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/ 66
INDRAPRASTHA SANSKRITI KALA KENDRA,
DWARKA, NEW DELHI
A Thesis Submitted
in Partial Fulfillment of the Requirements
for the Degree of
BACHELOR OF ARCHITECTURE (B. ARCH.)
By
AKANKSHA MISHRA
(Enrolment No. 1476681099798)
(Roll No. 1476681001)
Under the Guidance of
Ar. Rahul Gautam
PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN,
GIDA, GORAKHPUR
DR. A.P.J. ABDUL KALAM TECHNICAL UNIVERSITY
(FORMERLY UTTAR PRADESH TECHNICAL UNIVERSITY) LUCKNOW
JANUARY,2019 PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN,
GIDA, GORAKHPUR
CERTIFICATE
This is to certify that this Thesis Report entitled “INDRAPRASTHA SANSKRITI KALA
KENDRA, DWARKA, NEW DELHI” is the bonafide work of AKANKSHA MISHRA and
submitted by her in the partial fulfilment of the requirements for the award of
the Bachelor's Degree in Architecture (B.Arch.) for the session 2018- 2019.
Ar. Rahul Gautam Ar. Manish Mishra
(Thesis Guide) {Thesis Co-ordinator)
Examiner 1 Examiner 2 ACKNOWLEDGEMENT
| would like to express my gratitude to my thesis guide Ar. RAHUL GAUTAM for
guiding me through the design process with great patience and understanding.
Without their constant push and critiquing | would have not been able to remain
inspired and aligned throughout the semester.
| would like to thanks Ar. Pramod Saxena, Director, Purvanchal Institute of
Architecture & Design, and Ar. Manish Mishra (Thesis Coordinator) and all
faculty members of Purvanchal Institute of Architecture & Design for guidance
that helped successfully integrate the research and the design aspects of
project throughout this thesis
| would also like to thank my batchmates for their support whenever | required
guidance or help.
Lastly | would like to thank my family for their immense support throughout these
five years
AKANKSHA MISHRA
ROLL NO. :- 1476681001
DATE:- PURVANCHAL INSTITUTE OF ARCHITECTURE & DESIGN,
GIDA, GORAKHPUR
DECLARATION
| Akanksha Mishra,hereby declare that this Thesis is my own and original work
and wherever | have incorporated any information/ data/ maps and graphics
from other sources, they have been duly acknowledged
AKANKSHA MISHRA
ROLL NO. - 1476681001
DATE: THIS BOOK IS DEDICATED TO
MY MOTHER
POONAM MISHRA
&
MY SISTER,
PRANJALIE MISHRA TABLE OF CONTENTS
CHAPTER 1
INTRODUCTION.
INDIA AND ITS
GOAl
VISION...
UMITATION..
NEED
‘CULTURAL ZONES OF INDIA ..
ARCHITECTURE
ARTS AND CRAFTS
DANCE MUSIC DRAMA.
REUGION.
LITERATURE AND LANGUAGE.
CHAPTER 2
SITE ANALYSIS...
WHY DWARKA?. 13
LOCATION.
SITE CHARACTER.
CLIMATIC CONDITION
S.W.O.T ANALYSIS
PROJECT BRIEF
SITE NEIGHBORHOOD...
CHAPTER 3.
LITERATURE STUDY..
‘AGA KHAN MUSEUM.
JAWAHAR KALA KENDRAV...
CHAPTER 4
CASESTUDY.
RABINDRA BHAVAN, NEW DELHI
INDIRA GANDHI PRATISTHAN, LUCKNOW ..
DILLI HAAT, INA, NEW DELHI.
HABITAT CENTRE, NEW DELHI.
CHAPTER 5
‘STANDARDS.
DANCE STUDION..
‘MUSIC STUDIO.
AUDITORIUM.
OPEN AREA THEATRE
MUSEUM AND ART GALLERY.
CHAPTER 6
PROIECT DRAWINGS, 44 INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
CHAPTER: 1
INTRODUCTION
INDIA AND ITS STATES
India is a culturally diverse country, ie.
Indians can't be framed as following one
single culture throughout the region.
Pre
ie
The culture variations are not slight and
hence cannot be ignored. In-fact each
Indian state have their own culture to boast about. But due to cultural
ignorance, many Indians, as welll as foreigners do not know the deeper meaning
of each culture and hence assume various stereotypes that exist nowadays.
Hence there is a dire need to educate the people and the visitors, exactly
‘about various rich Indian cultures and simultaneously encourage the cultural
development, giving importance to the lifestyle of the artisans, craftsmen, etc.
architecture can act as an important catalyst to bring about all of this.
GOAL
The design proposal aims to create holistic
architectural experience showcasing culture in all
aspects. The arts and culture should be systematized
ide as
into one coherent body of knowledge from ir
well as outside the building. Beginning from the core
exhibit areas, to the exterior environment, everything
should reflect culture in its own way, to create vibrant
and dynamic experience for visitors. The three INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
aspects looked upon for designing holistic experience for the visitors.
VISION
Noida is a well planned growing city lying in the South-West region of Delhi.
Though itis a self sustaining city with residential, commercial, office, open space,
it lacks behind culturally. This thesis proposes to build a Cultural Hub a place for
alll INDIAN cultures. The best location to propose this is in fact, in the capital, as
this needs to be globally recognized and promoted. Moreover, the availability
‘of ample space, culturally neutral population and developing area which can
accommodate new facilities, brings down the options to Noida.
