural Thesis 2020 | Shabnam A K

Site Site & contextual analysis

site

Map indicating network, and connections

The yellow boundary represents Puducherry muncipality. The area around the white town is considered for further study as it houses majority of activities, events relevant to the program.

Shabnam A K | Architectural Thesis 2020

46

Site Site & contextual analysis

C O N E X T U A L A N A LY S I S

INDUSTRIAL PUBLIC SPACES

TRANSPORT RESIDENTIAL

COMMERCIAL OPEN SPACES

LANDUSE

M G RO

AD

FIGURE GROUND

RT AV EN GOUBE

GRAND CANA

JN STRE ET RANGAP ILLAI STREET

UE

STREET

L ROAD

VYSIAL

BUSS Y STRE ET

BEAC

H ROA

ONE WAY ROADS

ARTERIAL ROADS

TRAFFIC AND NETWORK

47

D

BUS ROUTES

BUS STOPS

OPEN SPACES

Architectural Thesis 2020 | Shabnam A K

Site Site & contextual analysis

GRADE I GRADE III

GRADE II GRADE IV

HERITAGE BUILDINGS

CHRISTIAN HINDU

MUSLIM FRENCH

SOCIAL DIVISION TAMIL AND FRENCH QUARTERS

INFRASTRUCTURE

Shabnam A K | Architectural Thesis 2020

48

Site Site analysis

WHITE TOWN

II. SITE ANALYSIS The site is an abandoned old port built in mid 1900s. Nine acres of land lay unused, owned by the port department.It is situated in the strong context of the old part of town, lying sandwiched between a slum colony on its south and white town on the north side. Existing structures on the site include six warehouses, a pier and a defunct railway track passing through the center of the site.

49

SITE

Architectural Thesis 2020 | Shabnam A K

Site Site analysis

WHITE TOWN

ASHRAM GUESTHOUSE CH BEA

D ROA

RESTAURANTS HOTEL

BEACH PROMENADE EXTENSION

VEHICULAR ENTRY

ELECTRICITY DEPT.

PORT OFFICE PEDESTRIAN ENTRY

EXISTING DEFUNCT RAILWAY TRACK

Connectivity The is connected to the main Beach road by a single 10m wide road. There is an pedestrian entry from the promenade side.

EXISTING WAREHOUSES

SITE PIER

DENSE RESIDENTIAL AREA

0

Shabnam A K | Architectural Thesis 2020

45

90

180m

50

Site Site & contextual analysis

EXISTING STRUCTURE & SITE FEATURES

WAREHOUSE 1 DIMENSION : 15m x 45m NO. OF SIMILAR STRUCTURES : 5 ORIGINAL USE : Warehouse for storage ROOF HEIGHT : 5.5m TRUSS CONDITION : Moderate MATERIAL : Plaster wall, steel truss, cement sheets

EXISTING WAREHOUSE

RAILWAY TRACK

WAREHOUSE 2 DIMENSION : 15m x 92m NO. OF SIMILAR STRUCTURES : 1 ORIGINAL USE : Warehouse for storage ROOF HEIGHT : 6.5m TRUSS CONDITION : Moderate MATERIAL : Plaster wall, steel truss, cement sheets

SITE TEXTURES

PIER

51

Architectural Thesis 2020 | Shabnam A K

Site Site & contextual analysis

EVENTS AND ACTIVITIES ON SITE

Past events on the site included a bike rally and an art gallry conducted by PondyArt. The govt. has proposed for an urban entertainment village on this to increase tourism and develop pondicherry as global tourism destination.

Aound the site, one can see vendors, people on evening/morning walks, meditating, people strolling along the beach, and contemplating thus creating a dynamic environment.

