Reportdraft 3

TABLE OF FIGURES
Figure 1 : location map of sanskriti Kendra , new -delhi ............................................................................

Figure 2 : Open , semi covered and enclosed areas within museum of indian terracotta .......... 33
Figure 3 : interiors of museum of everyday art ........................................................................................ 34
Figure 4 : TYPES OF DISPLAY IN MUSEUM OF INDIAN TEXTILES ......................................................... 35
Figure 5 : HAVELI OR THE RESIDENCE....................................................................................................... 36
Figure 6 : LOWER GROUND FLOOR PLAN OF BAITHAK ........................................................................ 37
Figure 7 : GROUND FLOOR PLAN OF BAITHAK ...................................................................................... 38
FIGURE 8 : THE AMPHITHEATRE .................................................................................................................... 39
Figure 9 : GROUND FLOOR PLAN OF WORK STUDIO........................................................................... 39
FIGURE 10 : INTERIORS OF GROUND FLOOR OF WORK STUDIO ..................................................... 40
FIGURE 11 : FIRST FLOOR PLAN OF WORK STUDIO ............................................................................. 40
FIGURE 12 : CERAMIC CENTRE AND WORKSHOP AREA ....................................................................... 42
FIGURE 13 : LANDSCAPING FEATURES OF SANSKRITI KALA KENDRA ............................................... 45
FIGURE 15: CONCEPTUAL SKETCH AND DESIGN LAYOUT .................................................................. 56
FIGURE 17: SITE ZONING .............................................................................................................................. 58
FIGURE 18 : SPATIAL DENSITY AND PROGRAMMIC DENSITY ............................................................. 59
FIGURE 20 : LANDSCAPING FEATUTRES OF JAWAHAR KALA KENDRA ............................................ 60
FIGURE 21 : DOME STRUCTURE AT THE ENTRANCE OF THE MAIN BLOCK ........................................ 61
FIGURE 22 : LIBRARY OF JAWAHAR KALA KENDRA .............................................................................. 63
FIGURE 23 : THE STUDIOS AND THE AMPHITHEATRE ........................................................................... 64
FIGURE 24 : THE ART GALLERIES ................................................................................................................ 65
FIGURE 25 : MAIN AUDITORIUM................................................................................................................. 67
FIGURE 26 : TILAM FOOD COURT .............................................................................................................. 68
FIGURE 27 : CONSTRUCTION MATERIALS USED ...................................................................................... 69
FIGURE 28 : FIRE SAFETY EQUIPMENTS ...........................................................................................................
TANNUM NEGI TOPIC - MEGA CULTURAL HUB

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1. INTRODUCTION -
PEOPLE WITHOUT THE KNOWLEDGE OF THEIR PAST HISTORY , ORIGIN AND CULTURE ARE LIKE
TREES WITHOUT THEIR ROOTS .a cultural centre is not only an institution for promotion of
various ancient artforms but also a complex to preserve cultural traditions . these centres
provide knowledge to the future generations about the ancient culture and traditional art form
and these are also the complexes built to preserve heritage and history of a particular place , to
strengthen the cultural values of that area.
Cultural centre is an institution which unifies all cultural activities under one roof. The
cultural centers are to develop ways and means by which the basic cultural and aesthetic
values and perceptions remain active and dynamic among the people. It also undertakes
programmers of preservation, encouragement and dissemination of various manifestations of
contemporary creativity. Its obectives are :
Provision of knowledge and empowerment for the upcoming generations about the
culture and traditional artforms.
International outreach through cultural exchange of music, dance , art , cuisine,
handicrafts .
2. AIM-
To design a mega art and cultural hub which would serve as a centre for promoting and
preserving Indian tangible and intangible heritage. The aim is to design a space to provide
opportunities by which people from different parts of India get to know more about each
others tradition and cultural heritage and thereby help in promoting mutual understanding
and national integration. The space would amalgamate all cultural activities under one roof.
3. OBJECTIVE -
3.1 To understand the spatial requirement for various traditional activities and artforms .
3.2 To design spaces for display , demonstration, exhibition of visual and performing art
,handicrafts on the basis of multiple use of specific space.
3.3 To design for energy efficiency with integration of built space and the natural
surroundings.
4. SCOPE -
cultural centre that would serve as an interactive platform related to various art forms
paintings , craftwork , folk dance , folk music , theatre etc. The concept of cultural center can

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give lot of scope to think and achieve the functional spaces more interactive, lively for
attaining any information or learning any forms of art and traditional works of Rajasthan . It
helps to develop the futuristic ideas for the designing for all kinds of cultural activities. The
thesis topic would also help me explore the spaces required for artists and craftsmen to
practice their crafts. It would help me understand the social and cultural setting of the region
and explore the implementation of cultural context on building design. It would allow me
greater freedom in form and spaces as many of the spaces to be designed would be of flexible
nature.
5. LIMITATION -
The design thesis would not go into too much of technical detailing and would be going round
about the design and the feel of the place in order to make the building more interactive.
moreover the convention block will not be designed seperately and area for future expansion
will be left for that block.
6. JUSTIFICATION OF TOPIC -
India is among the most diversified countries as far as the field of arts and crafts is
concerned. But at present, almost all the handicrafts and artforms of India are facing a
severe crisis in terms of survival due to major influence of western and contemporary
artforms in India . Due to tis reason most of the craftsmen and artists are shifting to other
jobs to earn their livelihood and the handicraft and other small scale industries has became a
part time field of activity. this has happened due to the following facts:
due to a lack of policy the craftsmen as well as the government have failed in terms of
marketability of all such art and handicraft items. there is no coordination and holistic
organizational set up available for the craftsmen and artists where they can promote and
display their talents as well as learn further from other local and international artists . on the
other hand, interest in ethnic india is growing day by day. hence i intend to design a centre
that would serve as a complete hub or an integrated platform for upliftment of artists
where they can display the traditional indian art and craft forms and would also serve as a
resource or learning centre for them . such center would also help in
6.1 laying special emphasis in various activities ,on the cultural linkages among various
areas through evolution of styles and their contribution to the larger composite identity
of the cultural heritage of india.

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6.2 making special efforts to encourage folk and tribal arts and to frame special programs
for the preservation and strengthening of the art forms that are languishing towards
extinction.
6.3 undertaking such programs as seminars, workshops etc. with a view to encouraging
and involving the youth of the country among themselves and with those of the rest of
the country in creative cultural communications.
6.4 pursuing such other activities and programs that would strengthen and promote the
cultural inter-linkages amongst the states.
7. METHODOLOGY ADOPTED

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8. TENTATIVE REQUIREMENTS -
MUSEUM AREA :
A building or a part of building in which various objects of historical , cultural and
artistic interest are stored and exhibited . The main purpose of such area is to preserve
, collect and display items of significance .
HAAT BAZAAR AREA :
It is the marketplace where the producers sell the product themselves and there are
streets lined with shops and stalls .
AMPHITEATRE :
It is an open air venue used for performances , entertainment and demonstrations of
various kind . This open air theatre comprises mainly of the seating area and the
performance area .
AUDITORIUM :
It is is a room built to enable an audience to hear and watch performances at venues
such as theatres. For movie theatres, the number of auditoriums is expressed as the
number of screens.
ART GALLERY :
An art gallery is a room or building where varied works of art would be displayed.
This space is used for the exhibition of art, usually visual art.
BANQUET HALL :
A function hall or banquet hall is a room or building for the purpose of hosting a party,
banquet, reception etc or any other social event.
LIBRARY :
A Library is a room or a building where books are kept . it is an organized collection
of sources of information , data made accessible to a defined community for either
reference purpose or borrowing.
FOOD COURT :
It is a common area within a facility that has counters of multiple food vendors and
serves as a common eating place .
ADMINISTRATION BLOCK :
Set of rooms or a building used as a place for commercial ,professional , office work
such as record keeping, billing , financial planning , management tasks etc.

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8. PROPOSED SITE DETAILS -
The site selected is being proposed for a project of building a cultural centre in new delhi by
the delhi development authority.
We are planning to construct a new cultural cultural hub that would be located in Dwarka
Sector 10 , spread over an area of ten-acres. This socio- cultural hotspot is to be called
Indraprastha Sanskriti Kala Kendra, and the centre will have five blocks.
Its going to be one of the finest ultra modern centers in Delhi . This centre would be the
only one which is being developed with an objective to provide multi-disciplinary public
awareness and educational and learning platform along with the other conventional areas .
- SP Singh, Chief Engineer Dwarka,
(Delhi development authority)
PROPOSED SITE AREA FOR THE PROJECT - (40,468 SQ.M) 10 ACRE

SITE DIMENSION - 152 M X 266.2 M
THE PROPOSED CENTRE WILL HAVE 5 BUILDING BLOCKS :
cultural & performing arts block

visual arts block
learning and resource center
guest houses and accomodation for artists
convention block
SOURCE : http://http://epaper.timesofindia.com/
(accessed date 15/ 11/2014)
Figure 1 - SITE DETAIL

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9.CASE STUDIES
9.1 LIVE CASE STUDIES -
JAWAHAR KALA KENDRA , JAIPUR:

Jawahar Kala Kendra is a multi arts centre located in
Jaipur in India. It was built by Rajasthan government with
the purpose of preserving Rajasthani arts and crafts. The
plan was made by Charles Correa Correa's and it invokes
directly the original navagraha or nine house mandala FIGURE 2 JAWAHAR KALA KENDRA
concept . One of the squares is pivoted to recall the
original city plan and also to create the entrance designed has been made in eight blocks
housing museums, one amphi theatre and the other closed auditorium, library, arts display
rooms, cafeteria, small hostel and art-studio. It also houses two permanent art galleries and
three other galleries and host its own theatre festival each year.
SANSKRITI KALA KENDRA , NEW DELHI :

Sanskriti Kendra is a cultural centre which is a symbol of involvement in activities relating to
art, craft, literature, the performing arts, and social work.
It is a centre where artists and sculptors, writers and
musicians, and village craftsmen, practise their arts
together in tranquil surroundings that engage the mind with
the imagery.the centre received ISOLA landmark award
for its innovative landscaping usage by Ar mohammad FIGURE 3 SANSKRITI KALA KENDRA
shaheer and Ar Uppal ghosh .
9.2 LITERATURE STUDY -

