Daylighting in Architecture

Architecture is the learned game,corrected and magnificent of forms assembled in the light."-
Le Corbusier

NAME- AMBUJ MISHRA

B.Arch. 4th yr. 8th SEM

ROLL. NO. - 1672181003

 ACKNOWLEDGEMENT

Before I begin I would like to thank all those who knowingly or unknowingly,
directly or indirectly helped during the process.

At various stages in doing of dissertation, number of people have given me

invaluable support. ln this regard I owe a depth of gratitude to my guide Ar.
Satish Vora, who cultivated determination and wisdom in my workings and
have been a helping hand at every moment to support and motivate me.

My Parents, who kept ultimate faith in me and always provided me backup

with their love and best wishes.

Thank you

A room is not a room without natural light

- Louis I Kahn
 INDEX

 An overview
 Terms related to daylighting in architecture
 Characteristics and effective use of daylight in architecture
 Strategies of using daylight into a volume -
 Different conventional methods of borrowing daylight in
architecture
 Daylight distribution
 Aim - Objective - Scope - Limitations
 Keywords
 Criteria for case study selection

 Case Studies

 Case 1 - The Chichu Museum, Japan.

 Case Il Solomon R. Guggenheim Museum, New York„ U.S.
 Case Ill - The Jewish museum, Berlin.
 Inferences and Probable urban inserts
 Site and Context

 criteria for site selection, City potentials - Rajkot

 History in brief of evolution - Rajkot city
 Nature of space Race course ground, Rajkot
 S.W.O.T. analysis of site
 Stand and programme justification

 Nature of space - Outline for designing

 IIN

INTRODUCTION
DAYLIGHT IN ARCHITECTURE

The perception of space is directly connected to the way light integrates with it.

Due to the light, it is possible to perceive different atmosphere in the same physical
environment.

Daylight contributes an element of fundamental relevance for the design of spaces and
therefore it plays a significant role in the discussion of quality in architecture.

In architecture, light as in form of daylight, the generous use of both sunlight and skylight in
the spaces is considered positive, adding spatial values to the architectural object.

The concept of perception is used to describe how we see and directly apprehend and
understand spaces size, shape, depth and distance.

It also addresses experiences such as the level of light and the level of color as perceived
qualities.

Evidence that daylight is desirable can be found in research as well as in observations of

human behaviour.

Windows that admit daylight in buildings are impportant for the view and connection they
provide with the outdoors. Daylight is also important for its quality, spectral composition,
and variability.

A review of people's reactions to indoor environments suggests that daylight is desired

because it fulfils two very basic human requirement:

To be able to see both a task and the space well,

To experience environmental spatiality
Terms related to daylighting in architecture:

1. Spatiality - having a particular nature

2. Atmosphere - the pervading tone or mood of

a place or situation ambiance.

3. Visibility - the state of being able to see or be

seen.

The consideration of spatiality is the

possibility to define the physical room —
volume, distance, proportion and
orientation. Depending on the light in a
space, we can perceive its volume as huge, as
small, open and crowded. The perception of
a particular space can also change a lot from
an airy to a cramped space.

Even the orientation is influenced by

lighting, because how we find our way in
the space can be well determined by the
light present there.

Any atmosphere consists the general character

related to the psychological mood that light
creates.

Many times user experience the space as public,

private, boring, cheerful etc., due to lighting
influences. The visibility is connected only to
functions, to the building.

THE ULTIMATE SUNDIAL

Only at noon on an equinox does the Sun Shine thtou0h the Pantheons oculus at the perfect angle
to through grille the light up the front courtyard

49,

Section through the oculus

 According to Mrliljefors, there are seven basic terms for description of the light in the space
visually:

 Level of lightness
 Spatial distribution of brightness
 Shadows
 Reflections
 Glare
 Color of light
 Colors in terms of surfaces.

All these aspects are effective to describe and understand the effects of lighting in a space and
reliable to classify among themselves.

Characteristics and Effective Use In Architecture:

Daylight – As a building element:

Project Name: PANTHEON

Location: ROME

The interior has the shape

of a cylinder covered by a
half of a sphere The main
structure consists of thick
masonry walls, which are
curved to improve stability
and provide structural
support.