Shabnam A K | Architectural Thesis 2020

52

BBQ RESTAURANT

PUDUCHERRY FIRESTATION

FISHERIES DEPARTMENT

SEAG HOT

DIRECTORATE OF PORTS

MAIN GATE

15000

45000

ELECTRICITY DEPARTMENT

DEFUNCT RAILWAY TRACK

18000

W6

+1.5M

+1.5M

W1

15000

45000

+1.2M

92000

OLD ABANDONED BUILDING

+1.5M

W2

+1.5M

+1.2M

GATE

15000

45000

W4 +1.5M

45000

15000

15000

45000

W5

W3

+1.5M +1.5M

NDIA HOSPITAL

ITI FOR WOMEN

53

Architectural Thesis 2020 | Shabnam A K

GULLS TEL

+1.2M

UP

UP

+0.0M

VIEWPOINT

-1.5M

+1.2M

PIER

SITE PLAN 0 Shabnam A K | Architectural Thesis 2020

15

30

45

60

75m 54

Site Site analysis

Axonometric view of warehouses on site

Site section along pier

0 55

15

30

45

60

75m Architectural Thesis 2020 | Shabnam A K

Site Site analysis

Site pictures (Clockwise from top): View site from seaside, another view from seaside, existing warehouses as seen from entrance, pier, view from top of pier & view underneath pier.

+11.9M +10.2M +6.5M +1.2M +0.0M

Shabnam A K | Architectural Thesis 2020

56

Chapter 9 Design

D E S I G N P R O C E S S

The program has been zoned with the core functions Art, Heritage, Language and Food arranged around the existing defunct railway track (repurposed as a sculpture gallery, landscaped walkway)

ADMIN HERITAGE

ART GALLERY

ART CLASSES

PERFORMANCE SPACES

FOOD

LANGUAGE

Core functions

Art

[Visual and performing]

Heritage Language Food

Program zoning

57

Architectural Thesis 2020 | Shabnam A K

Design Design development

S p a t i a l O R G A N I S AT I O N

Adaptive reuse S T R AT E GIE S

Shabnam A K | Architectural Thesis 2020

58

Design Volumetric

Explorations VOLUMETRIC

59

Architectural Thesis 2020 | Shabnam A K

N

Design Volumetric

Shabnam A K | Architectural Thesis 2020

60

PUDUCHERRY FIRESTATION

FISHERIES DEPARTMENT SEAGULLS HOTEL

DIRECTORATE OF PORTS

PARK

ING MANA

GER'S OFFI CE

ADM

RECE

PTION

IN COM MON HALL

WAITI NG AREA

PUBLI C TOILE T

REPURP TRACK OSED RAI LWA

Y

LECTUR

E RO

STAFF TOILE T

OM GALLER

Y

CONF

PANT

EREN ROOM CE

RY

GALLER

INFOR MATIO DESK N

Y

EQUI PMEN ROO T M

AUDIO/V ROOM ISUAL

STAG

E

HER

ITA

VISITO INFOR R'S MATIO N

GE

REPURP

OSED

RAILWAY

UP

DRAM A STUDIO

KID'S

TRACK(S

CULPTU

RE GAL

ATR

COFFE

E SHO

IUM

P

VISITO

R'S INF

DANCE STUDIO

CYCLE

GALLE

ORMA

RY

TION

TRACK

TICKET KIOSK ING

RESEAR

LAN

CH RO

OM

OUTDO READIN OR AREA G

GUA

ENTRY

GE

FROM

BEACH

SIDE

UP

OUTDO READIN OR SPACE G/EVENT

DANCE STUDIO

PARK

LERY)

