Case studies

1. Sanskriti kala kendra, anandgram, new Delhi

2. Kala kuteer , garhi, new delhi

3. Global arts village, tropical drive, new delhi

Global arts village , MOHALI

Table of contents
a. Sanskriti Kendra, anandgram, new Delhi 1. 2. 3. 4. 5. 6. 7. 8. Introduction Location layout access zoning circulation landscape Exhibition spaces Museum of Indian terracotta Indian textile Everyday art 9. haveli ( owners residence) 10. baithak ( administrative block) 11. gaon ( village complex) 12. manch ( amphitheatre) 13. studios 14. materials 15. analysis 16. inference B. Kala kuteer, garhi, new delhi 1. 2. 3. 4. 5. Introduction Location Concept Layout circulation
Global arts village , MOHALI

Table of contents
6. Geometry 7. Studios 8. Picture gallery 9. Analysis 10. Inference c. Global arts village, tropical drive, new delhi 1. 2. 3. 4. 5. 6. 7. introduction Location Layout Site plan infrastructures/facilities grounds studios Shared studio Sculpture studio 2d studio 8. common building 9. performance space / meditation hall 10. yoga hall 11. Accommodation Standard rooms Duplex rooms Administrative staff quarters 12. owners residence 13. Material used 14. Analysis 15. inference
Global arts village , MOHALI

Sanskriti kala kendra, anandgram, new delhi

Global arts village , MOHALI

SANSKRITI KALA KENDRA : anandgram ,NEW DELHI

ARCHITECT UPPAL GHOSH

LANDSCAPE ARCHITECT- MOHAMMED SHAHEER

CONCEPT :
SANSKRITI KENDRA IS A CULTURAL CENTRE WITH A DIFFERENCE IT IS A PLACE WHERE ARTISTS , SCULPTORS , WRITERS , MUSICIANS AND VILLAGE CRAFTSMEN CAN PRACTISE THERE ART IN CONGENIAL AND TRANQUIL SURROUNDINGS THAT INDUCE CREATIVITY .

SANSKRITI PRATISHTHAN
THE SANSKRITI KENDRA , SET UP SANSKRITI PRATISHTHAN , INAUGRATED ON 31 ST JANUARY, 1993.

THE PRATISHTHAN , WAS FOUNDED IN 1979 BY MR. O.P.JAIN UNDER THE GUIDANCE OF DR. MULK RAJ ANAND, DR JYOTINDRA JAIN AND OTHER BIGWIGS .
THE ROLE OF SANSKRITI PRATISHTHAN IS THAT OF A CATALYST IN REVITALISING THE ARTISTIC AND AESTHETIC SENSITIVITES OF INDIAN PEOPLE . THE SANSKRITI KENDRA Is A SYMBOL OF sanskritis involvement in ACTIVITES RELATED TO ART , CRAFT , LITERATURE, PERFORMING ARTS AND SOCIAL WORK .

PURPOSE
TO ACCOMMODATE A VARIED RANGE OF ACTIVITIES CONNECTED WITH ART AND CULTURE BOTH IN TRADITIONAL AND CONTEMPORARY SENSE. IT IS INTENDED TO PROVIDE TEMPORARY RESIDENTIAL AND WORKING SPACE TO ARTISTS.

Global arts village , MOHALI

Location:

Way to ghitorni village

Way to sanskriti kala kendra

SANSKRITI KALA KENDRA, ANANDGRAM

Global arts village , MOHALI

 IN THE HISTORICALLY RICH BUT GEOGRAPHICALLY ARID SOIL AT THE FOOTHILLS OF THE ARAVALLI MOUNTAINS ON THE OUTSKIRTS OF DELHI ( MEHRAULI GURGOAN ROAD) GERMINATED THE SANSKRITI KENDRA.

it is situated on ones waY TO AYANAGAR.

KENDRA IS SET AMIDST ROWS OF OPULENT FARMHOUSES OF THE RICH AND FAMOUS AT ANANDGRAM . IT OCCUPIES A CORNER PLOT . IT IS 10 KM FROM I.G. INTERNATIONAL AIRPORT . PUBLIC TRANSPORT / TAXI SERVICE ARE AVAILABLE . A RADIO STATION IS THE NEAREST LANDMARK .