The main structure consists

of thick masonry walls,
which are curved to
improve stability and
provide structural support

Project Name: Notre Dame du Haut,

Location: France
Architect: Le-Corbusier
 Massive wall with punctures to infuse natural light with spiritual feelings

Recalling feelings:

Project Name: Church of light

Location: Ibaraki,

Japan Architect: Tadao Ando

In all my works, light is an important controlling factor. I create enclosed spaces mainly by means of
thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself
within society. When the external factors of a city's environment require the wall to be without
openings, the interior must be especially full and satisfying. —Tadao Ando
Here, Ando's this urban insert adds a symbolic value to the religion, the way of borrowing daylight
in the structure enhances spatial character.

Inside view of church of ligh

Perception of space:

Project Name: Hall of Nations

Location: New Delhi,
India Architect: Raj Rewal

The Permanent Exhibition Complex

is designed to form the focus of 130
acres of Exhibition ground designed
by Raj Rewal in New Delhi

The depth of the structural system

was utilized as a Sun breaker and
conceived of in terms of the
traditional jails

Interior of exhibition space, "Hall of

Nations" A geometrical pattern of
perforation that serves to obstruct
directs rays of the harsh Sun while
permitting air circulation.

The main pavilion of the Hall of

Nations has a clear span of 78 metres
and a height varying from three
metres to 21 metres, thereby
providing a vast capacity for items to
be exhibited, from books to
bulldozers
Reflection:

Project Name: Kimbell Art Museum - Piano Pavilion

Architect: Louis I Kahn, Renzo Piano

The location of Kimbell Art Museum, Fort Worth, Texas ,with its sunny/arid climate ,sets
off the stage for the conceptual gesture of light reflection carried throughout the design.

Shadow:

1. Project Name: Indian Institute of

Management
Location: Bengaluru, lndia

Architect: Bal Krishna Doshi

The interplay of walls and openings, light and

shadows, and solids and voids change the
character of the main building during different
times of the day and during different seasons.

The high corridors are sometimes open;

sometimes partly covered with skylights and
sometimes with only pergolas to heighten the
spatial experience.

Shadows in a particular manner segregates and adds spatial experience to space

2. Structure Name: Sanchi Stupa
Location: Sanchi, Madhya Pradesh, lndia

The Stupa of sanchi has a

significant value in terms of its
monumentality and as the oldest
structure in India.
Materials and construction method
is used In most effecient way to
create this stupa.

3. Project Name: Salk Institute

Location Texas U.S.A
Architect: Louis I Khan

In order for these spaces to receive ample sunlight, Kahn designed a series of light wells on
both sides of each building that were 40 feet long and 25 feet wide.

The laboratories above ground are also well-lit spaces with large glass panes for their exterior
walls.

The materials that make up the Salk Institute consist of concrete, teak, lead, glass, and steel.

The concrete was poured using a technique studied in Roman architecture. Once the
concrete was set, he allowed no further finishing touches in order to attain a warm glow in
the concrete.
Daylighting Design - The Role of the Architect
Consideration will be given to the role of the architect, and the relationship between architect,
building user, and other professionals working in the arena of daylighting. As with many issues in
architectural design, the primary aim must be to meet the specific needs of users. At the basic level
in considering what these needs may be, Evans (1981) believes there is failure, on the part of both
architect and building owner, to examine and address specific visual task needs at the design stage.
User needs, however, go much more deeply than the ability to carry out visual tasks, into
considering the overall comfort, health and wellbeing of the building’s occupants., Gallagher (1999)
and Cherulink (1993) believe that architects need to show more interest in the findings of
environmental behavioral research, and to be more proactive in adopting some of the findings.

There is something of a grey area in all of this debate, however, and the question needs to be asked,
“how far can the architect go in assessing and judging user needs, or is this the realm of another
professional?” In answering this, and speaking from his standpoint as a lighting engineer and
designer, Hopkinson (1963) is unequivocal in his view. He believes that establishing the needs, per
se, of people, falls firmly within the arena of the psychologist, and that the architect’s role is to
provide the environment necessary to meet these needs. He suggests “the architect’s task of creating
a favorable environment for living and working demands a study of the response of the human being
to this environment. Such a study is new as a science, though not as an art” (Hopkinson,).

Cook (1997) believes that the understanding of daylighting techniques could well become an
important aspect of the architect’s services, and that more clients are likely in the future to seek this
form of expertise. Hopkinson (1963) also emphasizes the important role played by the architect,
though he sees it more as assimilating the engineer’s expertise into design solutions. Writing exactly
one decade before the first oil crisis, Hopkinson suggests a more responsible and pro-active
approach be taken by architects, and that the ‘seat of the pants’ approach must be underpinned by
the more scientific expertise. “Lighting and glare, acoustics and noise, etc., are all matters to be
studied by a new kind of specialist, although the application of the results of all these experimental
studies lies with the architect” (Hopkinson,).

