DAYALBAGH EDUCATIONAL INSTITUTE

FACULTY OF ARCHITECTURE

REJUVENATING ENVIRONS OF DARA

SHIKOH’S HAVELI

TANISHA AGARWAL
Roll no. 1700950

03 October 2021

B.Arch. Semester 9
Pre-Thesis Research
Faculty Mentor: Prof. Shradha Arora
TYPOLOGY STUDY

In India, libraries have always been a part of our culture be it in any religion. From Nalanda University
in 1100s AD to the Mughals who built several libraries in India. Even during the British rule in India,
they built many libraries across the nation. Libraries are places of knowledge where anyone who
wants to read and learn can do so for free. The point here is, if these areas genuinely are a "source of
enlightenment," why are they so daunting, dangerous, and deserted? Can architectural changes help
them, or do we need to rethink their identity, mission, and purpose? If these libraries can serve as
gathering places for both the young and the old in other countries, why do they smell of dust and quiet
here?

This idea proposes a new public space typology — a cultural centre centred in a public library. In
doing so, it reimagines the library as a facilitator rather than a "definite source of knowledge." The
library is envisioned as a dynamic, calm, and open public place that merges numerous functions and
acts as a cultural and educational hub.

The site for the thesis project being Dara Shikoh’s Haveli which once also existed as a library some
400 years back. It also had frequent discussions, activities, festivals which were a part of this
magnificent building. The building is surrounded by different neighbourhoods. Although they are quite
famous in the city, giving them a face value will increase their potential. Providing with pocket parking
communal spaces will help bringing them up.

PRECEDENT
Technological revolutions in the late 20 th century were predicted to totally replace the book and bring
about the death of public libraries, ‘as we knew it’ (Worpole). Surprisingly, it was this very
technological revolution which helped breathe new life into the library system. “When information is
everywhere, the challenge is of knowledge use and dissemination.” (Edwards)

In the light of new technologies, public libraries readapted themselves to serve functions other than
being points of access for resources. They were redesigned as iconic modern day monuments with
cafes and theatres – like the Seattle Central Library. Some like London’s Idea Stores have become
‘Street corner universities’.

Libraries' functions have been in constant evolution for many years. As a result, there is no single
model or building typology that may serve as a definitive prototype of a 'library' or best suit the
purposes and shifting 'image' of a library. Having said that, previous trials might provide useful
insights into design issues and remind us of what works and what doesn't.

Libraries were frequently constructed on as wings atop museums and galleries in the 18th century.
They frequently served as collections and were interconnected with these other institutions because
they were depending on the patronage of the same person. The library became a distinct entity during
the Renaissance period, when "books became an item of utility rather than value" (Edwards).
Libraries were able to have their own building as a result of the split.
2
Figure 1. Idea Stores, London “Street corner university' - Library as a community center - serving the local
Figure 2. Vancouver Public Library. Canada - Government Offices, Shopping centre infused with the library

Figure 3. Bunjil Place, Australia.

Figure 4. Arrival Cafe' and lounge LocHal Library.

Previously, the emphasis of libraries was on book collections. As a result, it's understandable that the
rearing chamber became the design's focal point. Users entered a 'world of books,' with books
adorning the inner walls all around them. Long tables in the centre of the room were used as study
areas. To add architectural prominence, several reading rooms were created with high sailings and
domes — both in an attempt to provide spacious, column-free spaces as well as visible presence from
the outside. These areas were created with high ceiling lights, similar to church prayer nails. The
exterior form now/always adhered to the surrounding architectural form and was frequently confined
to hefty cubes.

Many of these ideals were called into question with the rise of the modernist movement. Instead of
grand stairwells leading to the reading foam, the scale and height of libraries have been reduced to a
more humanistic scale. Intricate decorating and decorative interiors were given precedence over
simpler massing. The spatial organisation, on the other hand, remained the same, with the reading
room in the middle and the stacks on the periphery. Because of the centrality of the reading area,
users were able to 'perceive the library as a whole,' making it easier to traverse and use. It also
allowed the librarian to easily supervise and monitor the activities going place.