JEAN-MARIE TJIBAOU CULTURAL CENTER -
JEAN-MARIE TJIBAOU CULTURAL CENTRE - FIGURE 4 - JEAN MARIE TJIBAOU CULTURAL
CENTER
The Jean-Marie Tjibaou Cultural Centre was built by architect Renzo Piano is located on the
narrow Tinu Peninsula, Nouma, the capital of New Caledonia, was built for preserving the
indigenous culture of New Caledonia. The formal curved axial layout, 250 metres (820 ft)
long on the top of the ridge, contains ten large conical cases or pavilions (all of different
dimensions) patterned on the traditional Kanak Grand Hut design

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CHAPTER 5- SITE ANALYSIS
CULTURAL HUB -
Cultural hub or cultural centre is an institution which unifies all cultural activities under one
roof. It also undertakes programmers of preservation, encouragement and dissemination of
various manifestations of contemporary creativity. The various activities based areas in a
cultural hub are as follows
VISUAL ARTS
permanent exhibition gallery , temporary exhibition gallery
PERFORMING ARTS
auditorium , multi purpose hall
ACTIVITY SPACE -
workshop aras , workstudios
haat area
ADMIN AREA -
office areas , accounts ,staff , hod room etc
LEARNING SPACES -
lecture halls and studio , library , documentation center
FIGURE 5 AREAS OF CULTURAL CENTER

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LIBRARY AREA
1.1 INTRODUCTION
A library is an organized collection of sources of information and
similar resources, made accessible to a defined community for
reference or borrowing.
It provides physical or digital access to material, and may be a

physical building or room, or a virtual space, or both.
Library circulation and inter-connectivity of internal various spaces

have to be well thought of while designing a research or library
unit.
Also library serves for lending purpose there should be easy access
available to the main desk so that users can borrow and return books easily. the other
functional areas included in a library are as the following mentioned below-
PARCEL SHELVES FOR BAGGAGES

LEND AND RETURN AREA
STORAGE SPACES AND AREA
PUBLIC READING AREAS
STAFF WORK AREA
BOOK STACKS AND SHELVES AREA
INDIVIDUAL WORKSTATION
Figure 6 FUNCTIONAL /
CIRCULATIONAL DIAGRAM
OF A LIBRARY

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FIGURE 7 STANDARD GIDELINES FOR LIBRARY AREA
shelf aisles in the library area should not be more than 3m long , and can also be
used to produce niches and exhibition stands .
There can be five to six shelves provided maximum reach 1.80 m and if there is
any reading section provided for children then that should have four shelves and a
reach height of 1.2 m .
1.2 LIGHTING PROVISION IN LIBRARIES

Lighting in the reading area of library should be appropriate to the usage , to which the
researchers and other users can read without any difficulty. Bookshelves should be
protected from daylight . Artificial light is preferable in book exhibition area . The best
illuminance distribution ratio at workstations is 10:3:1 ( book : surface : background ).The
lighting provisions to be made in libraries are as follows -
Artificial lighting provided are majorly of 2 types -
PARALLEL TO STACK LIGHTING SCHEME

This is where a single row of one-lamp linear fluorescent fixtures are centered above
each aisle.

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These lighting fixtures can either be recessed in the ceiling, suspended below the
ceiling, or even attached to the stacks themselves depending on how high the ceilings
are, what the ceilings are made of.
evenly distribute light amongst the stacks.
PERPENDICULAR TO STACK LIGHTING SCHEME

This is where rows of two-lamp linear fluorescent lighting fixtures run at right angles
to the book stacks.
The lights do not need to be centered between the aisles, so it is easy to imbed this
scheme into the ceiling grid that is already there in the library.
Perpendicular lighting schemes work very well with compact shelving. It also uses
less lighting fixture than the other schemes, so it is probably the most cost efficient to
install.
FIGURE 8 - TYPES OF ARTIFICIAL LIGHTING
FIGURE 9 - LUMINARIES USED IN LIBRARY AREAS

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DAYLIGHT / NATURAL LIGHT PROVISION IN LIBRARIES
Sunlight must be controlled so that there is not glare in the work stations or reading
areas specifically and so that fragile library materials are not damaged.
It is suggested that north-facing windows can be helpful because they provide
daylight, but not much direct sunlight. Additionally, south-facing window can also
provide adequate lighting but there should be some sort of overhangs.
All windows in libraries should have some sort of window coverings which are
adjustable so that the light can be regulated on a day-by-day basis
Sunlight must be controlled so that there is not glare in the work stations or reading
areas specifically and so that fragile library materials are not damaged.
Roof monitors are popped-up extensions of the roof, with vertical glass areas. Large
roof monitors often appear to be forms of vertical extensions of the ceiling, and can
provide dramatic high internal spaces in special areas.
Skylights can be successful daylighting roof apertures provided the direct sun is
prevented from coming within view by washing down walls or striking floor or table
surfaces
the taller or higher the window, the deeper will be the daylight penetration into the
space.
Clear glass is preferred for day lighting, but this in turn requires carefully designed
exterior sun control devices to provide adequate shading
FIGURE 10 - PROVISION OF NATURAL LIGHT / SKYLIGHT

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1. EXHIBITION AND GALLERY AREAS -
A museum is an institution that cares for (conserves) a collection of artifacts and other objects
of scientific, artistic, cultural, or historical importance and makes them available for public
viewing through exhibits that may be permanent or temporary.
An art gallery is a building or space for the exhibition of art, usually visual art. Paintings are
the most commonly displayed art objects; however, sculpture, decorative arts, furniture,
textiles, costume, drawings, pastels, watercolors, collages, prints, artists' books, photographs,
and installation art are also regularly shown.
In a cultural centre both these kind of spaces are very important for the display of paintings ,
sculptures and other artifacts to display ancient culture and traditions of a particular place .
2.1 CIRCULATION AND FUNCTIONALITY OF SPACES

Inside museum areas circulation is generated by the arrangement , interconnection and linking
of all individual areas. This would determine the quality of the museum area greatly
,circulation thus should be in a manner each space is accessible to all without being too
monotonous for visitors. In galleries and museum spaces there are no continuous circular
route to be provided , there should be segregated wings and sections of display.
Both museums and art galleries should have side rooms provided for packings , dispatch ,
slide sections , conservation workshops and lecture theatres etc. while designing any
museum area it is necessary that to allow :-
3 - 5 SQ. M. HANGING SURFACE PER PICTURE

6- 10 SQ. M . GROUND SURFACE PER SCULPTURE DISPLAYED
1 SQ.M. CABINET SPACE PER 400 COINS
All well lit pictures should be there in the gallery and for a
standing viewer should be hung at 10m away with the top
not more than 4.9 m above the eye level.
As far as possible each group of pictures and objects should

be classified and have a separate display space .The normal
human angle of vision is 27 degree up from eyelevel .

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FIGURE 11 - STANDARD GUIDELINES FOLLOWED IN EXHIBITION AREAS
2.2 LIGHTING IN GALLERY AND EXHIBITION AREAS -

Daylight has an important special role as a natural light source for many exhibition purposes ,
because of its spectral composition for color rendering of objects displayed in the museum
spaces
The day lighting in the museum areas would be depending on the color of the light , time of
the year and day . thus provisions should be made to have daylight provision throughout the
year in the museum space.
FIGURE 12 BEST PRACTICES FOR PROVISION OF DAYLIGHTING IN MUSEUM AREAS

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FACTORS AFFECTING LIGHTING
VISIBILITY -
Visibility in museum areas require minimum level of illumination , good contrast without
shadows, good color rendering and avoidance of glare.
ROOM SURFACES -
The lighter the surfaces, better is the light distribution by multiple reflections and the
general lighting of the room. if room surfaces are strongly colored , the color rendering for
the exhibits will be affected highly.
COLOURS OF LAMPS USED -

For lighting exhibition objects , white light
should be used as it is perceived more by
the viewers.
LIMITATION OF GLARE -
Glare arises when high light densities from the light sources or reflections overlap the
exhibits in viewers eyes .to make lighting free of glare lamps with low light intensity
should be used, or pure indirect light sources and matte finish surfaces.
Bright window surfaces too can lead to reflections that makes observation of display
objects difficult.
When directional light is used care should be taken , firstly to avoid observers from
casting shadows on the exhibits. With reflecting surfaces (for eg pictures under glass
or display cases ), it is necessary to ensure that light sources cannot reflect in them .
For the illumination of three dimensional exhibits , a combination of direct and diffuse
light is ideal.
FIGURE 13 REFLECTING SURFACES SHOULD BE AVOIDED

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3. LECTURE THEATRES -
Lecture halls and workshop theatres are places of social and personal interaction, where
learning takes place and where creative thinking is encouraged.
Lecture Halls should be designed to be attractive and comfortable spaces.
FIGURE 14 - LECTURE THEATRES SHAPES AND CONFIGURATIONS
3.1 CIRCULATION IN LECTURE THEATRES -

Physical Access and Movement The design shall take into account the flow of
students both in and out of the space and within the space as well as the need for the
instructor to move around in the front of the room.
should accommodate the programmed number of occupants as well as provide for
additional support space.
Each seating row should be offset by one half width, to improve visibility.
Cross aisles to provide better student access to seating is desirable.
It is generally accepted that center aisles should be avoided, as the best viewing seats
will be lost. The location of aisles is determined by sightlines considerations .
The form of the spaces should generally suit the function.
There should be minimal fenestration to walls near or at the front of the theatre so as
not to detract from the main focal point i.e. Iecturer and boards and screens.