Ander (1995) makes a strong plea to building design consultants to work cooperatively and for all
disciplines to become involved at an early stage in the design process. This, he considers, gives the
best chance for all aspects to be properly considered and integrated. In considering what the best
approach might be to the successful integration of daylight in architectural design, Moore (1995)
introduces the idea by suggesting “…daylighting is the most recently discovered realm of
architecture. Once inseparable from the practice of fine building design, lighting by natural means
began to be regarded as anachronistic early in the twentieth century when electric lighting became
both practical and economical. Instant, safe, predictable, and absolute, artificial lighting has tended
to overwhelm building

Design since the Industrial Revolution. Electricity has also made possible constant illumination
levels that do not reflect the natural rhythms and the unpredictable variations of each day’s new
light” (Moore, 1995)
Ander considers that there is an intimate relationship “between people, daylight and architectural
form, with daylight being the ‘design variable’” and consequently the most significant element in
determining the form and scale of the building, its orientation on the site, and the interior spaces,
both in terms of the quality and character of those spaces, and in how the occupants respond to
those spaces.

Selkowitz (1998) suggests that technological advances, such as more efficient types of glazing, will
be insufficient to change mindset, and he believes that the process needs to be much more holistic
in nature: “Daylighting is fundamentally a systems integration challenge, involving the building
siting and orientation, fenestration design, lighting systems design, control systems selection, and
ongoing maintenance”

Lam (1986) essentially agrees with this viewpoint, and he suggests that designing for sunlight
involves careful architectural design in terms of both the planning and the geometric forms relative
to the light available. He also suggests that an overall understanding is needed on the part of the
designer, of the nature of light, and the methods of controlling light, and the ability to relate this to
an architectural context. He cites the Cambridge University History Faculty building by James
Sterling as an example of failure to address environmental concerns “Many of the best known
architects have created dramatic top lighted sculptural statements that must have assumed sunless
skies and then attempted to ameliorate the self-imposed problems with technical solutions,
sometimes with little success. One example is the fully glazed greenhouse ceiling/roof at the
Cambridge University History Faculty building (James Sterling, 1967). This building is an
environmental disaster, cold and drafty in winter and hot as an oven in summer”

Strategies for Using Daylight into a Volume:

 Diffused or skylight ( through window or open ing)

 Externally reflected light through the same win dow. (by ground or other
building )

 Internally reflected light from walls, ceilings and interior

surfaces.

 Direct sunlight along a straight path from the sun through

a window top a given point.

Region specific guidelines:

For hot-dry climate.

▪ Internally reflected light is the best form of daylighting.

 ▪ Small sizes of openings and blue skies reduce
the sky component in such areas.

▪ Shading devices should be non-reflective and

positioned
So that they are directly visible as they can
cause glare.

▪ High-level windows should be used; low-

level windows are acceptable only if they
open to shaded and planted courtyard.

▪ Strong illuminance difference (contrast)

between a sunlit view and window can be
avoided by painting adjacent walls and
inside of window frames.

▪ All wall sections - shows the methods of borrowing daylight from the side surfaces to create
Light wells, Atria and courtyards

Different methods to borrow daylight within the space:

Overhang method

Where cantiliver is created in

roofing member.

Prevents the direct glare to get

inside the building

Generally been used as a

conventional method to get
protection from harsh sun in hot dry
climate
 Slit provision

Where a slit at a desired level is

given to reflect the direct rays and to
get inside the reflected componants
of it.

Creepers

This technique on south facade is

used effectively to lower down the
summer heat in hot dry climate

Due to the plantation it reduces the

radiation of heat into the building
and keeps the inteior environment
workable

Side lighting - Angled

According to the climatic conditions of a particular region and based on the desired conditions of
daylighting the angle of the inclined covering is decided in which the puncture is made of derived
dimension.

It also been used as a spotlight to focus artwork in exhibition spaces and museums.
For hot dry climate this angle of opening are majorly 30 and 45 degrees, it may vary based on
desired.

Saw tooth Technique - Roofing

Conventionally and largely used in factory buildings, large span structures for better ventilation
and to avoid glare.

Diagram shows the preferred dimensioning for a typical saw tooth roof.