This cultural hub will have multicharacter but act as a joint single entity in
encouraging Indian culture. The architectural language will vary for each
cultural pavilion but unite them as a whole through various methodologies. The
built form should integrate with the existing city fabric as welll as stand out,
‘acting as global recognition for India.
Culturally sound interior Core exhibit areas, reflecting direct cultural knowledge.
Culturally sound exterior manifests indirect cultural aspects.
Ease of transition space which fuses both smoothly.
LIMITATION
India is as culturally rich country. It cannot be defined as following one single
culture, as there are more than 200 variations from region. Only those cultures
that prevail predominately in the Indian subcontinent are taken into
consideration for designing buildings. Other cultures are showcased in
temporary exhibits and shall not have dedicated space for them. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
The spaces designed will only adhere to Indian cultural aspects and not to any
foreign cultures.
The proposal aspires to solve various programmatic and socialistic issues that
arise, while designing the Cultural Hub.
NEED
There has been complete cultural negligence in india in the past few decades,
with the growth of Modern Technology. With the influx of new modem
equipments and the craze with the Wester Culture adoption, Indians are in the
verge of losing their own culture. The idea of adapting to the Wester Culture is
considered prestigious and trendy among this generation as is advertised and
promoted by global icons. The lack in promoting
and encouraging may not only lead to cultural
extinction but also affect cultural tourism to a
greater extent.
First and foremost, the prevailing misconceptions
about Indian and about other r state cultures
need fo be broken. Interest to leam, follow and
adopt our culture will boost our cultural value
worldwide hence there is an immediate need to
educate about culture to us and our neighbors.
CULTURAL ZONES IN INDIA
India is one of the world’s oldest civilizations.
Indian cultures are often labeled as
‘amalgamation of various cultures, spanning
across the Indian subcontinent and has been INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
influenced ad shaped by history, which is
several thousand years old. MERAKT
FOLKMUSIC MAPOFINDIA
An Indian culture is broadly divided as seven
‘overlapping cultural zones by Ministry of
Culture. They are South Culture Zone, South
Central Zone, North Culture Zone, and North
Central Zone, East culture Zone, North East
Culture and West Culture Zone namely. They
‘are classified so based on region,
Architectural style, religion, literature, art,
painting styles, dance, music, drama,
performing arts, crafts, fashion, dress,
language, custom, food, etc. detailed study of
alll these overlapping factors, gives the clear
‘overall picture of Indian Culture.
ARCHITECTURE
Indian Architecture, which has evolved over centuries, is rooted to history,
culture, religion and geographical conditions. Though the Indus Valley sites of
Harappa, Mohenjo-Daro, and lethal provide substantial evidence of extensive
ancient town planning. The beginning of indian architecture is dated to advent
of Buddhism in India, in the reign of Asoka during when they constructed various
Buddhist monasteries and stupas. Buddhist architecture predominated fill late 7
century, when Hindu School of Architecture took over. The most notable
achievements were the rock-cut temples like Ajanta, Ellora, Temples of
Mahabalipuram, Kanchipuram temple, Brinadeeswara Temple, Sun Temple
(Konark), AngkorWat, etc. The Hindu architecture, in itself had various different
typologies based on the regional style. The story of Somnath Temple in West
India is famous os it was rebuilt many times after being attacked by various INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
enemies in central India, the Chandellas built a magnificent complex of temples
at their capital, Khajuraho, between 950-1030 AD. In the North West, the Solanki
kings built the Surya or Sun temple in Modhera, which sfills provides striking
testimony to their achievements. More stupendous is the Surya temple at
Konark, one of many other masterpieces of Orissa architecture. The Mughal
emperors were interested in heavily investing in monumental architecture and
spent lavishly on the construction of mosques, mausoleums, forts, palaces and
other buildings. Mughal
Architecture is predominant in Delhi, Lahore, Agra
and Fatehpur Sikri, Jama Masjijd, Taj Mahal,
Qutub Complex, Humayum's Tomb are few of the
marvelous creations. Unlike the Mughal, the British
contributed little to India's architectural history.
Their rule is associated mainly with monumental
civic buildings, such as the Victoria Terminus in :
Bombay, or commemorative exercises typified by the Victoria Memorial in
Calcutta. There are some notable specimens of church architecture, such as St
James's Church in Dethi, but the principal regal contribution of the British
‘appears to be the construction of a new capital in Delhi. Indigenous styles of
architecture did not entirely suffer demise and step-walls continued to be built in
Gujarat throughout the 19 century, in Rajasthan rich merchants constructed
large havelis or residences in which the window work defies description. The
most striking of these havelis are to be found in Jaisalmer Contemporary
architecture has also developed over the years due to various renowned
architects like Charles Correa, Balkrishna Doshi, Laurie Baker, LeCrbusier, Satish
Gujaral and many others to list ike Mumbai’s Nariman Point is famous for its Art
Deco buildings Creations like Lotus Temple and various urban development's of
India like Bhubaneswar and Chandigarh are notable. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
ARTS AND CRAFTS
Indian crafls are highly acclaimed throughout the world for their aesthetic
appeal and magnificence. The diverse cultural traditions of India have enabled
the accomplishment of producing various kinds
of crafts. The crafts are composed of different
materials, themes and proficiencies. Works on
wood, pottery, hand looms, terracotta, paintings,
bead, jewelry and embroidery etc have survived
through centuries with fewer changes.