UP

AUDIO/V ROOM ISUAL

LECTUR

E RO

OM

GALLE

RY

LIBRARY

ENTRAN COURT CE YARD

+1.50M

ART ORMI NG &

REPURP TRACK OSED

VISUA

L

LECTUR

RAILW

E RO

AY

SOUVEN STORE IR

INTERP

+1.35M

PERF

RETATI

RETAIL STORE 1

+1.20M

+0.0M

A

+1.20M

RETAIL STORE 2

UP

OM

ON ARE

UP

+1.95M ART

+1.50M

+1.35M

GALLER

Y

OAT

+1.35M

PERFOR MING ART GALLE RY

VIEWIN

G ARE

UP

MUSIC STUDIO

A

-1.80M

UP

OAT

UP

+1.2M TEMPOR GALLE ARY RY

PERMA GALLERNENT Y

ART

GALLER

Y

UP

UP

MUSIC STUDIO ELEC TRICA ROOM L

MAINT ROOM ENANCE

TOILE

TS

+1.50M

+1.95M TOILET

UP

GREEN ROOM

ART GAL

LERY

SERVIC E & MAINT ROOM ENANCE

UP

-1.5M SERVIC ROOM E SEATIN

G

STAGE

+3.00M

UP

AUD

ITO

RIU

M

UP

UP

TOILET

ENTRAN LOBBY CE

GREEN ROOM

+1.50M

AUDITO ENTRAN RIUM PLAZA CE

TICKET

ING

OUTDO

OR SEA

TING

F O O D CAFETE

+1.35M

RESTOB

RIA

AR

DECK

CHAN GING ROOM S

EN BAR

STOR

AGE

+1.50M

+1.50M

KITCH

FOOD COURT

COURT

YARD FOOD

STALL

1

FOOD

STALL

2

FOOD

STALL

3

FOOD

STALL

4

FOOD

STAL

STAFF

61

L5

TOILE

TS

PUBLI C TOILE TS

Architectural Thesis 2020 | Shabnam A K

DESIGN DRAWINGS

+1.2M

UP UP

VIEWPOINT

M

+1.2M

PIER

GROUND FLOOR PLAN NORTH 0

Shabnam A K | Architectural Thesis 2020

10

20

30

40

50m

62

PUDUCHERRY FIRESTATION

FISHERIES DEPARTMENT SEAGULLS HOTEL

DIRECTORATE OF PORTS

ADM

IN

STOR AGE / EQUIP ROO M MENT

HER LECTUR

ITA

GE

E RO

OM

DN

LECTUR

E ROO

DN

M

COFFE

ATR

E SHO

P

VISITO

R'S INF

IUM

ORMA

TION

GUA

GE

DN

TICKET KIOSK ING

LAN

+1.50M

AR ORMI T NG &

+0.0M

PERF

VISUA

L

+1.20M

+1.20M UP

UP

+1.95M

+1.35M

ART

+1.50M +1.35M

UP

STUDIO

-1.80M

UP

OAT

+1.2M UP DN UP

ART

STUDIO ELECT ROOM RICAL

MAIN TENA NCE ROO M

TOILE

TS

+1.50M

+1.95M TOILET

UP

GREEN ROOM

-1.5M

UP

STAGE

+3.45m

+4.95m

+3.00M

UP

AUD

ITO

DN

RIU

M

+1.95m

UP

TOILET

GREEN ROOM

FOYER VIEWIN DECK G

+6.45M

F O O D

+1.35M DECK

+1.50M COURTY

ARD

63

Architectural Thesis 2020 | Shabnam A K

+1.2M

UP UP

M

+1.2M

PIER

FIRST FLOOR PLAN NORTH 0

Shabnam A K | Architectural Thesis 2020

10

20

30

40

50m

64

PUDUCHERRY FIRESTATION

FISHERIES DEPARTMENT SEAGULLS HOTEL

DIRECTORATE OF PORTS

ADM

IN

HER

ITA

GE

KID'S

LAN

AR ORMI T NG &

GUA

PARK

GE

PERF

VISUA

L UP

UP

UP

OAT

ART UP

UP

AUD

ITO

RIU

M

F O O D

65

Architectural Thesis 2020 | Shabnam A K

UP UP

ROOF PLAN NORTH 0

Shabnam A K | Architectural Thesis 2020

10

20

30

40

50m

66

SECTION CC 1 : 1000

STORAGE

KITCHEN

RESTOBAR

FOOD COURT

ART GALLERY

VISUAL & PERFORMING ART

OAT

SECTION BB 1 : 500

TEMPORARY GALLERY

PERMANENT GALLERY

ART GALLERY

SECTION AA 1 : 250

67

Architectural Thesis 2020 | Shabnam A K

DESIGN DRAWINGS

LANGUAGE

CLASSROOM

ATRIUM

GALLERY

GALLERY

REPURPOSED RAILWAY TRACK

COFFEE SHOP

HERITAGE

CLASSROOM

+9.45M +8.00M +6.20M +4.90M

+1.20M

+0.0M

OAT

Shabnam A K | Architectural Thesis 2020

-1.80M

68

HERITAGE AND LANGUAGE ZONE

GALLERY LECTURE ROOM AUDIO/VISUAL ROOM

INFORMATION DESK

GALLERY

VISITOR'S INFORMATION

UP

HERITAGE

REPURPOSED RAILWAY TRACK(SCULPTURE GALLERY)