It is a preferred method to have reflected daylight, for those reflectors are used in
terms of another roof or any surface or slit... Saw tooth method of daylighting
 FLAT

SHED

DOMES

NONHLIGHT

Some of the other useful methods

daylight-ing in terms of roofing a space.
Based on the nature of space the method is chosen in certain scale.

The height of the ceiling in relation to theproportons of the room affect the probability
that the skylight may cause glare
.

Daylight Distribution

The amount of light skylights can provide

depends directly on how much daylight is
available outside, which varies with
climatic conditions, the time of day, and
the season of the year.

In the winter, days are short, and the

number of daylight hours may be eight hours
or less. In the summer, days are long and
daylight may last for 16 hours or more per
day.
Once daylight has passed through the opening it

can be controlled and diffused by the shape and

reflective properties of light wells, shading devices,

skylight wells and the surfaces of the room itself.

Sunlight or Skylight?

In reality, they have very different physical

properties and different effects on sky lighting
design. The most important differences are
their intensity, their color, and the extent to
which their light is scattered, or diffused.

The sun is considered a point source of light,

often referred to as "beam" sunlight, because it is
directional. Light from the sky, on the other
hand, arrives from a large area and is more or less
diffuse, meaning scattered and arriving from all
directions.

Beam light will cast a shadow; diffuse light will not cast a distinct shadow Again, depending upon
the angle and orientation of the sloped roof, the sun may not reach the skylight during certain times
of the day or year

For example, a skylight on an east-facing roof with a 450 slope will only receive direct sun during
the morning and midday hours. In the afternoon, it will receive skylight, but only from three-
fourths of the sky. As a result, in the afternoon it will deliver substantially less light to the space
below than an identical skylight located on a flat roof .

Light wells:
Light wells are a primary component of skylight-ing systems. They bring the light through the roof
and ceiling structure, and they simultaneously provide a means for controlling the incoming
daylight before it enters the main space

Light wells can be designed in a wide variety of the surface reflectance of walls, floors, ceilings, and
furnishings have an impact on light distribution. Light-colored surfaces, which have high
reflectance, will help to distribute brightness around the space, and this, in turn, will reduce the
shapes. The simplest are vertical-sided shafts, the same size as the skylight opening. More elaborate
wells have splayed or sloping sides that spread the light more broadly through the space.

Room Surfaces:
Once the daylight has penetrated past the glazing, the light well, and the shading devices, it
interacts with the interior of the building. Although these effects tend to be much more subtle than
building geometry. For example, a flat-glazed skylight on a fiat roof will intercept very little sunlight
when the sun is very low in the early morning and at the end of the day

A skylight with angled sides, whether a bubble, pyramid, or other raised shape, can intercept sub
statically more sunlight at these critical low angles, increasing the illumination delivered below by
five to 10 percent at the start and end of the day.

The difference in transmission of solar energy (light and heat) for a 50 percent translucent glazing
material as a function of the angle of incidence for three different shapes: a fiat skylight, a
hemispherical skylight, and a segment of a sphere (which most closely models the typical bubble
skylight). It shows for very low sun angles (600 - 909 angle of incidence) that the rounded shapes will
collect noticeably more light. It is also interesting that they allow in less light at midday.

Sizes and Shapes:

Skylights are available in a wide variety of sizes and shapes to match nearly any building need.

They range from simple rectangles to complex polygons. They can be small, to fit between rafters,
or large enough to run the length of a building.

To cover big spaces, the skylights can be in the form of long barrel vaults or smaller units combined
on a space frame.

The glazing comes in several configurations as well. Flat glazing can be used in a single plane or in a
facteted framing system that assumes various pyramid shapes. Plastic glazing is also available in
molded dome or pyramid shapes for greater stiffness
Layout and Spacing:
The layout and spacing of skylights in a roof are important factors for the light distribution
characteristics of the sky lighting system. Given a fixed percentage of the roof area given to
Image.43. According to standard spacing between two skylights, a designer could select anything
from a skylights components single large skylight to many small skylights distributed uniformly
across the roof.

However, when skylights are provided in order to create uniform lighting in large open spaces, careful
attention to spacing is important.

The differences in illuminance level between locations directly under the skylight, compared to
locations between skylights, will be greater as skylight spacing becomes wider. The diagram shows
close skylight spacing, with relatively even illuminance at the work plane also a wider range of light
and dark areas. The total skylight area is the same for both.
The general rule of thumb is to space skylights at 1.0 to 1.5 times ceiling height (center- to-center in
both directions). This assumes a highly diffusing glazing and a modest depth for light wells; Actual
designs can vary considerably from this rule of thumb.