CLAY CRAFT OF INDIA
The origin of clay cratts in the country dates back to as early as the India Valley
Civilization. The India sates of Himachal Pradesh, Uttar Pradesh, Gujarat, West
Bengal and Rajasthan are renowned for their diverse form of clay crafts.
IVORY CRAFT OF INDIA
Crafts involving ivory crafting are popular in the states like Kerala, Punjab, Delhi,
Gujarat, Rajasthan and West Bengal. The ivory carvers of Jaipur, Bengal and
Delhi are known for their engraved models of ‘ambari hathi' or processional
elephant, bullock carts, sandals,
caskets book covers, and
palanquins.
WOOD CRAFT OF INDIA
Indian woodcratts have existed in
the nation ever since ancient
periods. The craft manufacturing INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
products with the help of wood was practiced even prior to the stone sculptural
‘age. Manipuri region of Uttar Pradesh, Gujarat, Karnataka, Kerala and Jammu &
Kashmir are some of the Indian states which are famous for their woodcratts.
Craftsmen of Gujarat carve exquisite human figures as also images of deities.
STONE CRAFT OF INDIA
The art of sculpture is the poetic expression
of stone craft, sculptures of deities,
decorative for house interiors, modeled on
classical prototype, continues to be made in
every nook and corner of India. Havelis of
Jaipur are very intricately carved by expert
craftsmen, which still stand with great
majestic aura.
Ancient stone carving can be explicitly seen in Ajanta Ellora Caves. These
shrines were all cut out of rock, by hand, and rank amongst some of the most
outstanding specimens of ancient Indian architecture heritage. The finest
specimens of cave-temple architecture, they house elaborate facades and
exquisitely adored interiors. These structure representing adorned interiors.
These structures representing
the three faiths of Hinduism,
Buddhism and Jainism, were
carved during 350-700 AD.
GLASS CRAFT OF INDIA
It is evident for the
‘archaeological finding at
Basti in Uttar Pradesh that INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
glassware in India is ambit 2000 years old. Glass processing, although have
hanged widely from past.
DANCE MUSIC DRAMA
Dance and music first emerged as part of festivals and religious worship and of
dramatic arts in India. Both dance and music, collectively known as sangit,
became connected with drama. The earliest written work dealing with all
aspects of music and dance was the
Natyashastra (handbook of dramatic arts).
Indian has had a long romance with the art
of dance. Natyashastra and Abhinaya
Darpana (mirror of gesture) are two surviving
Sanskrit documents, both estimated to be
between 1700 and 2200 years old.
Indian dance includes eight classical dance forms, many in narrative forms with
mythological elements. The eight classical forms stated by National Academy of
Music, Dance and drama are: Bharatnatyam of the state of Tamil Nadu, Kathak
of Uttar Pradesh, Kathakali and Mohaniattam of Kerala, Kuchipudi of Andhra
Pradesh, Yakshagana of Kamataka and many more.
‘Music has been an integral part of Indian culture. Ancient Indian systems classify
musical insiruments into four groups based on primary sources of vibration:
strings, membranes, cymbals and air. The Samaveda and other handy texts
heavily influenced Indi
's classical music tradition, which is known today in two
distinct styles: Camatic and Hindustani music.
Indian drama and theatre has a long history alongside its music and dance.
Kalidasa's plays like Shakuntala and Meghadoota are some of the oldest INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
surviving theater traditions of the world are the 2000 year old Kutiyattan of
Kerala, which strictly follows the Natyashastra. With the Isiamic conquests that
began in the 10" and 11" centuries, theatre was discouraged or forbidden
entirely. Drama played a major role in reviving patriotism among people, for
independence against the British rule. Natyacharya Mani MadhavaChakyar is
credited for bringing the age old drama
tradition from extinction. Modern Indian
theatrical scene, changed in India after
intendance.
Over the years, dance, music and dram
have evolved into a more modern phase,
seeing more westem fusion
RELIGION
Indian is considered world wide as a land of religion. Many people flood in for
spiritual release from the wariness of the material life. India is the birthplace of
Hinduism, Buddhism, Jainism and Sikhism collectively known as Indian religions.
Today, Hinduism and Buddhism are the world’s third and fourth largest religions
respectively. India is one of the most
religiously diverse nations in the world, with
some of the most deeply religious societies
and cultures. Religion plays a central and
definitive role in the life of many of its people
Hinduism, Islam, Christianity, Sikhism, Buddhism
‘and Jainism are the major religions followed
by the people of India. Jainism,
Zoroastrianism, Judaism and the baha'iFaith
are also influential but their no. is smaller. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
Hinduism has spread to all parts of the world today, taken there by Indian
migrants. This religion produced a vast corpus of texts preeminent among them
have been the Rig Veda, the ‘Upanishads, the Bhagavad Gita, the Ramayana
‘and the Bhagavata Prana which are popular even now various temples.
Dharamsalas were built to guide people to have a better valued lifestyle.
Buddhism originated and flourished in india before 6%" century and it is in Bodh.