3
With the increasing variety of functions in the library, there was a movement in this spatial
organisation as well. Diverse activities necessitated the need for different places, which frequently
resulted in the formation of many levels. As a result, atriums became a typical method for connecting
these vertically zoned rooms. Visitors may now travel vertically as well as horizontally between the
reading room and the slacks. Parallel to this, the experiment of circular libraries came to an end since
it was unable to extend its collection over time and became a block to expansion.

Figure 5. British Library Museum - The monumentality and grandeur were enhanced by circular library areas with
lofty ceilings. The users were dwarfs, and the design emphasised the book collection.
These developments were investigated further when libraries began to be seen as a public venue
rather than a scholar's institute. Libraries, like open plan workplaces, were planned with deep floor
plates placed on a rectilinear grid. The ground experience became an important aspect of the design,
with an emphasis on the interaction of libraries with the street. The structure itself was designed as
complexes, public plazas, and retreats.

A change toward generating a better user experience within the library forced the reading tables to
relocate to the building's outskirts — in order to gain access to natural lighting. Libraries got taIIer as
they became narrower, and reading areas along the facade were able to provide wide vistas. The
stacks made their way to the centre of the floor plate, where there was no natural light. This was a
significant move because it implied that the users/readers were more important than the books.

Today, library architecture is experiencing a renaissance as a result of two key factors: advances in
the IT sector and a focus on building performance and sustainability. Many architects have

4
experimented with alternative designs for libraries because many functions housed within them are
independent of a typical space requirement. Many buildings try to have 'iconic' facades in order to
become conspicuous and a Landmark in itself in order to attract visitors. In an effort to become more
sustainable, more shallow floor plans with a structural framework that could make spaces
multifunctional and fluid were adopted.

Finally, instead of emphasising security and formality of spaces, modern library design evolved to
adopt a more open, public nature of species — in the shape of terraces and lounges. With the
changing attitude of libraries as public spaces, there has been a rebirth of linking libraries with
museums and retail locations in the hope of engaging in cross-cultural interaction. (Edwards)

“Functional efficiency is a poor guide in an age of rapid social, environmental end technological
change. Too close a fit is sure recipe for speedy obsolescence" (Edwards).

As a result, the architectural expression of libraries must be adaptive, multifunctional, and open.

CASE STUDY 1 - NATIONAL

ALLIANCE FRANCHAISE
French cultural centre, Delhi

5
Location – Lodi Estate, Delhi

Site Area – 2850 SQ. M.

Year – 2001-2004

No. of storeys – 5(1 below, 4 above)

Programme - Art Gallery

Auditorium
Library
Classrooms
Conference room
Offices
Café

Architects – Stepher Paumier & ABRD

INTRODUCTION

Constructed as a cultural facility for the Finch Embassy in India. The structure appears to embody
both the French and modern Indian identities.

Today, it is one of the city's most successful cultural centres, with a special emphasis on functioning
as a learning centre and exhibition space. Unlike other cultural locations, it is able to draw youthful,
enthusiastic crowds, making it an ideal model to study.

LOCATION & CONTEXT

The building's design was heavily

influenced by its setting. There was a
very strong visible and distinct
architectural presence in the middle
of the Lodhi Institutional Area, which
had seen the works of J. A. Stein in
the form of WWF India, UNICEF
building, IHC and IIC.

Aside from the constructed character,

The proximity to the lush and historic
Lodhi Gardens was a major driving
force in the design.

Finally, there were two massive Peepal trees on the property. The form was designed around them in
an attempt to save them.

6
Even while performing space and galleries are basic features of buildings everywhere, the centre is
distinguished by its learning centre. This attracts a larger population, making it a more attractive place
for hosting events.

PROGRAMME ARRANGEMENT

LEGEND
1. Entrance Court
2. Sunken Gallery
3. Art Gallery
4. Plaza
5. Auditorium
6. Reception
7. Offices
8. Washrooms
9. Cafe' (Indoor)
10. Café (Outdoor)
11. Classrooms
12. Library
13. Conference
room
14. Solar panels
15. Pergola
16. Services

INFERENCES

 The structure is built in layers, both vertically and horizontally.