Skylight Glazing
Ceiling height matters in terms of visibility of skylight component to users Common glazing materials
for skylights include a variety of plastics and glass. The common plastic materials include acrylics,
polycarbonates, and fiberglass.

These materials come in a number of colors from clear and translucent white, to bronze and gray
colors. They also come in a variety of thicknesses and number of layers. All these variables affect
the performance of the skylight.

The choice of the glazing material for a skylight can have an enormous effect on the quality of the
light provided and the energy efficiency of the design.
Aim
To understand "DAYLIGHT" as a qualitative element of space making in Architecture and
demonstrate the understanding into a permanent exhibition space region .

Objective
To create a platform to appreciate art and craft of saurastra region in form of permanent exhibition
space.

Scope n limitations
Basically, the opportunity is to demonstrate and celebrate the 'daylight' as an element of
architectural design.

A space can be provided at regional level to exhibit the artwork.

Limitation could be the nature of site and context of this urban insert.

The space will not be active at night as compare to day with this type of lighting system.

The kind of exhibition is limited to a specific type at a time.

KEYWORDS
Glare
 Glare is difficulty seeing in the
presence of bright light such as
direct or reflected sunlight or
artificial light
.
 Glare is caused by a significant ratio of luminance

 between the task (that which is being looked at) and

 the glare source

Discomfort and disability

Glare can be generally divided into two types,

dis comfort glare and disability glare.

▪ Discomfort glare results in an

instinctive desire to look away from a
bright light source or difficulty in
seeing a task.

▪ Disability glare makes unclear the vision of

objects without necessarily causing
discomfort.
▪ Disability glare is often caused by
reducing the contrast between task
and glare source to the point where
the task cannot be distinguished.
▪ When glare is so intense that vision is
completely impaired, it is sometimes called
dazzle.

Illuminance:

▪ The amount of luminous flux on a

surface, per unit area.
▪ In Sl derived units these are measured in
lux Ox) or lumens per square meter
▪ In the CGS system, the unit of
illuminance is the photon, which is equal
to 10000 lux.

Criteria for selection of case studies.

The case study should give an overall idea
about the Inquiry- Daylight, the nature
of space - exhibitbit-ion space.
The case study could be able to
demonstrate different approach to use
daylight in architectural insert.
The various case studies in various
context would give considerations to
be taken care off while designing in
urban context.
CASE STUDIES
CASE 1:
Project: Chichu Art Museum

Location: Naoshima Island, Japan.

Architect: Tadao Ando

The museum was constructed in 2004 as a site

rethinking the relationship between nature
and people.

The museum was built mostly underground

to. An Ariel view of the museum avoid
affecting the beautiful natural scenery of the
Seto Inland Sea.

Despite being primarily subterranean, the

museum lets in an abundance of natural light
that changes the appearance of the artworks
and the ambience of the space itself with the
passage of time, throughout the day all along
four seasons, year.

Taking considerations of ideas from artists and architect to each other,

the museum in its entirety can be seen as a very large site-specific
artwork. The entrance space

The whole building has conceived as a part of

existing terrain and as merging into the exist
ing landscape.

The main exhibition space daylight from wall - roof

junction

Iso view of the ceiling in exhibition space SECTION -that shows the opening type
 Learning:

The case study suggests an approach to existing site

responsive architectural design with conscious
decision of using daylight as a prime element to
design with.

• The building is designed as a certain contextual

response, gives guidelines for using daylight from
top and side covering for enclosed volumes.

.
Daylight - as a decorative element- to create a
spatial experience to the space.

Exploded view of Chichu Museum which

shows all spaces and their connectivity and
circulation
 CASE 2:
Project : Soloman R. Guggenheim Museum

Location: Newyork,
USA.
Architect: Frank Lloyd Wright.

As one-step, forward the low-ceilinged

area suddenly opens into the rotunda (the
central space) and draws eye up to the
skylight or oculus 96 feet above. The
works of art remain mostly hidden,
before you get to them.
. An Exterior view of guggenheim museum
It is a spiral-ramped building topped by a
large skylight, the main central space is the
heart of the Guggenheim Museum. It
functions almost like a town plaza.

A quarter-mile of concrete ramps climb the

outer walls, visitors on the ramps not only
view the art, but also are also aware of
people in other areas of the museum.

Prime Concern
The central atrium in the museum

The architect conceived of the museum as

an airy, open place where visitors would
not have to foot up steps, instead entering
the building on the ground level, taking
an elevator to the top and descending
gradually, enjoying the art on display
until returning to the entrance.