ATRIUM

VISITOR'S INFORMATION

TICKETING KIOSK

UP

COFFEE SHOP

LANGUAGE LECTURE ROOM RESEARCH ROOM AUDIO/VISUAL ROOM

LECTURE ROOM

GALLERY

INTERPRETATION AREA

GROUND FLOOR PLAN 0

2

4

6

8

10m

DN

HERITAGE

ATRIUM

VISITOR'S INFORMATION

TICKETING KIOSK

DN

COFFEE SHOP

LANGUAGE

FIRST FLOOR PLAN 0

69

2

4

6

8

10m

Architectural Thesis 2020 | Shabnam A K

HERITAGE AND LANGUAGE ZONE HERITAGE

LANGUAGE

ROOF PLAN 0

2

4

6

8

10m

ADMINISTRATION BLOCK

ADMIN MANAGER'S OFFICE

COMMON HALL

RECEPTION

STAFF TOILET

WAITING AREA PUBLIC TOILET

CONFERENCE ROOM PANTRY

GROUND FLOOR PLAN 0

2

4

6

8

10m

ROOF PLAN 0

Shabnam A K | Architectural Thesis 2020

2

4

6

8

10m

70

ARTS (PERFORMING & VISUAL) LEARNING BLOCK EQUIPMENT ROOM

STAGE STORAGE / EQUIPMENT ROOM

LECTURE ROOM

LECTURE ROOM

DRAMA STUDIO

DN

UP

DANCE STUDIO

DANCE STUDIO

ENTRANCE COURTYARD

M

+1.50

M

+1.50

M

+1.35

ART PERFORMING & VISUAL

ART PERFORMING & VISUAL

GALLERY MUSIC STUDIO

PERFORMING ART GALLERY

ART STUDIO

UP

MUSIC STUDIO

ART STUDIO

DN

ELECTRICAL ROOM

ELECTRICAL ROOM

MAINTENANCE ROOM

MAINTENANCE ROOM

TOILETS

TOILETS

GROUND FLOOR PLAN 0

71

2

4

6

8

10m

FIRST FLOOR PLAN 0

2

4

6

8

10m

Architectural Thesis 2020 | Shabnam A K

ARTS (PERFORMING & VISUAL) LEARNING BLOCK

ART PERFORMING & VISUAL

ROOF PLAN 0

Shabnam A K | Architectural Thesis 2020

2

4

6

8

10m

72

AUDITORIUM

SERVICE & MAINTENANCE ROOM TOILET GREEN ROOM UP

UP

UP

ENTRANCE LOBBY

AUDITORIUM

STAGE

M

+1.50

M

+3.00 UP

TICKETING UP

TOILET

GREEN ROOM CAFETERIA

GROUND FLOOR PLAN 0

2

4

6

8

10m

TOILET GREEN ROOM

+3.45m

+4.95m

UP DN

UP

+1.95m

STAGE

AUDITORIUM

FOYER

VIEWING DECK

M +3.00 M

+6.45

UP

UP

TOILET

GREEN ROOM

FIRST FLOOR PLAN 0

2

4

6

8

10m

AUDITORIUM

ROOF PLAN 0

73

2

4

6

8

10m

Architectural Thesis 2020 | Shabnam A K

FOOD ZONE

M

+1.35

OUTDOOR SEATING

F O O D

RESTOBAR

M

+1.50

FOOD COURT

COURTYARD KITCHEN

BAR

FOOD STALL 1

FOOD STALL 2

FOOD STALL 3

FOOD STALL 4

FOOD STALL 5

CHANGING ROOMS

STORAGE

PUBLIC TOILETS

STAFF TOILETS

GROUND FLOOR PLAN 0

2

4

6

8

10m

F O O D

ROOF PLAN 0

2

Shabnam A K | Architectural Thesis 2020

4

6

8

10m

74

OAT, GALLERY, LIBRARY, RETAIL STORES

OUTDOOR READING/EVENT SPACE

OUTDOOR READING AREA

REPURPOSED RAILWAY TRACK

SOUVENIR STORE

LIBRARY

M

+1.20

RETAIL STORE 1

RETAIL STORE 2

M

+1.20

UP UP

M

+1.95

A R T 1.50M +

-1.80M

M

+1.35

+1.2M

OAT

UP

M

+1.35

UP

UP

ART GALLERY PERMANENT GALLERY TEMPORARY GALLERY

M

+1.50

M

+1.95

SERVICE ROOM

ART GALLERY

GROUND FLOOR PLAN 0

75

2

4

6

8

10m

Architectural Thesis 2020 | Shabnam A K

OAT, GALLERY, LIBRARY, RETAIL STORES

UP

OAT

UP

UP

UP

ART

ROOF PLAN 0

Shabnam A K | Architectural Thesis 2020

2

4

6

8

10m

76

FOOD COURT & RESTOBAR

ARTS (PERFORMING & VISUAL) LEARNING BLOCK

AUDITORIUM

ART GALLERY