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2. AUDITORIUM -
An auditorium is a room built to enable an audience to hear and watch performances at
venues such as theatres. a large building or hall used for public gatherings, typically speeches
or stage performances etc.
FIGURE 15 - AUDITORIUM AND HALLS
3.1 PROPORTIONS OF AUDITORIUM

These are obtained from the spectators psychological perception and viewing angle
, as well as the requirement for a good view from all the seats .
Good view without head movement but slight eye movement of about 30 degree.
Good view with slight head movement and slight eye movement approx 60 degree
Maximum perception angle without head movement is about 110 degree , i.e. in this
field everything which takes place between the corners of the eyes is percieved .
There is uncertainly beyond this field because something may be missed from the field
of vision.
With full head and shoulder movement , perception field of 360 degee is possible .
3.2 SEATING CAPACITY

In general , the maximum capacity of an auditorium depends on the format selected ,other
audio and visual limitations set by the type of productions. other factors include levels ,
sightlines , circulation and seating density as well as size and shape of platform and stage .

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3.3 SIZE OF AUDITORIUM
an area of atleast 0.5 sq.m per spectator is
to be used for sitting spectators. This
number is derived from a seat width x row
spacing of atleast 0.45sq. M per seat , plus
additional minimum of 0.5 x 0.9 i.e
approximately 0.05 sqm. Per seat .
Length of rows
Maximum of `16 seat per aisle and 25
seats per aisle is permissible if one side
exit door of 1 m width is provided per 3-4
rows.
Exits and escape routes :1 m wide per 150
people (min width 0.8m )
Figure 16 - STANDARD FOR AUDITORIUM WIDTH
3.4 SEATING -
The seats preferably should be arranged in
concentric arc of circles drawn with the
centre located as much behind the centre of
the curtain line distances from the
auditorium rear wall. The angle subtended
with the horizontal at the front-most
observer by the highest object should not
exceed 30 degrees.
Minimum distance of front seats should be
determined by the highest point required
to be seen on the stage which is Usually
raised by about 75 cm or more. The width
of a seat should be between 45 cm and 56 cm. The back to back distance of chairs in
successive rows of seats should be at least 8S em. If extra comfort is required higher
spacing may be provided.
Seats should be staggered sideways in relation to those in front so that a listener in any
row is not looking directly over the head of- the person in front of him. Upholstered
seats shall be provided, wherever possible.

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LIVE CASE STUDY 1

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CASE STUDY 1 - SANSKRITI KENDRA
BUILDING - SANKRITI KENDRA
TYPE - ART AND CULTURAL CENTRE
ARCHITECT - Ar. UPAL GHOSH
LANDSCAPE - Ar. MOHAMMED SHAHEER
ARCHITECT
AREA - 8.7 ACRES
LOCATION - ANANDGRAM ( MEHRAULI GURGAON ROAD ) ,
NEW DELHI , INDIA
DURATION - 4 YEARS [ STARTED IN 1988 AND WAS COMPLETED IN 1993 ]
CURATOR - O. P. JAIN
ACCESSIBILITY - NEAREST METRO STATION IS ARJANGARH METRO STATION ,

AND IS LOCATED AT 12 KM FROM INDRA GANDHI AIRPORT .

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INTRODUCTION
Sanskriti Kendra is a cultural centre which is a symbol of involvement in activities relating to
art, craft, literature, the performing arts, and social work. It is run by sanskriti Pratishthan,
which is an Indian not-for-profit cultural organization that helps cultivate an environment for
preservation and promotion of India's artistic and cultural resources. It is a centre where
artists and sculptors, writers and musicians, and village craftsmen, practise their arts together
in tranquil surroundings that
engage the mind with the
imagery.
All the activities of the Centre

are conducted in a low-lying
and beautifully designed
complex of buildings, in
harmony with the natural
environment . The campus,
gradually developed in stages
and houses three museums, a
Multi-Purpose hall, an
amphitheatre, artists studios
and dormitories and workshop
FIGURE 17 - LOCATION MAP OF SANSKRITI KALA KENDRA
spaces. It provides a uniquely
enabling environment for all Sanskritis own activities, as well as for the many NGOs,
associations and other civil society organizations that use the facilities for conferences and
workshops.

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AIM OF THE BUILDING -
Sanskriti Kendra was set up by Sanskriti Pratishthan and was
inaugurated on 31st January 1993.
Sanskriti cultural centre aims towards cultivating an environment
for the preservation and development of the artistic and cultural
resources not only of India but of the world as a whole. Sanskriti
has embraced a wider variety of activities and creative endeavors
to establish the same .
As an institute its main aim is to conserve and perpetuate the
vibrant and vital traditions and culture of india. Its faith is in
culture as a catalyst and as a part of everyday life. The importance
of the complex lies in its honest formulation of creating a natural, rural environment
where architectural expression emphasizes restraint over exuberance.
CONCEPT -
Architect Uppal Ghosh had this basic idea in his mind of
creating an idyllic cultural village that would have a flowing
river and trees for artists to work better.
Being a living, creative art complex, the Kendra was
intended to provide temporary residential and working space
to both traditional and contemporary artists and craftspersons
and to promote interaction between the two.
The concept was based on using different square units to

create complex centre where these units will have well
connected and inter related space.
A special feature of the design is meandering rainwater
channel Ghosh devised, which became the focal point of the
complex design .

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ZONING OF SPACES -
PUBLIC SPACES :
3 museums , exhibition
galleries & office, library
etc which comes
first with entry.
SITTING SPACES :
comes next to all public
spaces ,accompanied by
planting variety of trees.
WORKSPACES :
Studios and dormitories-
a very personal spaces are
away from the public
spaces to avoid any kind FIGURE 18 ZONING AND DISTRIBUTION OF SPACES
of distaction allowing
artists to work with concentration in a very natural & fresh environment.
SERVICES :
Areas like laundry, washing are placed at the end of the site away from public
movement along the service road.
ZONING AND INTERRELATION OF SPACES

The basic movement pattern is defined based on the activity zoning and interrelationship of
different areas i.e. dispay or museum areas , cafeteria , art galleries , workshops , work
studios , dormitories etc. These spaces are arranged in relation to one another and blended
with the natural surroundings .
The location of buildings and other structures is also formulated with respect to their
functions and interdependency .
The centre comprises of different building blocks which are organized in space and seperated
by variety of open spaces. This built up open space relationship can be observed easily.
The developments on the site are largely organic and a progressive development.planning of
the centre is based on basic modules of squares and rectangles with sloping roofs to have a
intervening masses and voids .

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-
PERMANENT
MUSEUMS
VILLAGE
COMPLEX ,
GALLERIES
STUDIO
APARTMENTS ,
HAVELI
NAHAR
KUND,
AMPHITHEATRE
BARAKHAMBA ,
AANGAN
MAIN FEATURES OF SANSKRITI KENDRA :

The buildings are semi-rustic in appearance and very scaled down in proportions.
Geometric forms, pavements, paths and hedges intersperse the lawns, vans, the nahar
and meandering paths.
The buildings are semi-rustic in appearance and very scaled down in proportions
Landscape a judicious mix of formality and informality
individual identity given to courtyards and landscaped terraces.
the concept - creating a village environment blended with the natural surroundings
.this is fulfilled by the use of local materials and giving traditional look to the
buiding .
The site planning based on systematic arrangement of squares which is the form of
all buildings and open spaces.
highly interactive in nature consisting of levels in topography and components like
open air theaters, water pools etc. spaces flow into each and are well connected . a
strong relation exists between the built mass and their surrounding open spaces .

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24
2
3
22
12
16
15
16
4
1
18
0 11 17
9 19
22
7 20
8 21
6
5
1
4 2
3
0 N
MAIN ENTRANCE
1. BARAKHAMBA 11. KUND 18. ARDHA KUND
2. NURSERY
12. KITCHEN 19. CANOPY
LEGENDS
3. MUSEUM : OF INDIAN
TERRACOTTA 20. AANGAN
0.4.Entrance
COURTYARD 13. MANCH
5. CAF 21. HAVELI
14. GAON
6. CANTEEN
7. MUSEUM OF EVERYDAY 22. SERVICES
15. CAMPING SITE
ART
23. WASHING AREA
8. BAITHAK 16. STUDIOS
24. CERAMIC CENTRE
9 .MUSEUM SHOP 17. NAHAR
The Kendra incorporates three museums

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DISPLAY BLOCK -
1. THE SANSKRITI MUSEUM OF INDIA TERRA-COTTA .
2. THE SANSKRITI MUSEUM OF EVERYDAY ART.
3. THE SANSKRITI MUSEUM OF INDIAN TEXTILES .
MUSEUM OF INDIAN TERRA-COTTA

the museum space is further divide into series of modular units, have been arranged
around landscaped courtyards. A majority of terracotta are also displayed in open and
semi-open environments. Thus open areas, courtyards, terraces are incorporated as
open display areas in the museum .
The roofs of the terracotta museum are pyramidal and it suits the square plan and
blends well with the scale and rural setting. the building sructure is in rcc and brick
and above it lippan is applied to give it a traditional rural look.
Good play with transtion of spaces can be observed : The module, square in plan, has
been used in various forms sometimes as just a platform, a room without roof, a
room with roof but semi closed type , and sometimes totally enclosed with regular
doors and windows . the layout of spaces is made such that a visitor moves from one
exhibits to the next without repeating any and the exhibition spaces can be approached
from every unit as well. OPEN DISPLAY
ON TERRACE
ENCLOSED
DISPLAY
SEMI CLOSED DISPLAY

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Figure 19 : OPEN , SEMI COVERED AND ENCLOSED AREAS WITHIN MUSEUM OF INDIAN TERRACOTTA
MUSEUM OF EVERYDAY ART

Objects of everyday life connected with the manners and customs, beliefs and
practices of the urban and rural populations of India are displayed in the Sanskriti
Museum of Everyday Art.
Situated at the Sanskriti Kendra, Sanskriti Museum of Everyday Art is a rich
repository of about 2 000 objects of everyday life of traditional India which show
some sign of excellence in craftsmanship, conception, design or ingenuity of pratical
device.
The collection includes folk and tribal sacred images, accessories for rituals, lamps,
incense burners, writing Materials, women's toiletries, weights and measures, ovens
and tongs, locks and latches, apparatus for opium and cannabis, vessels, children's
accessories and kitchen implements.The
museum of everyday art is housed in a building
sunk partly below ground and its roof is
effectively used a outdoor exhibition terraces for
the terra-cotta museum.