Built v/s open diagram of Guggenheim museum

Top floor gallery space panoramic view

Learning

The museum has designed with a view

to having a journey while observing
artworks.
As being surrounded by tight urban
context, it also offers a public Informal
gathering at the ground floor level.

It has a significant role to perform as a

benchmark for an ideal exhibition
space at city as well as global level...
Building view with immediate context
It was a design call of making this
building publically more channelized
as well as easily accessible and to
decide a controlled movement within
the building.
CASE 3:
Project: Jewish Museum

Location: Berlin,
Germany.
Architect: Daniel Libeskin

The nature of this museum is all about telling

the historical turnover of germany, structure
is the part of this narration

Form of building

Naked concrete walls with sharp angles are

not constructed as a regular stuctural
componants,they go far beyond the
physical realm.

The structure is intended to generate a

meaningful conversation between the body
and visitors

The informal geometry evokes emotions,

conveys anger, fear, exile and death.

Squeezing between tall narrow walls ,walking

on iron faces, walking in exile garden and
terrifying in a uncanny dark space are all the
real experience and this real experience make
the museum immortal iñ visitor's mind.
Mass and voids:
The voids are structural ribs of the museum which organize elements, they make discontinues
empty space illustrates; these are broken backbones of a society which represents the cultural
history of berlin„ Image.61. Interior- the corridor to express death, pain and sacrifice

Learning :

How to build a building typology to

convey a particular message to the
visitors.

Designing with natural light, as a

prime tool to design

The voids and emptiness emphasize

the disturbing nature of space
creates a space exist between two
lines

Behaves like ã unhomely home,

which has been haunted by absence
silence and violence

In addition, represents the Jewish

memories presents feelings like
terror inside its cold *spiritless and
strange body.
Scale of built form:
The visitors experience terror
The scale of architecture ridicules human proportions and embodies neither the perfect nor the
differently in each spaces within one
inappropriate human for confronting the withdraw exterior and disturbing interior space,
body of architecture.
visitors find themselves in an world which they find themselves not exactly at home, certainly in
bodily and mentally crisis.

The rhythm of city views is achieved by the use of fully transparent glass —that allows a
view to Helsinki Station and as full curtain-wall facades at the north and south ends of
the building's volumes.

More than simple punctures in the ceiling, the skylights work with the curving,
irregular lines of the building to turn light into a sculptural element in itself.
.Horizontal 'light-catching' sections along the ceilings and upper walls deflect and diffuse light
from skylights and clerestory windows down into the museum spaces, this system allows natural
light from a single roof opening to penetrate through and illuminate multiple levels.

The shapes and textures of the building were designed with light in mind.

The character of natural light changes depending

on the direction it is coming from, and artificial
lighting in the building adapts to the natural light.

Natural Light, which is borrowed in Kiasma is uni

form in all its diversity.

Scale of desired spaces:

The unit in the scaling of spaces at Kiasrna is the
human body. One of the standards in the design of
the building adopted by Steven Holl was eye-level
at 165 cm.

The height and width of doors, the grid on sliding

based on the golden section
. Portion of an exhibition space on upper
SITE IN CONTEXT WITH THE
TOPIC
 Criteria for site selection

• History and art.

• Site, which is surrounded by urban development.

• Site should be such that it could be easily acces sible to public, preferable in urban
dense areas.

• Site location should be, as such as it could be easily approachable to the users

Rajkot , as the most important city of

Saurastra region is suitable for this urban
insert.

Rajkot city Potentials :

Identity :

Rajkot is a geographical centre of the Saurastra region,

having good connectivity with major centers dal-
Bhavnagar-Morbi, acts as a catchment area of saurastra
region.

It has cultural heritage in terms of historical

landmarks like Watson museum Alfred high
school, Royal residence of Gondal Junagadh

Located in south-west region of Gujarat.lt is

the largest city in saurastra region and fourth
largest city of Gujarat.

The city, having 22N -70E GPS location and

has hot and dry climatic conditions.
Connectivity with
surroundings :
Air :
The city has a domestic Airport ,which
operates flights to major cities such as
Vadodara, Ahmedabad, Surat, Bhuj, Mumbai,
Jamnagar.

Road ..
Rajkot is well connected to other cities through National Highways(NH) and State Highways

It is connected to Ahmedabad ,Vadodara, Surat, Morbi, Jamnagar, Bhavnagar etc.