Gaya that Buddha gained enlightened. Today, it is more prevalent in countries
like Tibet, china, Bhutan, Myanmar, Thailand, etc. Jainism, another religion
followed by many Indians was found by one of Buddha's contemporary,
mahavira, also uniquely Indian. Both of them questioned Vedas and stressed
importance of ahimsa or non violence and abolition of case systems. Today
Jains are among India's most distinguished trading and business communities;
and the legacy of Jain art and culture is just as profound. Sikhism, another Indian
faith, originated with Guru Nanak, who preached simple monotheistic faith.
Amritsar is considered as the holy city for Sikhs, where sits the magnificent
Golden Temple. Sikh community have strengthened them through various
‘oppositions from other religions to subdue them and have risen up, with many
followers in the world Christianity, came in during the British rule, during when
many people were preached and pulled into the religion.
Though the instutionalized religions are associate with great architectural
monuments, such as the Hindu temple cities of South India
(Kanchipuram,Ramaswaram, Chidambaram and many others), the Mughal
splendors of Delhi, Agra and Fatehpur Sikri or the Golden Temple at Amritsar,
churches (Velankani Church, Basilica of Jesus, Goa) the roadside monuments
and shrines are even more indicative of the manner on which these faiths
Interweave with the live of their adherents. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
LITERATURE AND LANGUAGE
The Indian literature dates back to many thousand
years. The earliest works were orally transmitted. Sanskrit
literature begins with the oral literature of the Rig Veda,
a.collection of scared hymns dating to period 1200-
1500 BCE. Later came the Tamil Sangam Literature,
followed by literature in Kannada, Telugu, Bengali,
Hindi, Parsi, etc.
The Vedas are the earliest known literature in India. The Vedas were written in
Sanskrit. The word Veda literally means knowledge. In Hindu culture, Vedas are
considered as eternal and divine revelations. They treat the whole world as one
human family Vasudev Kutmbakam. There are four Vedas, namely, the Rug
Veda, Yajur Veda, Sama Veda and Atharva Veda. Each Veda consists of the
Brahmanas, the Upanishads and the Aranyakas. The Ramayana and the
Mahabharata is the oldest preserved and well known epic of India. These epics
played an important role in their eras, to instill certain values. Ramayana tries to
emphasis the role of dharma as a principal ideal guiding force for Hindu way of
life, with moral code of conducts, whereas in Mahabharata, the strength of
dharma is devised along with karma. Sustaining dharma, with few diversions
from the straight loyal path is considered correct. In addition to these two great
Indian epics, there epics such as Megdoot, Mricchakatika, Ratnavali,
Arthashastra and other in classical Tamil language- Silappatikaram,
Manimekalai, Civika-cintamani and Valayapathi-kundalakesi are also famous.
The Puranas occupy a unique position in the sacred literature of the Hindus. They
are regarded next in importance only to the Vedas and the Epics. There are said
to be eighteen Purana’s and about the same number of Upapuranas. Some of
the well known Puranas are- Brahma, Bhagavata, Padma, Vishnu vayu, Agni,
Matsya and Garuda. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
Itis found that India has 122 first languages, in use out of which, 22 are official-
15 of which are Indo-European. Sanskrit is the mother of many Indian languages.
The Vedas, Upanishads, Puranas and Dharma sutras are all written in Sanskrit.
The language, whatever is its antiquity, is of a wonderful structure; more perfect
than the Greek, more abundant than the Latin, and more exquisitely refined
than either. Hindu, Gujarati, Bengali, Marathi, Punjabi and many other
languages, emerged from Sanskrit. All of these languages have roots and
structure similar to Sanskrit, to each pother and to other Indo-European
languages. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
CHAPTER: 2
SITE ANALYSIS
India dates back to age old rich culture.
With various religious origins multitude of
customs, different languages and
numerous cultural aspects. New Delhi, as
the capital centre of India provides us
with a lot of reasons to set up a cultural
community here. Delhi greets a large
number of tourisis from all over the world
as well as from within the states of India. It
provides a great range of visitors to any
project set up here.
The Delhi developmental authority (DDA) has decided to develop a socio
cultural centre at Dwarka, sector 11. The proposed centre will promote visual
arts like painting, sculpture and performing arts
like music, dance, theatre, etc..
WHY DWARKA?
Dwarka, a fast growing neighborhood in south-
west Delhi. It faces a centre of developmental
concem for all the political agendas ever
made. The area and site both are favorable to
concerned need. The transit system
AKANKSHA MISHRA, B. ARCH. 5"™ YEAR PIAD, GKP INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
development also allows us to connect as many people as we need.
Due to concentration of population here it
callls for a need of a social cultural hub as
today in the busy world of competition it is
mT
SECTORvi1
DWARKHE 30
required to stick to the cultural aspects of our
country. India is well known for its diverse
culture in whole world so we as the citizen of
India it is our duty to preserve and present our
culture to our coming forth generation.
LOCATION
The site is located in sector 11, Zone K2, Noida, West Delhi. This area is fast
developing with potential for mixed use. Mixed use neighborhood creates a self
sustained society, where the daily inflow and outflow is not in high ration. People
working in the closer proximities, may ensure visit steady local visitors to the hub.