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FIGURE 20 : INTERIORS OF MUSEUM OF EVERYDAY ART
MUSEUM OF INDIAN TEXTILES

This museum area in the centre is for the display of textile materials from different regions
like punjab (phulkaris), jammu kashmir(pashmina shawls),
The Sanskriti Museum of Indian Textiles started as a small private collection was inaugurated
on January 4, 2009 then the collection grew and establishment of this museum happened with
a unique collection.
This Museum intends to serve as a resource for the study of Indian textile traditions.Its
objective is to display representative examples of selected traditions of Indian textiles, and to
create a pool of information around these that will eventually serve as an academic resource
for study and research.

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Figure 21 : TYPES OF DISPLAY IN MUSEUM OF INDIAN TEXTILES
HAVELI
This block is primarily used as the residence cum office of mr.
o.p.jain the motivator of the Kendra and the the moving force
behind the organization . The plan is based on six and a half
overlapping squares with intersecting pyramidal roofs.
it is a single storyed structure designed in squarish form with
intersecting pyramidal roofs
All rooms are arranged around central courtyard- i.e the dining,
living, bedroom and the kitchen are arranged around an aangan
(courtyard).
The most striking feature is the meticulouslyrestored(old) antique
entrance door which is rajasthani carved door from where one Figure 22 HAVELI BLOCK
gets the first glimpse of the aangan. - a perfect square patch of
green with an equally geometric rectangle of water along one side.
The central coutyard has a zen garden with a water pool .

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Figure 23 : HAVELI OR THE RESIDENCE
BAITHAK
The baithak is the common room of the Kendra, housing facilities such as the dining room,
conference room, library, computer room and office. A two-storeyed structure, it is internally
connected, both visually and physically by a double height covered court with steps so
configured that they can be used as tiered seating during conferences, etc.
FLOW OF SPACES : The building is designed in split levels and can be entered from
various levels. Except the office and the library, all other spaces flow into each other giving
the interior a very open feeling.
OFFICE AT HIGHER LEVE : In keeping with its supervisory role the office has been
strategically placed at a higher level overlooking the entire complex.
PLAY WITH LEVELS : The architect has also played with levels within the building
maintaining smooth movement horizontally as well as vertically.

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GREEN BUILDING FEATURES -
All the areas of this block are placed along the south side as to have advantage of sun as the
sun directly enters the room throughout the day in winters .
The building is made keeping in mind green architecture to have more of natural environment
- fresh air to breathe in and more of natural lighting.
Building is planned in a staggered form to have mutual shading following green principles.
LEGEND:
1. LIBRARY AREA
2. COMPUTER
ROOM
3. ATRIUM
4 3
4. KITCHEN
5 5. STORE
1
Figure 24 : LOWER GROUND FLOOR PLAN OF BAITHAK

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LEGEND
1. LOBBY
2. OFFICE
5 3. DINING / LOUNGE
4. ATRIUM
4 5. PANTRY
3
1 OFFICE AREA
DINING / LOUNGE AREA
Figure 25 : GROUND FLOOR PLAN OF BAITHAK
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 .

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CENTRE
STAGE
SITTING AREA
FIGURE 26 : THE AMPHITHEATRE
STUDIOS
There are eight studios in two blocks
placed along the Nahar where participants
with an urban background can live and
work.
The units are small and simple but provide
a variety of spaces, both indoor and
outdoor.
These are located away from other built
forms that allows artists to concentrate on
their work.
In studios, a variety of spaces,
both indoor and outdoor are
provided where artist can work
and relax.
Figure 27 : GROUND FLOOR PLAN OF WORK STUDIO

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WORK
SITTING SPACE
AREA
BACKYARD WHERE
ARTIST CAN WORK
TOGETHER
DISPLAY AREA IN
THE WORK STUDIO
FIGURE 28 : INTERIORS OF GROUND FLOOR OF WORK STUDIO
FIGURE 29 : FIRST FLOOR PLAN OF WORK STUDIO
Sanskriti Kendra provides accommodation of two types -
ACCOMMODATION:
4 STUDIOS - TYPE I
LIVING SPACE 125 SQFT
WORK SPACE 415 SQ FT

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4 STUDIOS - TYPE II
LIVING SPACE 270 SQFT

WORK SPACE 370SQ FT
All eight studios are double-storeyed apartments. A staircase leads up from the studio
to the mezzanine to a comfortable bedroom and bathroom. All studios open into a
courtyard.These are available for individual artist residents.
GREEN ARCHITECTURE FEATURES -
workspace and the living areas get north light as north side gets only light throughout
the day without any heat so it is cooler.
bedrooms , dining-kitchen and the sitting areas along
with a separate personal garden are facing south side ,
thus get more sun(heat & light) in winters and lesser
in summers.
These residential facilities compliment the museum
space . and provides working space for crafts persons
where one can get an oppurtunity to see them at
work.
The living , dining , work space is on the lower level ,
while sleeping area is located above
studios are located in the calm area surrounded by
greenery and away from any built form to maintain
privacy and providing environment to concentrate.
water body nearby add to its beautiful environment.

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CERAMIC CENTRE
The Sanskriti - Delhi Blue Ceramic center the only one of its
kind in India - plays host to diverse ceramic activities and
interactions, both national and international. The programs
offered include residencies, classes, interactive workshops for
ceramicists, talks, slide shows, firings and demonstrations.
Facilities at the Ceramic Centre The ceramic centre is well
equipped with the following types of wheels and furnaces:
8 Kick wheels, 2 Painters wheels, 1 Electric wheel, 1 Wood Furnace, 2 Gas Furnaces
WASHING AREA ELECTRIC KILN BRICK KILN
FIGURE 30 : CERAMIC CENTRE AND WORKSHOP AREA
PRINCIPLES OF DESIGN USED

BALANCE AND UNITY : Building exhibits a perfect example of an environment
suitable for a cultural setting. A building designed in relation with the landscape, with
the built form complementing the natural landform . thus the blending of built forms
with nature depicts sense of balance and unity which strengthens the design further .
RHYTHM AND MOVEMENT : Spaces are well articulated and the movement
pattern provides a good experience to the visitors as he walks from open to sky to
semi-covered courts and finally into a covered space creating a sense of gradual
movement or rhythm throughout .

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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 and stimulating the feeling of movement and
rhythm throughout the design .
CONTRAST : walls of the building are painted with contrasting
color or there are wall art done on the exterior faces of few walls
laying emphasis on the walls and the importance or significance
of that particular block or building .
Figure 31 - CONTRASTING WALLS
LANDSCAPING AND ITS EFFECT TOWARDS AESTHETICS

All spaces are scattered in a manner of a village dwelling. Over two thousand trees
were planted across the plot with a banyan tree at the entrance.
Professor Mohammad Shaheer was responsible for
the landscape architecture of the complex
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.
The natural features of the centre were left undisturbed and thus landscape can be
defined by two major elements :
EXISTING CLUMPS OF TREES LEFT UNDISTURBED
THE NAHAR
Landscaping was recognized as the focal to the theme of the layout of complex , and
thus has been awarded , the ISOLA landmark award 2012 for retaining the original

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design intent of the created landscape and for the significant
contribution of the Kendra to the cultural landscape of Delhi.
Sanskriti Kendra is a cultural complex designed as a garden
landscape providing a platform for craftspersons to live and
work in a creative environment in addition to hosting a
number of other activities
basic character of open land mass and hardscaped areas are
incorporated in the landscape design which further have
antique traditional items at display like pots of terracotta and

metal, antique mandir , lanterns , pillars etc which enhance
the aesthetic appeal of green areas .
hedges and shrubs are used in certain spaces and are used to
defining areas accordingly . also the trees conceal the Figure 32 - OPEN
COURTYARDS
buildings and landscaped terraces creatively divides the space
synthesis of both formal and informal landscape design can
be witnessed in plants and the hardscape .
SEATING AREA
PROVIDED
EVERYWHERE WITH
NEARBY GREEN
AREAS
ARTISTIC INSTALLATION IN THE COURTYARDS

The Kendra being spread over 3 hectares on the foothills of the aravalli range,
landscape is thus recognized as focal to the scheme. No activity that would disturb the
basic character of the land was undertaken. Approximately two thousand trees have
been planted to predominate the complex.
The rainwater drainage channel that runs down the center, and existing clumps of trees
become the major structuring elements of the layout plan. The rainwater channel has

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been converted into a linear water body (The Nahar). This starts from a semi-circular
pool fed by water attention pond, passed under a couple of foot bridges, washes up the
steps of Ghats on either sided, and ends at the Manch. Excess water is run off through
a by pass drain.
WATER BODIES AND HARD SCAPE
PERGOLAS AND BRIDGES
FIGURE 33 : LANDSCAPING FEATURES OF SANSKRITI KALA KENDRA
BUILDING MATERIALS USED :

Architect Upal Ghosh took his visual cues from the rural architecture but also wanted
his building to be practical and long lasting ,therefore he chose cement that was made
to look like mud bricks and pyramidal terracotta tiled roofs providing a design that
could be replicated easily .
Construction materials used for the construction of the centre are reinforced cement
concrete , brick , stone , steel etc.
bhoosa or mud reinforced plaster has been used in many places .

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Ordinary cement plaster has been textured with steel
comb to give it a rough rural look .
To maintain the low traditional aesthetic profile of
the building , it is painte d with Snowcem Paints
(exterior cement-based masonry paint in India) in hues
of brown and earthy colours imparting close
SLOPING ROOF
resemblance to village walls .
The subdued dusty facades are complimented by the
manglore tiles laid on sloping pyramid , which fit well
with the square plan below.
The sloping roofs are made using steel angles and
sections as supporting members which is covered by a
network of bamboos and covered with roof made of
manglore tiles over thatch . STEEL TRUSS USED
The rich earthen colour incorporated in a cement paint coating, applied to coarse-
surfaced cement, is redolent of unspoilt natural landscapes and the ubiquitous, mud-
plastered Indian village.
The strength of mud mortar increases considerably by addition of fibers from decayed
Bhusa or Wheat Straw which acts as reinforcement to the soil and increases the
cohesion.
earthen plasters are less toxic and energy intensive than many other wall coverings,
which makes them appealing to the environmentally-conscious. Earthen Plasters are
also easily repaired and inexpensive.
The rich earthen colour incorporated in a cement paint coating, applied to coarse-
surfaced cement, is redolent of unspoilt natural landscapes and the ubiquitous, mud-
plastered Indian village.