Way to anandgram
Total area of plot= 379334.2 sqft or 8.7 acres Total covered area= 30247.81 sqft.

part
66344.1 sqft or 1.5 acre

Sanskriti farm
192724 sqft or 4.4 acres
haveli

o.P jain farm 108937 sqft or 2.5 acres 11328.4 sqft or 0.26 acres

Key plan and areas statement Global arts village , MOHALI

LAYOUT
AREA 8.7 ACRES BUILT OVER A PERIOD OF 4 YRS [ STARTED IN 88 and completed in 93]

22 12 10

23 14 4 11 9 7 6 5 4 8 13 15

24

16

16
17 21 18 22 22

19 20 12

2
3 0

25

MAIN ENTRANCE L EGENDS:

0. 1. 2. 3. 4. 5. 6. 7. 8. 9. entrance Barakhamba nursery museum of Indian terracotta courtyard cafe canteen museum of everyday art baithak museum shop
10. textile museum 11. kund 12. kitchen 13. manch 14. gaon 15. camping site 16. studios 17. nahar 18. ardha kund 19. canopy 20. aangan 21. haveli 22.Services 23. washing area 24. ceramic centre 25. thandi sarak

Global arts village , MOHALI

ACCESS
The complex has three main entrances: The formal entrance ( A) which opens Into an open space containing the barakhamba, a landscape feature, and the baithak with the reception and the offices. This open space branches to provide the path leading to the haveli, the residence of O.P Jain and the service areas. The second entrance (b) gives direct access to the kund with the writers studios and the OAT. There are two entrances (C, D) which act as access for the studios.

FORMAL ENTRANCE (A)

KEY PLAN

VIEW OF BARAKHAMBA

Global arts village , MOHALI

ZONING
THE BASIC MOVEMENT PATTERN WITH THE ENTRY POINTS IS DEFINED WITH ACTIVITY ZONING TO FORMULATE LOCATION OF BUILDINGS AND OTHER STRUCTURES WITH RESPECT TO Functions. the Buildings are oBjects IN SPACE and separeted BY varietY of spaces . ALL DEVELOPMENT ON THE SITE ARE LARGELY ORGANIC A PROGRESSIVE DEVELOPMENT.

BUILT UP -OPEN SPACE RELATION

PLANNING IS BASED ON BASIC MODULES OF SQUARES AND RECTANGLES WITH SLOPING ROOFS TO HAVE A INTERVENING MASSES AND VOIDS.

I N T E R R E L A T I O N S H IP
BUILT MASS OPEN SPACE

PERMANENT MEUSEUMS VILLAGE COMPLEX STUDIO APARTMENTS HAVELI

nahar camping site kund barakhamba aangan

Global arts village , MOHALI

Circulation :
SANSKRITI KENDRA IS ONE OF THE EIGHT FARMHOUSES OF ANANDGRAM

LOCATED TOWARDS ITS CORNER END . THE APPROACH TO KENDRA IS THROUGH A METALED ROAD .
THE SPACE OUTSIDE THE BOUNDRY WALL OF KENDRA IS USED FOR PARKING , AS SPACE INSIDE FOR PARKING IS INSUFFICENT.

Entrance gate

Metalled road to approach kendra

Boundary wall of kendra used for parking

Global arts village , MOHALI

CIRCULATION INSIDE KENDRA

RHYTHM IN THE MOVEMENT PATTERN , A NEW EXPERIENCE IS INTIATED BY THE USE OF MASS AND OPEN SPACES AT EVERY BEND AND TURN. PEDESTRIAN CIRCULATION IS FOLLOWED. PATHWAYS ARE INFORMAL AND FUSED WITH GREEN PATCHES EXCEPT FOR THE PERIPHERAL SERVICE ROAD WHICH ACTS AS THE JOGGING TRACK AT EVERY BEND A NEW EXPERIENCE IS INITIATED BY THE USE OF BUILT MASSES AND OPEN SPACES SUCH THAT THEY GIVE A RHYTHM TO MOVEMENT PATTERN. CHANGE IN PAVING MATERIALS AND PATTERNS SHOWS CHANGES IN FUNCTION IN SPACES.

RAMPS ARE GIVEN TO MAKE THE WHOLE

COMPLEX IS DISABLED FRIENDLY.

RAMP LEADING TO THE TERRACE WHICH IS USED AS AN EXIBITION SPACE FOT TERRACOTTA

PATHWAYS ARE FUSED WITH THE GREEN PATCHES THE PAVINGS ARE PUCTURED WITH SPACES (GREEN)TO GIVE RELIEF AND AVOID MONOTONY.