Locating a cultural hub in such a place will not only act as a recreation for all
people but also encourage them fo connect with their culture on a daily basis
that would enhance the quality of life and cultural promotion. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
SITE CHARACTER
The site is planned as center core of
Development for Urban Design of the
linear District Center. In sectors 10, 11, 12,
13 and 14 in Dwarka, as developed by
the Delhi urban Arts Commission. The
declared green volt zone fuses into the
site, along the drain, from the northern side, which has dense vegetation.
Residential and institutional buildings are located in western and southem side of
the site, whereas eastern side of the state is abutted by hinge sports complex.
There is a great potential in placing the exhibition pavilions and buildings in the
center wing to its equidistance from all sides and least affecting the green belt.
The site acts as a mediator fusing contemporary buildings in northem-southern
part, and also between the green open spaces and recreate areas suited in
eastem-westem side of the site. Hence the site acts as a junction, where
northern-southem contemporary buildings unity with the eastern-westem dense
urban green fabric. These constraints push towards stronger contextual design. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
The complication of the site lies in green belt
status i.e. it should have more green spaces
encouraging and preserving dense tress. Least
intervention from the northem part of zoning
buildings in the southern central parts would
ensure this. Te hub is envisioned to have an
international facility, which could attract millions
of people from the around the world to
‘experience Indian culture. Hence the design
has fo tend to all kinds of local as well as
international needs. By doing so, the impact
on the surrounding neighborhood would be
huge. Utmost care should be taken to solve
other issues like sound, crowd and traffic in
the area.
Having the core exhibit area along site center, placed in closer proximity would
ensure visual connection as well as better orientation. Zoning public parks,
cultural schools and other paces, having public intervention, along the outer
edge of site will assure activity lovely complex, throughout the year. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
CLIMATIC CONDITION
Dwarka, Delhi overlap between monsoons influenced humid subtropical and
semi arid, with high variation between summer and winter temperatures and
precipitation. It observes relatively dry short winters and has a prolonged spell of
very hot weather, due to its semi-arid climate.
Exterior and interior spaces should cater to both the winter and summer exireme
needs. Summer start in early April and peak in May, with average temperatures
near 32 degree Celsius. The monsoon starts in late June and lasts until mid
September, with about 797.3mm of rain. The average temperatures are around
29 degree Celsius. Winter starts in age temperatures sliding from 29 degree
Celsius. Winter starts in late November or early December and peaks in January,
with average temperatures around 12 to 13 degree Celsius. Delhi's proximity to
the Himalayas results in cold waves leading to lower apparent temperature due
to wind chill. Delhi is notorious for its heavy fogs during the winter season.
Extreme temperatures have
ranged from -2.2 degree to 48.4 109,
Dwarka : precipitation (mm)
degree Celsius. Providing more
tress is inside the complex itself
shades most of the ardeas,
giving comfort for the users in
extreme summer. But during
exireme winter, comfortisopen > ~
unshaded area. Hence proper
balance needs to be sought
Gifter.It plays an important role in
the usage of the entire complex,
Contextual designing of the *
exterior and the interior, with _SUNRATIEDIAGIAS INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
watka_ temperatures (6) consideration of the prevalent climatic condition
© —~--—.,|_ is necessary for an active utilization of the spaces
oo, a. designed. Climatic factors that need to be
“| considered are wind velocity, wind direction, wind
efiemewee | patter, humidity, precipitation, water levels, sun
path, seasonal variations, micro-climatic
conditions, etc for the entire year, to arrive at a proper contextual design.
‘Summer (May-July)* Autumn (Aug.-Oct.) WINTER (Nov.-Jan.) | SPRING (Feb.-Apr.)
wo most important wind pattems influencing Delhi’s climate are the western
disturbance and south west winds. As the wind blowing in summer is hot and dry,
Positioning a water body in the west would naturally cool the complex.
Nojafgarh channel is located u the most appropriate direction. South west winds
cary humidity and comforts the users. Hence these need to be hamessed y
positioning the building in the perpendicular axis. It s bearable from the wind
rose diagram that wind movement during most of the year is along western and
north westem direction.
Water table in the region, indicate that the region is not water scarce, even
during extreme summer. Hence there is no high water pressure on the land, for
its various requirements. Soil conditions are moderate having kankar soil fill 4m
depth and then mixture of kankar and silt. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
S.W.O.T ANALYSIS
STRENGTHS
-location from the sector 1] metro station takes it accessible for alll to reach and
enjoy the facility of the proposed project
- The site has regular and neat boundaries
- The connectivity to airport and railways allow tourists to reach easily
- The road 221 provide a better connectivity and accessibility to all for self
transport system
WEAKNESS.
-high tension wires runs nearby the site
- Untreated sewage drain in close proximity which can give rise to water born
dieses and currently the site is used as dumping zone.
~The main roads in front (roads 221) can cause noise, traffic
congestion as experienced during peak hour of the day.
PROJECT BRIEF
The following project is proposed by DDA for construction of
socio cultural complex in sector 11. DDA has mentioned five
major requirements that ought to be constructed in the
given 18 acres.
1. CENTRE FOR VISUAL ARTS - contemporary art gallery,
sculpture, etc.