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STEEL SECTIONS
MANGALORE TILES USED
Figure 34 - BUILDING MATERIALS USED
CIRCULATION AND MOVEMENT

Movement patterns are very clear and distinct .
Service road runs on the periphery of the site. Rhythm in the movement
pattern , a new experience is initiated 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
provided at certain spaces to make the complex disabled friendly .
RAMP LEADING
TO TERRACE USED
AS EXHIBITION
SPACE FOR
TERRACOTTA
MUSEUM
PAVED PATHWAYS

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ACCESS AND PARKING FACILITY
It is 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,
which is situated on ones way to ayanagar.
kendra is set amidst rows of opulent
farmhouses at anandgram and it occupies a
corner plot .
The centre is located at 10 km from I
.G.International airport . it is near ghitorni metro
station . Figure 35 PARKING AREA OF THE
CENTER
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.
THERE ARE 2 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 MAIN ENTRANCE OF THE
the residence of O.P Jain and the service areas.
CENTER

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The second entrance (b) gives direct access to the kund with the writers studios and the
OAT. which act as access for the studios.
The space outside the boundary wall of Kendra is used for parking , as space inside for parking is
insufficient . this centre is one of the eight farmhouses of anandgram developed into an entire artistic
cultural centre located towards the corner end after entering anandgram .
ARCHITECTURE TYPE :
The building is based on organic philosophy of architecture which promotes harmony

between human habitation and the natural surroundings through the design.
Also it is well integrated with its location, nearby buildings, furnishings, and
surroundings become part of a unified, symbiotic composition overall.
Design of the centre is entirely inspired by nature and is sustainable, conserving,
flexible and adaptable to satisfy social, physical, and spiritual needs.
The landscaping plays an important role in every aspect of the design of this centre ,
creating an ambience which fuels the artists creativity.
The building materials used are local and eco-friendly causing no harm to the
environment.
The centre coexists along with tranquil gardens , reflective ponds, experiencing exotic
birds and vegetation. Sanskriti Kendra is a place where a blend of contemporary
design and organic bamboo-mud-thatch construction can be observed.
The buildings' design is carefully is thought about as if it were a unified organism by
the architect . unity of different spaces throughout the building builds a central mood
and theme.
architecture of the centre is primarily based on local needs and construction materials,
and reflecting local tradition to reflect the environmental, cultural context in which the
exists. Architect Upal Ghosh wanted to establish the vernacular and traditional
architecture visual appeal but also wanted his building to be practical and thus chose
the building materials accordingly.

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RELATION OF DESIGN TO CLIMATE -
The climate in delhi is composite and moderate type.
Being in the moderate climatic zone this semi arid region has high temperatures during the
summer and low during the winter , within reasonable limits i.e. not excessive or extreme.
The building blocks have been sited in a manner as to leave plenty of breathing and
strolling space between them, but not so far apart as to create a sense of isolation.
The form of a building and the open spaces in its neighbourhood are planned in such
manner that they affect the radiation falling on the buildings surface and the airflow
in and around it. Open spaces such as courtyards are designed to promote adequate
ventilation. In addition, these open spaces act as heat sinks during the day and radiate
the heat back to the ambient at night.
Developments on the site are basically organic. The natural features on site the
rainwater channel that ran down the center and the existing clump of trees were the
major structuring elements of the layout plan they were restored .
proportioned windows possibly admit a lot of sunlight, the orientation of all the
buildings has been planned so as to have minimal dependence on cooling systems.
orientation of the building to cut off solar insolation during summer and let in winter
sun.
As water bodies can help to maintain the comfort in buildings by evapourative cooling
, there are water bodies placed at certain areas to serve the purpose eg the kund near
textile museum , water pond near the work studios etc.
Also The rainwater channel has been converted into a linear water body (The Nahar).
This starts from a semi-circular pool fed by water attention pond, passed under a
couple of foot bridges, washes up the steps of Ghats on either sided. Since water has a
relatively high latent heat of vapourisation, it absorbs a large amount of heat from the
surrounding air for evaporation.

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CASE STUDY 2 - JAWAHAR KALA KENDRA
BUILDING - JAWAHAR KALA KENDRA
TYPE - MULTI- ARTS AND CULTURAL CENTRE
ARCHITECT - CHARLES CORREA
LOCATION - JAWAHAR LAL NEHRU ROAD , GANDHI NAGAR ,
JAIPUR , RAJASTHAN 302001
LANDMARKS - OPPOSITE COMMERCE COLLEGE , NEAR RAJASTHAN
UNIVERSITY
DURATION - BUILT OVER A PERIOD OF 6 YRS [ STARTED IN
1986 AND WAS COMPLETED IN 1992]

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INTRODUCTION
Jawahar kala Kendra is a multi arts and crafts centre which was built by Rajasthan
government provide space to the cultural and spiritual values and culture of rajasthan and
display the rich art and craft heritage .
This international institution focusses on the preservation and promotion of the various
genres of rajasthani art and culture; embellishes further the visual and cultural
heritage of Jaipur.
The institutions enormous and uniquely structured building was designed based on
the concept of Indian astrology ( navgraha ) and resembles the square-grid plan of
Jaipur city.
The centre has been made
in nine blocks housing
museums, administrative
block , one amphi theatre
and the other closed
auditorium, library, arts
display rooms, temporary
exhibition galleries ,
cafeteria and art-studios. It
also houses two permanent
art galleries and three
other galleries. Each
block is different from FIGURE 36 - LOCATION MAP OF JAWAHAR KALA KENDRA

other with the use of
different materials and the presence each of the planets symbolic expression .

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CONCEPT OF DESIGN:
Jawahar kala kendras plan and concept design is derived from one of the cosmic
diagrams of hindu mythology the concept of ancient Navgraha (the mandala of nine
planets ) . this concept was based on self-similar squares (mandalas) derived from
ancient Hindu texts (Vedic Shastras) dating back to 1500-500BC.
The centre is also an analogue of the original city pIan of Jaipur drawn up by the Maharaja
Jai Singh the Second, in the mid-17th century. His city plan, guided by the Shipla
Shastras, was based on the ancient Vedic madala of nine squares or houses which
represented the nine planets (including two imaginary ones Ketu and Rahu). Due to the
presence of a hill one of the squares was transposed and shifted to the east and two of the
squares were amalgamated to house the palace.
Correa's plan for the Kendra invokes directly the original navagraha or nine house
rnandala. One of the squares is pivoted to recall the original city plan and also to create
the entrance. The plan of Jaipur city based on the nine square , Yantra in which one square
is displaced and two central squares combined. the squares is defined by 8m high wall,
FIGURE 37 - NAVGRAHA CONCEPT OF JAIPUR CITY PLAN

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symbolic of the fortification wall along the Jaipur old city.
The primary reason for taking the concept of nine square mandalas was structuring .
However, the reason why Charles Correa chose to use only the nine square mandala and not
any other, as the museum had to accommodate nine space types laid out in the program of the
art centre . the secondary function of taking this
concept was the symbolism of the traditional
city by imitating Jaipur city plan in the design .
FIGURE 38: DEVELOPMENT OF CONCEPT OF DESIGN
FIGURE 38 - NINE PLANETS AND THEIR RELEVANCE

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CONCEPTUAL
SKETCH
DESIGN LAYOUT
FIGURE 39: CONCEPTUAL SKETCH AND DESIGN LAYOUT
ARCHITECTURAL LAYOUT
The building has been "disaggregated" into eight separate blocks corresponding to the myths
represented by a particular planet. For eg library is planet Mercury - which traditionally represents
knowledge. The theatres are in the house of Venus, representing the arts.The central square, as
specified in the Vedic Shastras, is a void: representing the Nothing which is Everything. The flooring
pattern in this square is a diagram of the lotus representing the sun . .

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The coffee house is constructed in the moon block, the seats and tables are designed to
depict the phases of the moon and the walls are painted to tell the raison dtre for the
moon design. A special feature is that the astrologically calculated construction at
Jawahar Kala Kendra is painted onto the walls of the Kendra
Writings on the Vastu highlight the five natural basic elements and their coexistence,
the harmony of which are viewed as the reason of life on Earth. When transferred to
architecture and design, these ideas can be displayed through a balance in geometric
shapes, resulting in symmetry and precise lines, which can be seen throughout this
centres building .
SITE ENTRY
There 2 main entrances from the main road , one is the pedestrian entry and the other is the
vehicular entry .
PEDESTRIAN ENTRY
- DEFINED BY ARCH

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ZONING
FIGURE 40: SITE ZONING
The entire centre can be divided on the basics of zoning into 4 broad blocks :
Administration block this block includes the reception , offices , record keeping etc.
Museum / galleries block - this includes the galleries , exhibition spaces , and the museums
Learning spaces - the library , refrence and documentary centre will be included in
this.
Recreational spaces - the cafeteria , tilam food court , amphitheatre and other open
spaces
CIRCULATION AND DENSITY OF THE CENTRE

Site planning is done in such order that it follows grid planning as the concept itself is based
on 9 sqaures . the units of the centre run at right angles to each other, and form a grid pattern

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FIGURE 41 : SPATIAL DENSITY AND PROGRAMMIC DENSITY

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LANDSCAPING :
INITIAL SKETCH
The landscaping pattern followed in jawahar kala Kendra is even landscaping .