Global arts village , MOHALI

LANDSCAPE
MEANDERING LANDSCAPE , YET DEFINED BY TWO MAJOR ELEMENTSTHE NAHAR THE EXISTING CLUMPS OF TREES. .

LANSCAPE WAS RECOGNISED AS FOCAL TO THEME IN THE LAYOUT OF COMPLEX.

NATURAL FEATURES LEFT UNDISTURBED BASIC CHARACTER OF LAND INCORPORATED IN THE DESIGN .

TYPOLOGY
MAIN CENTRAL GREEN SECONDARY GREEN LEFT OVER GREEN

LANDSCAPE FEATURES
WATERSCAPE
NAHAR KUND CLUMPS OF TREES

Global arts village , MOHALI

LANDSCAPE
SYNTHESIS OF FORMALITY AND INFORMALITY BOTH IN PLANTS AND HARD LANDSCAPE. Kabutarkhana acts as a landscaping element ASHOK AUSTRALIAN KIKER ALSTONIA AMALTAS ARJUN AVLA BOTTLE BRUSH BAMBOO CHAMPA CASIA CADAMBE FICUS GUAVA GULMOHAR JAMUN KIKER LEMON MANGO MULBERRY NEEM PIPAL TEAK

HEDGES AND SHRUBS ARE USED TO DEFINE SPACES .

GEOMETRIC FORMS, PAVEMENTS, PATHS AND HEDGES INTERSPERSE LAWNS, VANS , THE NAHAR AND MEANDERING PATH.

POTS OF TERRACOTTA AND METAL , AN ANTIQUE MANDIR , LANTERNS ADOR THE GHATS AND GREEN SPACES HERE AND THERE . THE TREES CONCEAL THE BUILDINGS AND LANDSCAPED TERRACES CREATIVELY DIVIDES THE SPACE. Village complex with the kund

Global arts village , MOHALI

TREES AT GRAM

Indigenous trees
Left over green area

nahar

Clumps of trees waterscaping

Global arts village , MOHALI

RAIN WATER DRAINAGE CHANNEL WAS CONVERTED INTOA LINEAR WATERBODY , THE NAHAR . STARTS FROM SEMICIRCULAR POND . PASSES UNDER A FEW CAUSEWAY AND WASHES AT PLACES , STEPS WHICH IMITATES GHATS . IT ENDS AT THE MANCH . EXCESS WATER IS RUN OFF THROUGH A BYEPASS DRAIN .

TREES ALONG THE NAHAR BINDS TOGETHER THE WHOLE COMPLEX , AND BRINGS ABOUT A SERENE AND TRANQUILL SETTING AND IS HEAVEN FOR CREATIVITY.

NAHAR, THE RAIN WATER CHANNEL

Bridges over the bypass drain

INDIVIDUAL IDENTITY IS GIVEN TO COURTYARDS AND LANDSCAPED TERRACES. ETHNIC EMBELLISHMENT , TERRACOTTA FIGURES, METALLIC UTENSILS ARE ELEMENTS WHICH ENRICH THE RURAL MILIEU.

Global arts village , MOHALI

EXHIBITION SPACES
MUSEUM OF INDIAN TERRACOTTA TERRACOTTA , A FUNCTIONAL ART , IS THE FIRST CREATIVE EXPRESSION OF THE CIVILIZATION. SELECTED POTTERS FROM ALL OVER INDIA AND ABROAD ARE INVITED TO DEMONSTRATE THEIR SKILLS FROM TIME TO TIME .

Entrance to museum

THE ROOF IS PYRAMIDAL AS IT SUITS THE SQUARE PLAN AND BLENDS WELL WITH THE SCALE AND RURAL SETTING.
Display in courtyards around the museum

ORIGINALLY THE SRUCTURE IS IN RCC AND BRICK AND ABOVE IT LIPPAN IS APPLIED TO GIVE IT A RURAL LOOK.