2. CENTRE FOR PERFORMING ARIS - auditorium, rehearsal
room recording rooms, etc
Habitat centre-type
socio-cultural zone
sear
mt INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
3. ADMINISTRATIVE AND LIBRARY BLOCK - children's library, reading room, audio-
video spaces, etc
4, CONVENTION CENTRE - auditorium, business centre, seminar rooms, meeting
rooms, etc...
5. RESIDENTIAL AREA - guest rooms/suites, kitchen, restaurants
SITE NEIGHBORHOOD
LAND USE PATTERN
Land-use Pattern provides the typology of usage. which in tum gives insight about the
activity typologies, kind of people usage, crowd movement pattern and its indirect
impact on the site. Neighboring sectors in Dwarka are pre-dominated by residential
‘apartments, which will have huge impact due to cultural hub, on being built. As these
sectors are being planned for linear central district, denser residential zones can be
predicted. Design needs to adhere to the future expansion as well to sustain as an
active successful hub.
BUILDING HEIGHT MAPPING
Itis Observable that the maximum height in buildings in neighborhood is 15m immediate
neighborhood zones have less dense, medium heighted apartments, which slightly
hinder long views. For iconic nature and identity, taller structure should be built
TRAFFIC CONDITION
The mall road has heavy traffic, most of the time, as it acts as main vertical connecting
road in Dwarka, which also leads to core Delhi. Other roads like Road No. 221, sees
moderate traffic flow. Hence, the main entrance can be designed along this road.
Moreover, the vertical metro road can be used for multiple exits, thereby diluting the
crowd flow and not
\der traffic.
TRANSPORTATION NODES INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
Many users are predicted to use public transport, hence expecting more footfalls from
metro stations and pedestrian movement from nearby bus depots and auto-stands.
Direct special entry from metro station is preferable. There are many bus depots which
can handle huge crowd flow.
GREEN NODES
Green belt is declared in westem side of the site, which melts into it, along the drain.
Green spaces are close to nil, along southern side from site. Hence, designing a public
park, in southern end of site, would act as recreational area. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
CHAPTER: 3
LITERATURE STUDY
AGA KHAN MUSEUM
Architect: Maki and Associates
Location: Tornato, Ontario, Canada
Area: 16.8 Acres
Project Year: 2014
The Aga Khan Museum is one of the two buildings developed in a 6.8hectre
(16.8acres) site together with the Ismaili centre designed by Charles Correa and
Formal Gardens by Vladimir Djurovic. Maki and associates carried out the
master plan for the entire site organizing
two buildings around, 100 meter wide,
inspired by the Islamic Courtyard-The
chaarbagh.
The garden an urban oasis, is positioned at
the centre of an imegular undulating site
while creating an informal landscaped
park around the periphery. The Ismaili
Centre, a religious, social and spiritual INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
building for the Ismaili Community is oriented toward Mecca. The museum, a
cultural civic facility opens to the general public. It is home to galleries,
exhibition spaces, classrooms, a reference
library, auditorium and restaurant.
The design of the Museum is inspired by a
vision statement of “LIGHT “by his
Highness the Aga Khan. The rectilinear
building is oriented forty-five degrees to
south north where all its sides are exposed to sun. The form has been chiseled to
create a concaved angular profile that is also a natural expression of the two
level building. Clad in sandblasted white Brazilian granite, the surfaces of the
building are set in motion in a constant interplay with the sun in light and deep
shadows. The effect is similar to sun-dial.
Within the building, a fully glazed courtyard encircled by a layer of free flowing
public space in the form of a grand cloister establishes the hub of the Museum.
The galleries, exhibition, spaces, classrooms, library, auditorium foyer and
restaurant/shop, are all equally accessible from the hub.
The glass in the courtyard is imprinted with a
double layered pattem in line and void to
create a three dimensional effect recalling
the traditional islamic Jali Screens. The light
from the courtyard constantly cast moving
patterned shadows on the soffits, walls and
floor of the grand cloister animating the interior spaces.
Up above on the second level, four large openings overlook the public spaces
though a cast zinc screen in the public spaces through a cast zinc screen in the
form of an Islamic bay window. Within the galleries, large aluminum paneled INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
skylights perforated with small hexagonal openings emit soft natural light into the
exhibition areas.
CRAY LESS INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
JAWAHAR KALA KENDRA,
JAIPUR
Architect: Ar. Charles Correa
Area: 9.5 Acres
Project year: 1986-92
Jewahar Kala Kendra is an arts and crafts
centre located in the city of Jaipur. The
centre is important not because of its
nomenclature but its association to the
City itself. The centre was built in the year
1986 and construction completed in 1991.
CONCEPT
The centre is an analogue of the original
plan of Jaipur drawn up by the Maharaja Jai
Singh in the mid 17% century. His city plan, guided
by the Shilp Shashtra, was based on the ancient
Vedic mandala of nine squares which represent
the nine planets (including imaginary ones- Ketu
‘and Rahu). Due to the presence of a hill, one of
the squares was transposed to the east and two
of the squares were amalgamated to house the
planet. Corea's plan for the Kendra invokes
directly the Navgraha. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
LAYOUT ACCORDING TO.
MANDALA
The building program has been
“disaggregated” into eight repartee
groupings: corresponding to the myths
represented by that particular planet:
For instance the library is located in the
square of the 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 Shashtra 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 centre is frequently occupied
with artists and art loving people.