This formal landscape starts with symmetry, geometric shapes, structure, balance and,
order. Trimmed hedges and shrubs are planted at the boundaries of pedestrian entry
The organized nature and discipline of a formal landscape can be observed and
balanced relationship of landscape and hardscape . for hardscape sandstone , marble or
bricks is used at varied places .
FIGURE 42 : LANDSCAPING FEATUTRES OF JAWAHAR KALA KENDRA

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ENTRANCE :
The entrance low heights structure designed to give a fair idea of space to expect .
Both the entrances lead to foyer , which is
accentuated with neatly painted dome
talkingabout movement of planets and paths
in a jain cosmological diagram .
FIGURE 43 : DOME STRUCTURE AT THE ENTRANCE OF THE MAIN BLOCK
ADMIN BLOCK :
The first planets enters is mangal which corresponds to jupiter.
As the symbol Symbolizes power it was decided to house the Director and
administrative offices here.
This planet thus becomes the entry point to the whole Complex so along the walls
of mangal Mahal is an explanation of navgraha and on the Ceiling of the dome
structure , there is painted a jain cosmograph depicting all the rivers, mountains,
animals and vegetation Of manifest world around us.
HELP CONFERENCE
DESK ROOM

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LIBRARY
The library is located in the square unit of the planet
Mercury which traditionally represents knowledge, The
Kendra houses a well-stocked library on performing and
visual arts of nearly ten thousand volumes and other art
journals.
Jawahar Kala Kendra is supported with a huge library
which has a wide collection of books regarding various
aspects .
The Library offers membership to students, scholars FIGURE 44 GLAZING IN THE

EXTERIOR OF LIBRARY BLOCK
and those who are interested in art. At present there are
200 members.
Audio-visual Library-
Jawahar Kala Kendra carries out documentation through audio-visual methods also
Various forms of singing and dancing, theatre, both folk and modern and techniques of
crafts have been documented and are being done regularly.
Performing arts of Rajasthan is another important work compiled by the Kendra in
which all major folk forms of dance, theatre and music are presented.
FEATURES -
Circulation is very open in nature , huge walking space is left in between various
stations.
Design emphasis and treatment is simplistic in nature, emphasizing mainly on
functionality .
Flooring : kota stone is used
wall finish : paint
Huge fenestration brings maximum natural light to every corner of the space ,
sculpture is placed somewhere in midbetween of the space of the library .

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Workstations are kept along the periphery of the window .
Library Office area
A long table kept for 6- 7 people to work . laminated table top and the facing .
The space planning of the entire area is done in such manner that no function feels
obstructed , yet there is feeling of openness in this space .
The ceiling is elaborately done in exposed florescent light tubes . the tubes are hung
by means of steel wires and are connected to one another forming rhombus . The
connection is formed by plastic caps and runners .
FIGURE 45 : LIBRARY OF JAWAHAR KALA KENDRA
THEATRES:
The theatres are kept in the house of Venus, representing the arts.
AMPHITHEATRE -
The central square, as specified in the Vedic Shastras, is a void - representing the
Nothing which is Everything . The flooring pattern in this square is a diagram of the
lotus representing the sun.
The open amphitheatre has been the spectator of various activities , including
performances of dances , the exhibition of sculptures and painting .
TOTAL AREA 900 SQ.M
CAPACITY 1200 PEOPLE
A.P.P 1.3 SQ.M

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Figure 46 - AMPHITHEATRE AT JAWAHAR KALA KENDRA
SRAJAN STUDIOS
The block is done in red / deep pink color,

giving an instant feel of activeness and also
depicts symbolism to the colour of the
traditional city .
The small window brings uninterrupted
concentration and the open courtyards
symbolizes proper ventilation and
interacting space .The flooring is in burnt
red sandstone .
FIGURE 47 : THE STUDIOS AND THE

AMPHITHEATRE

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STUDIOS AND ART GALLERIES :
All the spaces are well directed and signages
provided at every corner .
The small perforations in the wal bring in the light
and ushering air . and the flooring is made up of red
sandstones . the toughness is ensured by heating the
sandstone .
The walls are painted with plastered mixed with pigment and earth .the treatment is
done every 6 months to ensure good finish .thick plaster ensures that the interiors are
cool.
FIGURE 48 : THE ART GALLERIES
FEATURES -
Small fenestrations with fixed glass .

Wrought iron railings sleek and plain
Low railing 4 high
Black granite flooring with high
polished finish .
The display of paintings is by the
means of clips fixed close to the ceiling .
walls have curvature more than 3 ,
enough to display small canvas. Figure 49 ART GALLERY BLOCK PLAN
The next level have exclusive paintings done by

artists much resorted.

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PROBLEMS
Reflection caused on highly polished flooring .

Black and white causes contrast taking away the attention .
Reflection caused on high polished flooring ;
Inefficient lighting system
Podium in board thick and painted .
Iron sheet clad pillar causing high reflection .
The sculptures are placed or displaced on stone pieces and are left to be taken care of
by natural light .
The fenestrations are huge , cooling the space , bringing in enormous light but at the
same time they shift the focus from art .
AUDITORIUM
STAGE:
the wooden flooring helps in sound absorption.
there are spot lights and profile lights for the perfomers.
the projection room is located at the rear end of the auditorium.
SEATING: STAGE
WOODEN
seating capacity is for about 200 people
FLOOR
the seats of the auditorium are covered with rexin.
there are two aisles situated at both the sides.
FLOORING :
in the seating area carpets area laid all over
in the backstage area flooring is a combination of carpet and wooden flooring exists.
auditorium has a direct entry from the road as well a connection from the lounge .no
acoustic treatment is provided in the backstage as the walls are plastered only.

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emergency lights and speakers were located on the rear and front walls .
AIR CONDITIONERS
INSTALLED IN THE
WALLS ALONG THE
SEATINGS
SEATING
FIGURE 50 : MAIN AUDITORIUM
SHILPGRAM
a rural complex housed in it 9.5 acre complex known as Shilpgram is the venue for
fairs, haat bazaars and festivals. It has six huts representing Braj (Bharatpur), Hadoti
(Kota), Tribal( Dungarpur), Desert (Barmer and Bikaner), Shekhawati (Sikar) and
Centre ( Jaipur).
Crafts fair, festivals and folk programs are organized in shilpgram from time to time,
bringing it to life, vibrancy and colour.
TILAM FOOD COURT

The food court has been the excellent example of the traditional rural architecture of
Rajasthan. The structure has been made in brick masonary then later finished with the mud

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and the roof has been framed in MS circular pipes and then covered with fibre sheet both
framework in MS and fibre sheet have been finished with the local putty to give it a rural
effect.
BAITHAK
OPEN SITTING IN CANOPY
FIGURE 51 : TILAM FOOD COURT
USAGE OF LOCALLY AVAILABLE MATERIAL

Charles correa focused on the usage of local materials that can be seen to reflect
rajasthans vernacular architecture, which focuses on the needs of local people with
regards to social needs and hot dry weather conditions, also the use of locally-
sourced produce and craftsmanship.
This is beneficial especially when building in low-income areas, as eradicating the
need to import goods lowers overall building costs. At the time of its production the
Jawahar Kala Kendra was seen as incredibly important in regards to improving the
cultural sphere within the public domain and serving as an arena for arts and culture to
thrive.
The materials used extensively are red sandstone and white marble . Rajasthan being
the most important sandstone producing state of India has great availability of this
excellent building stone. Architect Charles correa had used this material extensively
in the construction of jawahar kala Kendra .

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The external walls of the building are cladded in red Agra sandstone, topped by a
coping of beige dholpur sandstone . On these external surfaces, the presence of each
of the planets or their traditional symbols are expressed by inlaying white marble
with polished black granite and mica slate .
KOTA STONE SANDSTONE
Kota stone
FIGURE 52 : CONSTRUCTION MATERIALS USED
TYPE OF ARCHITECTURE
The centre was mainly dedicated to Jawaharlal Nehru, (late prime minister of India)
who ad an enormous scientific outlook towards nation building. Hence, Ar Charles
Cornea decided to portray both the traditional heritage and scientific progressiveness
in his design.
Charles Correa attempted to design in a contemporary architectural style ,based on
Indian Vaastu tradition and Indian astrology. His work shows a careful development,

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understanding and adaptation of Modernism to a non-western culture. He has made an
attempt to explore a local vernacular within a modern environment.
This centre is often regarded as an important example of post colonial architectural
period which was designed in a contemporary modernistic manner keeping in mind
the importance of renewal of interest in indian cultural identity .
PRINCIPLES OF ELEMENTS USED
BALANCE
various elements of the design of jawahar kala Kendra display formal or symmetrical balance
that is they are symmetrical about the central axis or in relation to the centerline .

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Also radial balance is potrayed in the dome structure near the main entrance and the interior
of the dome is painted resembling the jain cosmological diagrams in
which all the design elements seem to be radiating outwards from the
centre . also this principle of design can be observed in the cental open
amphitheatre where all elements seem to be expanding or spiral out
from a central point, with an equal distribution of visual weight
representing symmetrical radial balance .

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RHYTHM - this principle of design is seen
in specific areas where repetition of certain
elements can be observed . eg the steps or the
platforms provided for seating in the open
amphitheatre are repeated in an irregular in
gradated manner .
CONTRAST - the walls of the building

are painted with contrasting color or there are
wall art done on the exterior faces of few
walls laying emphasis on the walls and the
importance or significance of that particular block or building.
UNITY - Unity in design is achieved primarily through placement in the design layout
despite of having nine different blocks representing nine grahas ( navgraha ) concept all
different blocks create an integrated image in which all the elements are working together to
support the design as a whole. Jawahar kala kendra is based on partitioned nine square plan
forming a self enclosed unified building design that is encased in high walls.
SCALE - The proportion of the building blocks in relation with the open spaces or the
courtyards are well managed and the ground space appears visually larger and appealing
rather than being claustrophobic in nature .

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PARKING :
Parking provision is there within the centre for 25 27 vehicles which is not
sufficient.
There is a direct entry from the parking area into the art centre .
FIGURE 53 PARKING AND ENTRY OF THE CENTER
PHYSICALLY DISABLED FRIENDLY DESIGN FEATURES

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Temporary ramps made up of iron are fixed along with
the wall near the steps of many areas . inadequate
provisions made in the centre to make it physically
disabled building despite of being a public building .
slopes or ramps are provided in very less areas .
DESIGN ACCORDING TO CLIMATE

Climate and Geography: composite climate, hot-dry and dusty summers with moderate
rainfall, winters with warm dry days & cold nights. Response to climate
Material used red sandstone and white marble

Central court to bring in light and support proper ventilation of air .
Various small Courtyards or landscaped rgions to provide ventilation.
Small punctures or
openings provided on walls
for ventilations.
Light shafts have stepped
profiles with marble
capping provided at the
corner of each unit .
High ceiling to increase
comfort levels in various FIGURE 54 - DESIGN ELEMENTS USED AS PER CLIMATE
areas .
Pergolas are framework-imitating ceiling without obscuring the view used as an
alternate roofing system in certain areas like library , caf , terrace etc to obstruct
direct heat gain from the sun.
Light coloured roofs reflect heat and solar radiation, thus minimizing heat gain.
Light coloured tiles and paints greatly reduce heat gain in buildings.