LIBRARY

OAT

BI R D’S EY EV I EW

77

Architectural Thesis 2020 | Shabnam A K

ATRIUM

BEACHFRONT DEVELOPMENT

CYCLE TRACK

HERITAGE

KID’S PLAY AREA

Shabnam A K | Architectural Thesis 2020

LANGUAGE

PIER

78

3D VISUALIZATIONS

VIEW OF THE ATRIUM SHOWING REPURPOSED RAILWAY TRACK, TICKET KIOSKS, VISITORS’ INFO AND LOBBY AREA

VIEW OF LIBRARY - OUTDOOR READING SPACE

79

Architectural Thesis 2020 | Shabnam A K

VIEW OF OUTDOOR GALLERY

VIEW OF THE REPURPOSED RAILWAY TRACK CREATING PATHWAYS TO CONNECT VARIOUS CORE FUNCTIONS TO CENTRAL PUBLIC PLAZA

Shabnam A K | Architectural Thesis 2020

80

3D VISUALIZATIONS

PICTURE SHOWING LANDSCAPING AND URBAN FURNITURE

VIEW OF DECK OVERLOOKING SEA

81

Architectural Thesis 2020 | Shabnam A K

VIEW OF PERFORMING ARTS CENTER

VIEW OF FOOD COURT AND RESTAURANT

Shabnam A K | Architectural Thesis 2020

82

Bibliography and references

READINGS • • • • • • • • • • • • • • •

Beyond the Boulevards, Aditi Sriram Pondicherry, that was Once French India by Raphaël Malangin, INTACH A House In Pondicherry by Lee Langley http://intachpondicherry.org/About_pondy.php https://www.re-thinkingthefuture.com/article/a-historical-glimpse-into-one-of-indias-oldestcolonial-port-city-of-pondicherry/ http://pondydoorways.blogspot.com/p/architechture.html https://www.pondylive.com/2017/08/fort-in-pondicherry/ http://dspace.pondiuni.edu.in/jspui/bitstream/1/2442/1/T6185.pdf https://www.re-thinkingthefuture.com/article/a-historical-glimpse-into-one-of-indias-oldestcolonial-port-city-of-pondicherry/ https://www.thebetterindia.com/15551/indians-trade-site-with-ancient-romans-arikamedu-travelpondicherry/ https://www.tandfonline.com/doi/full/10.1080/1369801X.2010.516092 https://solenmalrieu.wixsite.com/portfolio/pondicherry-museums https://www.facebook.com/iampondicherryarun/?eid=ARCsLo1L71-mA2R0t2FJZ5POhkvXejs3r hxp7Od8rs5RjOCnWyexNYN50_fhBehUNmK-OEo0zrkfn9_W http://puducherryheritage.blogspot.com/2018/11/senji-fort-from-days-of-jain-saints-to.html http://pondytourism.in/fairs-and-festivals.php?page=2

CASE STUDIES • https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-development-karangrover- and-associates • https://architecturelive.in/industrial-heritage-karan-grover-associates/ • https://www.re-thinkingthefuture.com/architecture/cultural/moderna-museet-malmo-by-thamvidegard-arkitekter/ • https://www.designboom.com/architecture/diller-scofidio-renfro-budapest-hungarian-transportmuseum-02-28-2019/ MAPS • http://ns.itestweb.in/pdy12/comprehensive-development-plan • https://www.colonialvoyage.com/tranquebar-danish-fort-india/historic-map-of-danish-colonytranquebar-and-fort-dansborg-1700s-no-copyright/ • http://puducherryheritage.blogspot.com/

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Architectural Thesis 2020 | Shabnam A K

S C A N F O R P R O J E C T WA L K - T H R O U G H

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