Many exhibitions and performances
by local artists are displayed at the
centre. The annual festivals of
Classical music and dance are held in
the centre. The centre host many
workshops too. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
PLANNING INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
BROAD ACTIVITIES
The centre has been made in eight block housing:
* Library (594 sq. m)
* Print making studio
* Sculpture studio
+ Alankar museum (515 sq.m )
+ Sudhershan terracotta gallery INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
Chaturdik gallery, running wall space 485 ft
Sukriti gallery, running wall space 160 ft
Surekh gallery, running wall space 160 ft
Amphitheatre (900 sq. m)
Audio visual centre (252 sq. m)
Cafeteria (244 sq.m)
Guesthouse (103 sq. m)
Dormitories (421 sq. m)
Administration (262.5 sq. m)
Black box/ Arena (Krishnayan) (178.2 sa.
m)
* Director's theatre- Rangayan (414.34
sq.m)
* Toilets (40 sq. m)
MATERIALS
Material: red sandstone and white marble
Vastu symbol on each unit
‘Small punctures on walll for ventilation
Central courtyard for recreation and ventilation
TILAM COURT
The food court has been the excellent example of the traditional rural
architecture of Rajasthan. The structure has been
made in brick masonry and finished with mud. The
roof has been framed with MS circular pipes and
then covered with fiber seats. Both are finished
with local putty to give a touch of vernacular
culture of Rajasthan. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
CHAPTER: 4
CASE STUDY
RABINDRA BHAVAN
Architect: Ar. Habib Rahman
Location: Feroz Shah Marg, Mandi House,
New Delhi
Area: 3.5 Acres
Project year: 1961
Rabindra Bhavan was built to mark the birth centenary of tagore, who in
addition to being a poet and novelist, was an artist, playwriter and composer.
The building is thus the home of three National Academies- LALIT KALA (plastic
arts), SANGEET NATAK (dance, drama and music) and SATHIYA (literature).
The complex stands on a 1.45 hectare (3.Sacres) site amongst other art
institutions forming the cultural centre of New Delhi. It consists of an
administrative block, exhibition block, Y-shaped in plan, is a four storey structure
to house offices of the three academics and a library. A 1.2m roof overhand
protects building surfaces from the streaking effects of rain. Centre-hung
windows have a double row so
continuous sloping R.C.C. chhajas,
blocking off strong sunlight yet permitting
breezes to flow in.
The design solution as it emerged consists
of the administrative block with three
wings of more or less equal length at an
angle of 120 degree to each other and a INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
pentagon shaped exhibition block the form of which follows the curve is the
traffic island. The exhibition block consists basement and two upper floors on
split levels. Jalis have been used discreetly in
various parts of the building to reduce glare
‘and provide subdued natural light. _—
The main entrance is in the admin block |
where the three wings meet and the entrance
hall, lift, and staircase are placed. Though
each of the three wings have their own
staircase for internal vertical circulation.
The orientation of the building is more contexts
driven than the climatic drive. But at the detail | | “]
level, more importance is given to the design
‘and placement of each element of weather
protection. According to Architect the angle" Seman Sevinabasclave ofthe pulang.
of the sunshades is designed to eliminate the ottce Spaces
strong morning and afternoon sun. ME corridors
HE sevice core
HEIRARCHY OF SPACES
Ar.Habib has tried to get the functional
my
clarity by designing individual building — T
ot a
forms, So alll the functions are defined by — = ibn
td
‘the individual forms which are then
connected through either by simple
pathways within the landscape or by
covered walkways in between two
blocks. The functionality is based on the
notion of public, private and semi-private INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
spaces. The exhibition gallery and theatre which are meant for public gathering
care kept in separate block whereas administrative block that has semi-private
‘and private areas are kept in separate block. The wing lalit Kala academy is
kept near the exhibition block and the wing of Sangeet Natak is kept near the
theatre block due to their interconnection with each other. Theatre has its own
entry from the Lytton road while back entry is too provided through Feroz shah
road to serve other services like canteen. The administrative block and admin
building shares same entry & exit gate Exhibiton gallery has its own entrance
plaza for small gatherings.
STRUCTURAL LAYOUT
Brick masonry load bearing walls with combination of R.C.C. column, beam and
slab is used. The grid is divided in two grids is 12ft module and 25f module where
the shorter span has two modules of 25ft and longer span has 8modules of 12ft
in case of Lalitkala and Sahitya Academy and 9 modules of 12ft in case of
Sangeetnatak Academy.in case of theatre block the structural system is
complex with varying dimensions.The columns of the sitfing area are placed at
interval of 10ft from centre to centre and columns of stage and back stage are
placed at interval of 1 1ft. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
PLANNING
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INDIRA GANDHI PRATISTHAN,
LUCKNOW
Architect: Vaibhav Goel Associates
Location: Vibhuti Khand, Gomti Nagar, Lucknow
Area: 25 Acres
Project year: 2006
After a long political fight over the project of a
good convention centre in Luck now, INDIRA
GANDHI PRATISTHAN was proposed by the
Government in about 2002.A1 first about 10
acres of land was ought to provide but later it
was proposed with 25 acres in Vibhuti
khand,Gomti nagar. The site is connected to roads of 45m wide sharing
boundary with High Court of Lucknow.