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More trees planted in the north west and north east direction close to the building and
placed closely for shading purpose.
USE OF PERGOLAS IN MANY PLACES
200 mm
1766 mm
FIGURE 55 - PERGOLAS USED EXTENSIVELY IN THE BUILDING

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STEPPED PROFILE IN THE BUILDING
USE OF JAALI
STRUCTURES
WATERSCAPE FOR EVAPOURATIVE

COOLING .
WELL LANDSCAPED COURTYARDS AND OPEN AREAS FOR BETTER

VENTILATION AND LIGHT IN AREAS

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INFLUENCE OF LOCAL CULTURE ON THE BUILDING
Pink city Jaipur is renowned for its massive usage of red sandstone exclusively for
the construction of all the structures . this tradition has been sincerely followed by
Charles Correa in the construction of jawahar kala Kendra maintaining the pink color
and architectural characteristic of the city .
the theatre courtyard depicts the traditional Hindu temple Kund (which is a water
body approached by steps). the Hindu temple Kund, although serves different cultural
function that is of cleansing before entering the house of worship. However, in the
context of the centres amphitheatre courtyard, the water is stripped off from the
water body and the steps of the kund is used as a seating area.
TILAM FOOD COURT REPRESENTING RAJASTHANS VERNACULAR

ARCHITECTURE
INDIAN COSMOLOGICAL AND RAJASTHANI PAINTINGS DONE ON THE WALLS

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LITERATURE STUDY - JEAN MARIE TJIBAOU CULTURAL CENTER
BUILDING : JEAN-MARIE TJIBAOU CENTER
TYPE : CULTURAL CENTER
ARCHITECT : RENZO PIANO
YEAR(S) OF CONSTRUCTION : 1991-1998
LOCATION : NOUMA, NEW CALEDONIA
( ISLAND LOCATED IN THE SOUTHWEST PACIFIC
OCEAN AND 1,210 KM EAST OF AUSTRALIA)
AREA : 8,550 SQUARE METERS (92,000 SQ. FT)

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INTRODUCTION
The Jean-Marie Tjibaou Cultural Centre on the narrow
Tinu Peninsula, approximately 8 kilometres (5.0 mi)
northeast of the historic centre of Nouma, the capital of
New Caledonia, celebrates the vernacular Kanak culture,
the indigenous culture of New Caledonia, amidst much
political controversy over the independent status sought by
Figure 56 - JEAN MARIE CULTURAL CENTER
some Kanaks from French rule. It opened in June 1998 and
was designed by Italian architect Renzo Piano and named after Jean-Marie Tjibaou, the leader
of the independence movement who was assassinated in 1989 and who had a vision of
establishing a cultural centre which blended the linguistic and artistic heritage of the Kanak
people.
LOCATION
New Caledonia is an
island in the Pacific Ocean
about 1600 km east of
Australia. The Jean-Marie
Tjibaou Cultural Center is
located on a thin peninsula
near the islands capital,
Noumea. Running east-
west, the 1000 foot long
circulation spine runs
along the peninsulas
ridge.
FIGURE 57 LOCATION MAP ( JEAN MARIE TJIBAOU CENTER)

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ARCHITECTURE STYLE
Its architecture evokes the vernacular Kanak huts and still has a very
modern feel. Rising from the tropical vegetation and colonial huts
built by native Kanak People, is the Jean Marie Tjibaou Cultural
Center. Designed by Renzo Piano in 1993, the architecture is a
celebration of the Kanak culture.
Piano also utilizes clever green building strategies to keep the
pavilions cool and integrate the center with nature.
The formal curved axial layout, 250 meters (820 ft.) long on the top of
the ridge.
It contains ten large conical cases or pavilions (all of different
dimensions) patterned on the traditional Kanak Grand Hut design.
Through shading devices and effective planning and passive cooling tecniques are in
coorporated in design.
ARCHITECTS PHILOSOPHY AND OBJECTIVE
Italian Pritzker Prize-winning architect Renzo Piano is best known

for his adaptive high-tech design.
Architect Renzo piano intended to use traditional materials coupled
with modern materials and technology
The project site is on a thin peninsula near Noumea, where on the bay
side there would be prevalent winds from the
ocean. Architect made sure to make maximum
use of natural ventilation .
Aimed at designing a building integrated with
nature and made sure to make maximum use of
topography.

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CONCEPT DEVELOPMENT
The form of the building is inspired by different hut shapes and local building
generally round in plan and conical in the vertical elevation
Another aspect of the Kanak's building tradition was that it did not fit in with the
concept of a permanent building as the people lived in temporary type of buildings
made with locally available material thus this building should also involve wooden
frame building built on earthen plinths and with roof covered by thatch.
According to kanak culture , They made the houses in groups with the headmans
house at the end of an open public alley formed by other buildings clustered along on
both sides. Trees lined these alleys with a shady central gathering. This theme was
adopted in the Cultural Centre planned by Pinao and his associates
FIGURE 58 - CONCEPT OF DESIGN

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ZONING OF SPACES -
The entire cultural centre can be divided on the basics of zoning into 3 broad blocks :
ADMINISTRATION BLOCK : includes the reception , offices , record keeping etc.

MUSEUM / PERFORMING ART BLOCK : includes the galleries , exhibition spaces ,
and the museums. Also this would include the auditoriums , halls and amphitheaters
RESEARCHERS BLOCK : includes the library , reference and documentary centre
will be included in this.
FIGURE 59 ZONING OF SPACES
VILLAGE BLOCK 1 -
This block includes the galleries ,
exhibition spaces , and the museums. Also
this would include the recreational spaces
like auditoriums , halls and amphitheaters .
This building block includes 4 cases one
small ( 63 sq m ), 2 medium (95 sq m.)and
1 large structural case (135 sq m ). FIGURE 60 - MUSEUM / ART GALLERIES BLOCK

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Figure 61 - PLAN AND SOUTH ELEVATION OF VILLAGE BLOCK 1
VILLAGE BLOCK 2
In the second group of huts spaces are admin,
research, library and a conference room. This
building block includes 3 cases one small
( 63 sq m.), 1 medium (95 sq m.) and 1 large
structural case (135 sq m)
the roof structure of the block is double roof system type where the lower roof drains
the gutters. the upper part, consists of corrugated aluminum sheeting, provides large
air space for ventilation .
VILLAGE BLOCK 3 :
Village block 3 is the youth centre and learning center for resources to study about
kanak culture and traditions .
This building block includes 3 cases or structures - one large ( 135 sqm ), and two
small structural cases ( 63 sq m ) .

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Figure 62 - FLOOR PLAN OF VILLAGE BLOCK 3
RELATION OF DESIGN TO CLIMATE

The climate in Noumea is considered to be oceanic tropical. There are only moderate
variations in temperatures . In such a warm and humid climate, ventilation is required in order
to supply fresh air, for body cooling, and for cooling of building.
CLIMATIC ANALYSIS
The small island enjoys a temperate climate,
with temperatures ranging from 61F in
August and 86 F in January/December (the

mean temperature is a balmy 73 F).
Humidity ranges throughout the year, but
stays around 70%.
There are four distinct seasons in New
Caledonia, two rainy seasons at the
equinoxes and two drier transition seasons.
The hot season lasts from December to
March and is the time when the island
receives torrential rain and winds,
sometimes cyclones.

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According to the psychrometric chart,the climate of New Caledonia is best suited for
natural ventilation. A combination of moderate-to-high temperatures and high
humidity make air movement the most efficient way to keep a space cool and dry.
Natural ventilation was a natural choice for Renzo Piano in his design, which sought
to incorprorate elements of Kanak architecture, the native people of New Caledonia.
The cultural center was meant to celebrate their culture, but also to be an act of
reconciliation between the island nation and the French. Piano chose to use a passive
cooling design in the same way as the traditional Kanak building.
FIGURE 63 - DOUBLE SKIN STRUCTURE
OPERATION OF VENTILATION SYSTEM -

The Jean-Marie Tjibaou Cultural Center was designed with the desire to utilize natural
ventilation. Throughout its development and in its final design, two main principles
are used to achieve natural ventilation: stack ventilation and ventilation due to wind
forces.

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Depending upon the wind forces, different types of ventilation are utilized through the
opening and closing of louvered apertures. These computerized louvers are located in
the interior ring of the cases.
At the ceiling are 2 meter high operable louver windows, and at the base there are 0.5
operable louvers. Additionally, across the circulation spine from each case there is
another computerized louvered opening at the courtyards.
These computerized louvers respond to different wind speeds to control the
ventilation of the building to a maximum speed of 1.5 m/s.
The double-skin system brings breezes down into the building guides convection
currents up and out of the cases.
The outer shell encourages convection currents through its orientation and spacing of
wooden cladding. The inner skin of the building is a series of horizontal louvres at the
base and below the roof to maintain a pressure balance between the interior and
exterior, preventing wind from lifting the roof. The lower louvers are controlled for
ventilation based on wind direction and intensity. louvers act as shading devices
controlling solar access into the building.

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STRUCTURAL SYSTEMS USED-
Renzo Piano describes the structures that are curved like huts, built with wooden beams and
nerves are looking containers archaic, whose interiors are equipped with all the possibilities
offered by modern technology. They have created a structure shaped iroko . Reminiscent of
the huts and crafts Kanak, the slender ribs of the lath structure and among them are integrated
in the lush landscape and the culture of its inhabitants.
STRUCTURAL TUBES USED

these ancient wooden slats are the union made of structural tube horizontal and
diagonal bracing rods of stainless steel.
These structural elements reminiscent of traditional mainstays such as the spine of the
fish to avoid the beams warped long.
Renzo Piano describes the structures that are curved like huts, built with wooden
beams and nerves are looking containers archaic , whose interiors are equipped with
all the possibilities offered by modern technology.