Rail :
The city is well connected by rail network to important cities in Gujarat and India like Delhi,
Mumbai, Cochin, Coimbatore and Bhopal.

Rajkot - An overview :
Rajkot city has population of around 17-18 lakh as per the previous number of 13 lakh of 2001,
having 2 lakh of floating populatioin.
Rajkot has the fastest growth compare to other cities which would have same amount of area and
population.

History in brief :

▪ The city of Rajkot was the main administrative centre of saurastra region in the time of
British rule in India.

▪ In 1820, on the banks of Aji river, the settle ments of residences were started to develop.

▪ That was the time when the main city was fortified which had the residences of British
officials and they had all recreational activities at the outskirts .

▪ By the time and development of urban areas and British left India, the race course ground
became an important centre for recreational activity for public.

▪ And as time passed it evolved to be the main space for all the recreational and
cultural ,entertainment activities.
 ▪ TheRajkot Municipal Corporation has taken serious steps towards to make this city as a
vibrant part of Gujarat

Ariel view of Race course ground Rajkot

RMC has provided portions in civic structures in the city like Under bridge, flyovers, outer walls of
government Institutes, as means of achieving this vision of Rajkot city— 'CHITRANAGARI'

Using daylight as a prime element in design would

help to bring architectural awareness among the users
an eventually the society.

Race course, Rajkot : Nature of space

Race course ground - being an main recreational space
for the Rajkot city, suitable for an exhibition space to
spread awareness easily among people.

Due to location of site in the city, being a main

recreational centre for public activities, allows easy
access.

Site area is 13545 square meters and it has very diverse

natured surroundings on both its edges almost quite on
the sides adjacent to Bal Bhavan building boundary and
having a very busy road on the side of Jilla panchayat

chowk.
 Site plan with existing context with
landmarks

Site has an existing art gallery, a few food stalls to the road side opposite to Galaxy cinema
and an energy park of GEB.

Strength of the site of this insert :

Site is located as a part of main recreational space of the city, so people of the
city would get easily aware about this exhibition space and get engage to it,
This will provide a better platform for the artists to exhibit their artworks on

regional scale in bet, ter way than present existing conditions. existing art
gallery

Weakness

Site has one major side parallel to the ring road of race course ground , comparatively busy than
inside the racecourse ground makes chaotic atmosphere.

Opportunities :
It is an opportunity to present artworks in
more effectively an act of art appreciation.
Creates an awareness among the people of
city for art and architecture.

Being an authorized government exhibition

space , would help providing a better platform
to artist to exhibit their artworks.(paintings
and sculptures)

. Front view of existing art gallery

Threats :
Threat could be in terms of security issues
after working hours , safety issues, should
be in taken care of.

The existing art gallery building at the inside

corner of JilEa Panchyat chowk - Dr.shyçma
prasad Mukhrjee art gallery.

Stand :
The idea is to provide a space where people can
gather and appreciate art in a way that could
bring awareness among the people of city as well
as region.

Using daylight as a prime element to enhance

the spatial character of spaces in this urban
insert.

In Race course ground ,there is an already

existing art gallery named Shyama prasad
Mukhrjee art gallery is situated on the
corner of Jilla Panchayat Chowk.

Issues with existing art gallery

 The present art gallery has not that qualitative space to exhibit
artwork.

 The scale of existing built can not accumulate exhibits in an efficient way.

 Due to ineffeciency of the existing built form it is majorly used

by government body as a storage and other purpose
occasionaly which is not suppose to occur.

 As an art gallery it does not have that spatial character or nature of space which it
should have to appreciate.

Programme :
 Using daylight as a prime element to design with and demonstrate the
understanding of climatical response in terms of daylight ( Rajkot city )
into an urban insert.

 On the basis of potential probable projects , An exhibition space for Art

and Craft is being focused.

 Exhibition space for Art in terms of exhibition of Paintings - wall hunged

specifically and Craft in terms of Sculptures and small scale handicrafts
exhibition.

 The informal activities that allows public informal interactions within the
building and in outdoors as well.

 The insert would have functional as well as a unique character in terms of

spatial organization of interior spaces and would also fulfill the required
demands of immediate context.

 As being a part of race course ground ,the site is having recreational

activities *performed by pubic of the city in surrounding.
  As an exhibition space the spatiality of space would create an experience
into user's mind that they might have not experienced before, would create
chain of thoughts,their movement would be guided from one space to
another such that they could appreciate the journey and feel the spatiality
of that journey.