CONCEPT
The architect used the pattem of solar system
‘as the concept for the convention centre. As
the purpose the size of the planets are put into
consideration and each block is named after
them with varying seating facilities. The site
faces east direction. The service blocks are
provided in the north corner.
The site contains service internal road of about 12m to 18m wide varying in
different direction containing different puposes.This convention centre can INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
contain up to 3000 visitors at a time with car parking capacity of 1000.The
vegetation in the site with Asoka tree and more finds its way to increase the
beauty of the building.
Keeping in mind the traditional vernacular theme, red sandstone is used. The
interior false ceiling contains Gypsum ceiling along with wooden work and floor
for stages. Glasses are too used to provide better visibility. The dome
constructed over the Earth complex and Banquet Hall is too amusing. Punctures
‘are provided with transparent sheeting in the dome to let the light come in the
complex. The building uses solar energy as its source for different purposes. A
large number of solar panels can be seen over the blocks. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19
DILLI HAAT, INA, NEW DELHI
Architect: Ar. Pradeep Sachdeva
Locatior
New Delhi
idwai Nagar, Opposite INA Market,
Area: 6 Acres
Project year: 1993
Dilli Haat is the project by the New Delhi tourism
and Municipal Corporation what provides an
ambience is a traditional village market. It is not
just a market but also visualized as a hub for
traditional Indian culture. Three dilli haats have
been fill constructed-
Loriginal 6 acres opp INA metro station (yellow
line) -1994
2.7.2. acres dilli haat near Netaji 3.Subash Place
Metro Station (red line }-2008
3.newest and largest 9.8 acres dill’ haat in
Janakpuri, near Tilak Nagar Metro (blue line) -
2014
SITE CONDITION
The overall area available was approximately
100m x 300 m with ground coverage of 12%
giving total built up is 3190 sq.m.The site itself
posed unusual constraints like the nallah
running through the entire length . The nallah INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
was covered with r.c.c. slab but it was not
allowed to construct any structure over it as it no
t been designed to take such loads. This resulted
in planning of building towards the periphery. The
two sides of the nallah had been filled up with
soil, necessitating foundation as much as &m
deep.
CIRCULATION
-from the entrance plaza to the end of the complex, the circulation is entirely
pedestrian
-by the use of ramps & step, lots of levels have been created to define buildings
more distinctly.
-circulation in front of shops is through a verandah covered arcade.
-the spaces also get varied character because the plaza changes character
from a large entrance plaza to an oblong open space.
-service entrance has been provided at various
points on the periphery
OPEN AIR THEATRE
- small performing arts theatre ends the vista.
{SEATNG CAPACITY:- 50-60 PERSONS)
-slage has a circular form and there is adequate
back stage space available but the front
space for visitors is very less.
-there is a central 10'-0" wide walkway
towards stage from front entrance which is
identified by 4 richly carved wooden columns. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
-this area is separated from surrounding activities
with bamboo sticks.
-these bamboo sticks on the outer edge and the
gravel on the seating area create a complete
village performance area.
HABITAT CENTRE, NEW DELHI
Architect: - Joseph Allen Stein
Location:.
Lodhi Road, New Delhi
Area: - 9.6 Acres
Project year: - 1993
India Habitat Cenire (IHC) has been conceived
‘as an ideal physical environment with a range of
facilities that would maximize the effectiveness of
the individuals and institutions, in their holistic
support of the habitat. The principal
resolve of the Centre - "to restore at every
level - environment and ecological - a
balanced, harmonious and improved way
Of life,” is reflected in its concept and
design.
DESIGN CONCEPT
The creation of a green and healthy
‘environment forms the backbone of the INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
complex. This contributes to the urban level functions
‘and also creates a healthy and pleasant
environment for the working employees. The height
of the building is around 30m high. The entire facade
is gladded with red bricks which give a majestic look
7
to the structure. Vertical and Horizontal ribbon windows have been used with a
special glass that restricts the entry of sunlight. The atrium of the structure is
beautifully designed with various landscape features such as sculptures, green
‘areas in the centers resulting in the formation of a roundabout in the atrium. The
atrium is rectangular in shape and is divided into three parts. The middle one is
left open whereas there is landscaped roundabout formation on its either sides.
ORIENTATION OF THE BUILDING
-Building is designed with a view to keep minimum exposure on the east and
west site.
-North block with number of openings recessed behind two blocks to shade it
from NW sun.
-Eastern face conveys a fortress like quality.
-Building width have been restricted to 15 mis enabling the interiors to be lit from
both sides
SHADING DEVICES
The reflectors are installed above the building to
provide shade and prevent sun from entering into
the building. The reflectors are aligned at an
‘angle which reflect back 70% of the sunlight and
change their angle during winter to allow sunlight
to fall on the windows. INDRAPRASTHA SANSKRITI KALA KENDRA, DWARKA | THESIS | 2018-19.
The IHC is composed of variety of functions which have been put together in
such a compact form. it has been planned a series of four to seven story blocks
with shaded courtyards protecting from the excesses of tropical climate and
motor traffic of adjacent heavily traffic intersection .The various functions are
*RENTED OFFICES SPACE
*RESTURANT
* AMPHITHEATRE
* AUDITORIUM (537 SEATING)
* EXHIBITION HALL
*ART GALLERY
*FITNESS CENTRE
* CONVENTION CENTRE
. 4