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CONSTRUCTION MATERIALS USED -
The exterior is made of wood, wind filter a second layer of glass shutters that open and
close natural ventilation.
The complex is built entirely of iroko wood very resistant to moisture and insects. This
wood was imported from Ghana.
Vernacular buildings are born of intense
communion with nature. They used perishable
materials and their implementation on the territory
is based on a very fragmented.
traditional materials and modern construction
systems are used .
The cabins are built with wooden materials in
combination with iroko sober and discreet as steel,
glass or cork, which provide simplicity to their
interiors.

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The wood siding and stainless steel, based on the shape of huts regional kanakas
provide protection from the weather when it is needed, but also allows the passage as
necessary to ventilate as wind strength and direction.
The wood siding and stainless steel, is based on the form of regional huts Kanakas.
These structures resemble traditional structural elements such as herringbone struts
that prevent buckling of long beams.
LANDSCAPING FEATURES:
Not only are plants used for aesthetics, they are also effective in terms of regulating
light. There are open outdoor spaces all around the building i.e. the terrace, courtyards,
and passages that leads visitors from one case to another.
In general, plants and vegetation surrounds the entire site for ventilation and shading
purposes. As this is a project about relating to the environment, landscaping is an
important element for passive
cooling. Aside from having a
symbolic importance, trees
and plants are effective as
shades, since they can filter
out intense light, yet allow for
some ventilation and solar
access at the same time.

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TABLE 1 AREA COMPARATIVE ANALYSIS

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TABLE 2 - COMPARATIVE STUDY

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PROPOSED SITE DETAILS
The site selected is being proposed for a project of building a cultural centre in new delhi by
the delhi development authority.
We are planning to construct a new cultural cultural hub that would be located in Dwarka
Sector 10 , spread over an area of ten-acres. This socio- cultural hotspot is to be called
Indraprastha Sanskriti Kala Kendra, and the centre will have five blocks.
Its going to be one of the finest ultra modern centers in Delhi . This centre would be the
only one which is being developed with an objective to provide multi-disciplinary public
awareness and educational and learning platform along with the other conventional areas .
- SP Singh, Chief Engineer Dwarka,
(Delhi development authority)
PROPOSED SITE AREA FOR THE PROJECT - (40,468 SQ.M) 10 ACRE

SITE DIMENSION - 152 M X 266.2 M
THE PROPOSED CENTRE WILL HAVE 5 BUILDING BLOCKS :
CULTURAL & PERFORMING ARTS BLOCK
VISUAL ARTS BLOCK
LEARNING AND RESOURCE CENTER
GUEST HOUSES AND ACCOMODATION FOR ARTISTS

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GEOGRAPHY
Delhi geography divides the state into three parts-

the delhi ridge ,the fertile yamuna flood plain and the plains
.
The soil type of the proposed site in dwarka region is
alluvial soil , that is deep alluvium aeolian quartzites type
with moderate bearing capacity . sand and loamy soil with
medium texture quality.
CONTOURS / LEVELS AND ANGLE OF SLOPE :
Site is a plane ground with out any

levels or contours on site and
ground water present at 21m.
TREES AND OTHER SIGNIFICANT

LANDSCAPING :
few existing tropical trees were

present on the west side of the
proposed site and a gulmohar tree on Figure 64 PROPOSED SITE DETAILS
north side

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Dwarka is sub sity area located in the K2 zone of South West Delhi district of the National
Capital Territory of Delhi, India and has proximity to Indira gandhi international airport.
thus the maximum building height in this area as per zonal laws is 15 meters
FRONT SET BACK 15 METER

REAR SET BACK - 9METER
LEFT SIDE SET BACK - 9 METER
RIGHT SIDE SET BACK 9 METER
SOURCE - ( Delhi building bye laws ,2012)
BUILDING TYPE COMMERCIAL
max ground coverage - 35%

max far - 1.20
max buiding height - 15m
RESIDENTIAL AREA :
min size of plot - 3000 sq.m

max ground coverage - 33.3 %
max far - 2.0
max building height - no restriction
STUDIO APARTMENTS
size of plot - 2000 sq m

max size of apartment - 60 sq m
max ground coverage - 33.3 %
max far - 2.00
parking provision - 2 ECS/ 100 sq m

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SITE SURROUNDINGS
The main road besides the site connects 2 metro stations of dwarka sector 10 and 11 ,
making it easily accessible.
Access Roads on 3 sides of the site .
lesser Dense residential area and more institutional areas around the site.
surrounded by public community park of dwarka sector 10 and appartments on north
east side. Various institutions like dwarka institute of manangement , rajakiya prativa
school, vandana international scool , GD goenka school , mbs college for architecture
, ambedkar university and also dwarka sports complex are in proximity.
FIGURE 65 - SITE SURROUNDINGS

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STRENGTHS
APPROPRIATE ACCESS ROADS - Access to the site by road on three sides helps
in planning of entry / exits of hotel , retail and office blocks and arranging
accessibility appropriately also provide ample frontage .
APPROACH -The site selected is well connected with public transport as it is
centrally located near 2 metro stations of dwarka sector 10 and 11 , also near dwarka
DTC bus terminal.
CONNECTIVITY - Surrounding institutions , universities and residential areas
increases the scope of the retail development as the major hub for students nearby and
also the residents .
LOCATION Primarily the only such hub in the area and its proximity to
institutional and residential areas it would be the focal point
TRAFFIC MOVEMENT PATTERNS -

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SITE ACCESSIBILITY -
site can be easily accessed from dwarka sec- 11metro station which is 250 m away
and sec 10 metro station which is 800 m away.
accessible from Indira Gandhi International airport which is 12 km away.
dwarka sector 10 bus terminal is there at 80 m distance from the site, Inter-state Bus
Terminus (25 km).
Distance from New Delhi Railway station to dwarka sector 10 is 30 km.
DRAINAGE SYSTEM -
The drainage system

has been designed for
a total catchments area
of entire Dwarka area
on the basis of storm
intensities and 70%
averagerun off. The
existing natural
gradient towards
Najafgarh drain side
makes it vastly
economical and eminently sensible to use the natural slope to its advantage for
working out a proper drainage system. Few retention ponds have been
proposed along-with the Najafgarh drain which should receive the discharge
from the outfall drain. These should also help to raise the water-table of the
surrounding area.

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The STP is located adjoining Najafgarh drain which will carry treated
discharge for disposal and some of treated sewage shall be used for
maintaining proposed green areas.

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CONCEPT
cultural center is a complex which mainly aims at promotion and preservation of various ancient art
and craft forms. such centers gradually become the centre/focal point of the city and gravitates the
population masses . Also they serve as an interactive platform for local artists and the foreign artists
and help in promotion of art forms through
international outreach .
the idea was to propose an evolution of design

based on an organic form which represents Indian
heritage and a contemporary form . In a way , that
it can be conceived as the integration of complex
geometry of mobius strip structure as well as the
organic form of peacock. And such that it would
appear as a complete blended and unified design
form

B - ARCH (24)
SEMESTER - 8
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TABLE OF FIGURES

Figure 1 : location map of sanskriti Kendra , new -delhi ............................................................................

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

- SP Singh, Chief Engineer Dwarka,

(Delhi development authority)

PROPOSED SITE AREA FOR THE PROJECT - (40,468 SQ.M) 10 ACRE

THE PROPOSED CENTRE WILL HAVE 5 BUILDING BLOCKS :

cultural & performing arts block

Figure 1 - SITE DETAIL

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

9.1 LIVE CASE STUDIES -

JAWAHAR KALA KENDRA , JAIPUR:

SANSKRITI KALA KENDRA , NEW DELHI :

shaheer and Ar Uppal ghosh .

9.2 LITERATURE STUDY -

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

FIGURE 5 AREAS OF CULTURAL CENTER

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

It provides physical or digital access to material, and may be a

Library circulation and inter-connectivity of internal various spaces

PARCEL SHELVES FOR BAGGAGES

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

1.2 LIGHTING PROVISION IN LIBRARIES

Artificial lighting provided are majorly of 2 types -

PARALLEL TO STACK LIGHTING SCHEME

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

PERPENDICULAR TO STACK LIGHTING SCHEME

FIGURE 8 - TYPES OF ARTIFICIAL LIGHTING

FIGURE 9 - LUMINARIES USED IN LIBRARY AREAS

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

FIGURE 10 - PROVISION OF NATURAL LIGHT / SKYLIGHT

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

2.1 CIRCULATION AND FUNCTIONALITY OF SPACES

3 - 5 SQ. M. HANGING SURFACE PER PICTURE

As far as possible each group of pictures and objects should

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

2.2 LIGHTING IN GALLERY AND EXHIBITION AREAS -

FIGURE 12 BEST PRACTICES FOR PROVISION OF DAYLIGHTING IN MUSEUM AREAS

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

COLOURS OF LAMPS USED -

FIGURE 13 REFLECTING SURFACES SHOULD BE AVOIDED

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

FIGURE 14 - LECTURE THEATRES SHAPES AND CONFIGURATIONS

3.1 CIRCULATION IN LECTURE THEATRES -

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

FIGURE 15 - AUDITORIUM AND HALLS

3.1 PROPORTIONS OF AUDITORIUM

3.2 SEATING CAPACITY

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

TANNUM NEGI TOPIC - MEGA CULTURAL HUB

BUILDING - SANKRITI KENDRA

TYPE - ART AND CULTURAL CENTRE

ARCHITECT - Ar. UPAL GHOSH

LANDSCAPE - Ar. MOHAMMED SHAHEER

AREA - 8.7 ACRES

LOCATION - ANANDGRAM ( MEHRAULI GURGAON ROAD ) ,

NEW DELHI , INDIA

DURATION - 4 YEARS [ STARTED IN 1988 AND WAS COMPLETED IN 1993 ]