Global arts village , MOHALI

SPACES ARE IN THE MODULE OF SQUARE WHICH ARE USED FOR VARIOUS PURPOSES SOMETIMES AS A PLATFORM , A ROOM WITH OR WITHOUT ROOF AND SOMETIMES TOTALLY ENCLOSED WITH DOORS AND WINDOWS . THE LAYOUT OF SPACES IS SUCH THAT A VISITOR MOVES FROM ONE EXHIBITS TO THE NEXT WITHOUT REPEATING ANY. EACH EXHIBITION CAN BE APPROACHED AS WELL. OPEN AREAS, COURTYARDS, TERRACES ARE INCORPORATED AS OPEN DISPLAY AREAS. Display of objects on varying platforms

The roof is done by steel angles and sections as supporting members which is topped by bamboo roof

Display of various objects from different regions of north Global arts village , MOHALI

Indian textile
Display of textile materials from different regions. Like punjab (phulkaris), jammu kashmir(pashmina shawls),

Picture gallery

Global arts village , MOHALI

Everyday art:

Picture gallery

Global arts village , MOHALI

H A V E L i : owners residence
THIS IS THE RESIDENCE OF MR. O.P.JAIN THE MOTIVATOR OF THE KENDRA. IT IS A SINGLE STORYED STRUCTURE DESIGNED IN SQUARISH FORM WITH INTERSECTING PYRAMIDAL ROOFS . ALL ROOMS ARE ARRANGED AROUND CENTRAL COURTYARD- AANGAN THE MOST STRIKING FEATURE IS THE METICULOUSLYRESTORED(OLD) ANTIQUE ENTRANCE DOOR FROM RAJASTHAN FROM WHERE ONE GETS THE FIRST GLIMPSE OF THE aangan. THE CENTRAL COUTYARD HAS A ZEN GARDEN WITH A WATER POOL THE DINNING AREA AND FORMAL SEATING FACE TOWARDS THE COURTYARD CREATING A SEARNE ENVIRONMENT .

INTERIOR OF THE HAVELI

Global arts village , MOHALI

B A I T H A K: administrative block
THE BAITHAK IS the common room OF THE KENDRA, HOUSING FACILITIES SUCH AS DINING ROOM , CONFERENCE ROOM AND OFFICE . THE BAITHAK IS DESIGNED IN SPLIT LEVELS . THE BUILDING CAN BE ENTERED FROM VARIOUS LEVELS 1. 2. 5 3. 4 2 1 1 4. 5. 6. 7. 8. UPPER GROUND FLOOR LOBBY OFFICE DINING / LOUNGE ATRIUM PANTRY LIBRARY COMPUTER ROOM STORE

9.

SYMPOSIUM

10. KITCHEN

10 9 4

6
8 LOWER GROUND FLOOR 7 2

Double height foyer of baithak

Entrance to the baithak

Global arts village , MOHALI

(7) Computer room

(3) dinning/ lounge

Wooden pyramidical roof of dinning area

(6) library

(2) office

Global arts village , MOHALI

G A O N: village complex
GAON COMPRISES OF CLUSTER OF HUTS MEANT FOR RURAL CRAFTSMAN TO WORK AND RESIDE . EACH UNIT IS A SINGLE STORIED STRUCTURE , COMPRISING OF LIVING / SLEEPING , KITCHEN , TOILET .

2 3 1

PLAN

1 2 3 4 5

GREEN ROOM GAON MANCH LIV / SLEEPING KITCHEN LOW HEIGHT MUD WALLS TO DEFINE SPACES VERANDAH USED BY CRAFTSMAN FOR WORKING OUTDOORS.

Central courtyard Used as work space by the artists .a

6 4 5 7
UNIT PLAN THE DORMITORIES OF ARTISIANS ARE PLACED AROUND A CENTRAL COURTYARD WHICH IS USED BY CRAFTSMEN AS OUTDOOR WORK SPACE. EACH UNIT IS PROVIDED WITH AN INDIVIDUAL KITCHEN.

Double height roof admits more light to interiors

Global arts village , MOHALI

MANCH: amphitheatre
IT IS AN OPEN-AIR THEATRE NEXT TO THE GAON COURT . IT HAS A SEATING CAPACITY OF 200 PEOPLE. USED BY ARTISTS FOR PERFORMANCE AND ENTERTAINMENT. STAGE IS COVERED BY LUSH GREEN GRASS AND BRICK PAVED STEPS .

STUDIOS
there are 8 studios in 2 Blocks placed along the nahar where PARTICIPANTS FROM AROUND THE WORLD CAN LIVE AND WORK .

