SANSKRITI KALA KENDRA, ANANDGRAM, NEW DELHI

INTRODUCTION
Sanskriti Kendra is a symbol of sanskriti’s involvement in activities relating to art, craft, literature,
the performing arts, and social work.
Although diverse on the surface, these activities are different facets of a single vibrant culture rooted
in indian soil but universal in its outlook.
Sanskriti kendra is, thus, a manifestation of sanskriti's philosophy of looking at apparently different
facets as parts of a larger organic whole.
It is a cultural centre where artists and sculptors, writers and musicians, and village craftsmen,
practise their arts in tranquil surroundings that engage the mind with the imagery of the idyllic
pastoral countryside with its manmade interventions. Sanskriti pratishthan, is an indian not-for-profit
cultural organization that helps cultivate an environment for preservation and promotion of india's
artistic and cultural resources.the buildings are semi-rustic in appearance, with ample space between
them for strolling or catching a breath of fresh air- but not so far apart as to engender a sense of
isolation. The grounds, filled with a profusion of trees, present a picture of seemingly organic
growth.anand gram, as the complex is called, is just that - a village that makes the visitor happy.
Architect – uppal ghosh
Landscape architect- mohammed shaheer
Area – 8.7 acres
Built over a period of 4 yrs [ started in 88’ and completed in 93’]
CONCEPT :
Sanskriti kendra is a cultural center with a difference – it is a place where artists ,
sculptors , writers , musicians and village craftsmen can practice their art in congenial and
tranquil surroundings that induce creativity .
SANSKRITI PRATISHTHAN
• The sanskriti Kendra set up sanskriti pratishthan, inaugurated on 31st January, 1993.
• The pratishthan, was founded in 1979 by mr. O.p.jain under the guidance of dr. Mulk raj ,
anand, dr jyotindra jain and other bigwigs .
• The role of sanskriti pratishthan is that of a catalyst in revitalizing the artistic and aesthetic
sensitivities of Indian people .
• The sanskriti kendra is a symbol of Sanskriti’s involvement in activities related to
art , craft , literature, performing arts and social work .
PURPOSE
• To accommodate a varied range of activities connected with art and culture both in
traditional and contemporary sense.
• It is intended to provide temporary residential and working space to artists.
LAYOUT

• In the historically rich but geographically arid soil at the foothills of the aravalli
mountains on the outskirts of Delhi ( mehrauli – Gurgaon road) germinated the
sanskriti kendra.
• It is situated on one’s way to ayanagar.
• Kendra is set amidst rows of opulent farmhouses of the rich and famous at anandgram. It
occupies a corner plot.
• It is 10 km from IGI international airport.
• Public transport / taxi service are available.
• A radio station is the nearest landmark.
PLANNING

LEGENDS:
1. Barakhamba 2. nursery
3. museum of indian teracotta 4. Courtyard
5. cafe 6. Canteen
7. museum of everyday art 8. baithak
9. museum shop 10. textile museum
11. Kund 12. kitchen
13. manch 14. Gaon
15. camping site 16. Studios
17. nahar 18. ardha kund
19. Canopy 20. aangan
21. haveli 22. Services
23. washing area 24. ceramic centre
25. thandi sarak
 ACCESS
• The formal entrance ( a) which opens into an open space containing the barakhamba,
a landscape feature, and the baithak with the reception and the offices. This open
space branches to provide the path leading to the haveli, the residence of o.p jain
and the service areas.
• The second entrance (b) gives direct access to the kund with the writer’s studios and
the oat.
• There are two entrances (c, d) which act as access for the studios.

ZONING
The basic movement pattern with the entry points is defined with activity zoning to formulate
location of buildings and other structures with respect to functions.
• The buildings are ‘objects in space ‘ and separated by variety of spaces .
• All development on the site are largely organic – a progressive development.
BUILT UP -OPEN SPACE RELATION
• Planning is based on basic modules of squares and rectangles with sloping roofs to have a
intervening masses and voids

CIRCULATION :
• Sanskriti kendra is one of the eight farmhouses of anandgram
• Located towards its corner end. The approach to Kendra is through a metaled road.
• The space outside the boundary wall of Kendra is used for parking, as space inside for parking
is insufficient.
CIRCULATION INSIDE KENDRA
• Rhythm in the movement pattern , a new experience is intiated by the use of mass and open
spaces at every bend and turn.
• Pedestrian circulation is followed.
• Pathways are informal and fused with green patches except for the peripheral service road
which acts as the jogging track
• At every bend a new experience is initiated by the use of built masses and open spaces such
that they give a rhythm to movement pattern.
• Change in paving materials and patterns shows changes in function in spaces.
• Ramps are given to make the whole Complex is disabled friendly.

The pavings are punctured with spaces (green) to give relief and avoid monotony.
LA N D S C A P E
Meandering landscape, yet defined by two major elements-
• The nahar
• The existing clumps of trees. .
• Lanscape was recognized as focal to theme in the layout of complex.
• Natural features left undisturbed
• Basic character of land incorporated in the design .

TYPO LO GY
• Main central green
• Secondary green
• Left over green

LANDSCAPE FEATURES
• Waterscape
• Nahar
• Kund
• Clumps of trees

RAIN WATER DRAINAGE CHANNEL WAS CONVERTED INTO-

• A linear water body , the nahar .
• Starts from semicircular pond .
• Passes under a few causeway and washes at places , steps which imitates ghats .
• It ends at the manch .
• Excess water is run off through a byepass drain .
Trees along the nahar binds together the whole complex , and brings about a serene and tranquill setting
and is heaven for creativity.

Bridges over the bypass drain

NAHAR, THE RAIN WATER CHANNEL

Individual identity is given to courtyards and landscaped terraces.

Ethnic embellishment, terracotta figures, metallic utensils are elements which enrich the
rural milieu.
CONSTRUCTION MATERIAL AND TECHNIQUES
• The construction material used are R.C.C , brick , stone , steel etc
• ‘Bhoosa’ reinforced plaster has been used in many places.
• Ordinary cement plaster has been textured with steel comb to give it a rough look .
• The low profile building painted with snocem in hues of brown and earthy colours
imparts a close resemblance to village walls .
• The subdued dusty facades are enlivened by the manglore tiles laid on sloping pyramids,
which fit well with the square plan below.
• The slooping roofs are made by steel angles and sections as supporting members which
is topped by a network of bamboos and covered with roof made of manglore tiles over
thatch.
• Play in mass and void and Earthy colours
• Pyramidal roofs finished with mangalore roof tiles.
• Roof of terracota museum is made up of thatch and bamboo mats.

Finishes and textures Pyramidal roofs finished with

mangalore roof tiles.

One wall painted orange in

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