The activity of exhibiting artworks may require different layout

based on the type of artwork

 public movement in that formation of spaces

 the way it has been exhibited the quality of Daylight that would filter into that space
 the amount of people would be engaging at a time.

Site - Progammatic guidelines for designing

Having Jilla panchayat chowk at SouthEast corner also having very busy roads on south and east
side so that brings chaos and disturbing built environment for the probable insert on this site.

One the other hand site is having a very reverse natured surroundings on edge of North,North West
and West,which is having nature that merges with Race course ground other activities, quite
peaceful and steady built environment it has.
So, taking this basic observation to orient the probable built mass - not to confront the chowk
but the another way - orienting builtform to Race course interior activities.

Based on the connectivity of Local bus transport and other way of engaging with the site - the
approach to the site would be designed.

Nature of space

There are exhibition spaces which

could be classified based on the
nature of space it has:

 Fixed planning or rigid planning

 Flexible planning
 Both types could be having different
natured space Including enclosed , semi-
open, open spaces.

 Like The kimbell art museum having an

fully wall covered enclosed space, it has a
spatial character within the walls the main
exhibition happens in enclosed controlled
environment.

 Just another way some exhibition spaces would have

 semi-open plus open spaces spill overs.

 Planning that shows flexible type of exhibition layout
 Same functions with different natured space
would give spatial character to the built
environment,
 Planning the outdoors, as supportives to
interiors would be the concern of
designing.

Outdoors - public activites on various level

 The outdoor activities should overlap in
informal level - Planning should allow to spill
over the activitiesThe type of encloser system
of space would be such as it could allow
informal gatherings and interactions.

Public spaces are to be designed in a way that it should have easy access and the planninng
should allow multiplicity in terms of usage.

Massing of design insert could be such as it should impact as a landmark on the surrounding. The
structure should have o defined access path and should allow that flexible movement
around the space.

The nature of each spaces have to be spatial in terms of usage of daylight usage.

The exhibition space should functionally sound as

well as the pattern of exhibition space should
create a journey.

Modulation - could be a design statement to create

a loop of journey.

It could be a formation of experience so that the

exhibition space.

Exhibition space layout - Principles like

modulation repeatation, geometry,
symmetry
Stage I Site
Boundary of massing on site.
hatched portion shows existing art gallery

Stage Il Footprint of built mass :

Marking the basic outline of massing without
zoning of spaces.
Based on the contextual response lining out the
built v/s open zones.

Stage IllI Open spaces

Major open spaces on site and their connecfivity
through the built mass.

Stage IV Parking and utility blocks

Basic Zoning of utility areas like store rooms,
washrooms

Exploring the desired typology of built mass :

Effects of overall built mass on context.

Building is conceptulized as an unique profile
which would enrich the context with its form and
massing typology in an iconic way. Zoning spaces
on site based on proramme

Shaping spaces based on desired criterias.

Working out the circulation inside the built and in the outdoors.
Connections between interiors and exteriors.

Outlining the built mass jn process

According to the immediate conetxtual
response the layout has taken shape.

According to the upper diagram - Massing typology

is in process
Working out a large span structure - under which a large exhibition could be held - North facades
are comparativly open and having large openings with a view to have diffused daylight - South
facades having small openings in size and ailows reflected daylight to lit the space, resists the direct
glare

Working on massing as well - their junctions and trying to incorporate the method of borrowing
daylight with use of repeatation of a module.
Iso view of different leveled exhibition platforms in a same volume.

c
Conceptulizing East facade facing colletor office . with typology of desired roof covering, openings,
conceptuals
 Segregating the areas in terms of different level / types of roof covering. responding the road side
edge to create more engagement with the immediate context.

Concept tor edge treatment - on road side - informal nature public engagement conceptuals

Trusses supporting system -

working out the final volumes to cover up, finalizing the facades due to their facing directions and
desired functions .

Roof - skylights *trying to connect Emphazing the entrance central

the entrance with waterbody as a space with the use of different
visually connecting element stuctural componant for covering
Varoius wall sections -shows how the volume would get the daylight from top in exhibiton space
corner

Revising and working out the floors and

their connections with covering structure
method to resist heat gain and to get
reflected componant of daylight
.

Borrowing the reflected camponant from

floor of daylight using the creepers on
outer surfaces to resist heat gain by
. material of wall, providing opening over
the lintel and trying to use it os a wall
washer technique

South facade- Green cover - reduces radiation from

the surfaces.
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