THE UNITS ARE SMALL AND SIMPLE BUT PROVIDE A VARIETY OF SPACES BOTH INDOOR AND OUTDOOR.

BACKYARD OF THE STUDIOS.

Global arts village , MOHALI

ARTISIANS WORKING IN POTTERY WORKSHOP

Display of ceramic objects

Pottry machine Backyard of studio Washing area Porter at work

Brick kiln Electric kiln Global arts village , MOHALI

COMPLEMENTING THE MUSEUMS ARE RESIDENTIAL FACILITIES AND WORKING SPACE FOR CRAFTS PERSONS WHERE ONE CAN SOMETIMES GET AN OPPURTUNITY TO SEE THEM AT WORK. LIVING , DINING , WORK SPACE IS ON THE LOWER LEVEL , WHILE SLEEPING AREA IS LOCATED ABOVE. 1. 2. 6 5 3. 4. 5. 6. FIRST FLOOR 7 4 2 3 7. ENTRANCE COURT LIVING WORK SPACE SITTING DINNING / KITCHEN SLEEPING UPPER LIVING GARDEN

GROUND FLOOR

INTERIOR VIEW OF A STUDIO

Global arts village , MOHALI

MATERIALS
CONSTRUCTION MATERIAL

Pyramidal roofs finished with Mangalore roof tiles.

THE CONSTRUCTION MATERIAL USED ARE R.C.C , BRICK , STONE , STEEL ETC

ARCITECTURAL CHARACTER

PLAY IN MASS AND VOID FINISHES AND TEXTURES EARTHY COLOURS

PYRAMIDAL ROOFS FINISHED WITH MANGALORE ROOF TILES.

Bhoosa reinforced plaster has Been used in MANY PLACES.

ORDINARY CEMENT PLASTER HAS BEEN TEXTURED WITH STEEL COMB TO GIVE IT A ROUGH LOOK . THE LOW PROFILE BUILDING PAINTED WITH SNOCEM IN HUES OF BROWN AND EARTHY COLOURS IMPARTS A CLOSE RESEMBLANCE TO VILLAGE WALLS . THE SUBDUED DUSTY FACADES ARE ENLIVENED BY THE MANGLORE TILES LAID ON SLOPING PYRAMIDS, WHICH FIT WELL WITH THE SQUARE PLAN BELOW. THE SLOOPING ROOFS ARE MADE BY STEEL ANGLES AND SECTIONS AS SUPPORTING MEMBERS WHICH IS TOPPED BY A NETWORK OF BAMBOOS AND COVERED WITH ROOF MADE OF MANGLORE TILES OVER THATCH.

ROOF OF TERRACOTA MUSEUM IS MADE UP OF THATCH AND BAMBOO MATS.

Thatch roofs of museum

ONE WALL PAINTED ORANGE IN CONTRAST WITH THE BACK GROUND

Global arts village , MOHALI

ANALYSIS
The complex has no visibility from the road and lies in the interiors thus preserving the isolation, quietness and solitude of the Kendra THE 3 main entrances create a number of options to be followed to reach the different spaces, each offering different features and views, thus generating interest in the individual. Circulation inside the complex is limited to pedestrians. Various levels have been incorporated to add a new dimension to the simple plan layout. The concept of creating a village environment and setup is fulfilled by the use of materials and different components of a rural setup but the formal planning mars the purpose to an extent. The site planning can be broken down into an arrangement of squares which is the form of all buildings and open spaces. On both macro and micro level, a strong relation exists between the built mass and their surrounding open spaces as they are highly interactive in nature consisting of levels in topography and components like open air theaters, water pools etc. while in the building too, spaces flow into each other giving the interiors a very open feeling creating an ambience which fuels the artists creativitY. Most of the exhibits are in open enclosures with mud walls forming charming frames and providing a pleasant authentic backdrop. Landscaping has been done quite extensively, employing several elements such as water pools, pergolas, freestanding columns, concrete frames etc. the area is full of trees and vegetation, which makes the surroundings cool and pleasant. Minimum breach of existing vegetation and land has been done Baithak-office has been strategically placed at a higher level overlooking the entire complex. In studios, a variety of spaces, both indoor and outdoor are provided where artist can work and relax. An attempt to recreate the scenario by means of mud cottages built in traditional systems has been. Thatch and tiled roofing can also be seen at several places.

Global arts village , MOHALI

Global arts village , MOHALI