 The more public attractions, such as the gallery and auditorium, are located on lower levels,
7
 immediately in front.
 The cafe, another popular gathering place, is designed to have its own environment, making
the experience unique even when arriving from the outside.
 The more private activities, such as schools, offices, and patios, are positioned higher in order
to gain visual surveillance over public activity and lower noise levels.

USER EXPERIENCE

Figure 6. Points of visual comprehension.

INFERENCES

8
INFERENCES

 Level play: Because of the subterranean courts, the entrance hallway functions as a bridge.
This abrupt change in levels surprises guests who had only seen it from the outside as a flat
location.
 Volume play: The open corridor, shielded by the mass on top (3m), disrupts the courtyard's
open air volume (18m). This stark contrast enhances the entering experience.
 Visual corridors: The wide channels direct the eye to the imaginary horizon, making it simple
to understand various components on their own. Visual corridors are thus formed by objects
that are far apart (tree, column, canopy) rather than near walls.

Figure 7. Inside Out: The built and the unbuilt interlock like fingers making multiple courts 6 spill out spaces.

9
INFERENCES

 The building, which is oriented north-south, receives a lot of sunlight, which activates its
various courts.
 The theatre is sandwiched between two courts. The mass divides the courts, which have
unique personalities, and was designed to conserve the large trees on site.
Cafe' leak out — casual
Forecourt of the Auditorium – formal but interactive
 The open passageways allow for connection at multiple levels, such as bending the inside
with the exteriors.

10
SPATIAL CHARACTER

1. Auditorium
The theatre, which has a capacity of 100 seats, hosts discussions, films, lectures, and other
events. The timber interiors and narrow geometry give it a pleasant, cozy, and unintimidating
appearance.
2. Art gallery
The gallery, which is located underground, is complemented with its own court for most event
gathering. The deep space maintains a cool temperature and provides a controlled lighting
condition for the shows.
3. The café
Which is open to everybody, makes the room approachable and lively. Because of the private
courtyard and entry, it is a separate semi-public area that is much more comfortable on its own.

4. Classrooms
There are 12 classes on the first and second floors. They are fairly close together and can only
accommodate about 15-20 people. The sliding windows, which are set at eye level, let in a lot of

11
 light, making the area feel bigger.
5. Library
The library, which is located on the roof of the auditorium, is divided into two sections: an
interactive zone, which is a double-height room filled with natural light, and a quiet zone, which is
a single-height space with a book stacker and study tables.
6. Terrace
Each volume acts as a platform for the software on top. As a result, there are several terraces
positioned at all levels, allowing the plants to develop and generate a microclimate.

12
CASE STUDY 2 - INTERNATIONAL
CONVERTING A DOMINICAN CHURCH INTO A BOOKSTORE

Location: Maastricht, Netherlands, Europe

Architect (book installation): Merkx + Girod

Area: 750 sq. m

Figure 8. A Dominican Church Converted into a Bookstore.

The heritage building, which was previously a part of the Dominican friary and was consecrated in
1294, was devastated over centuries by successive invading armies. Prior to its adaptive reuse, the
church was used as an indoor bike pound by Maastricht residents. Later, it was turned into a
warehouse. Contained stone vaults and faded remains of ceiling paintings from around 1337; and
others by the artist Jan Vessens, depicting saints and sinners and episodes from the Bible, dating
from 1619.

1. The installation of a three-story tall black steel book stack in the long, high nave.
2. A café is established in the choir area. The centrepiece of the cafe is a long, cruciform table
illuminated by a lamp dangling from the stone vaults in the shape of a modern halo.

13
3. Popular books are housed on lower shelves, while esoteric, scholarly, and theological texts are
preserved higher up in the heavens. These are accessed through steps located in a sleek, well-
made book stack, though there is also an elevator.
Parameters covered:

1. Adaptive Reuse - Because the church is a monument, it should be preserved as open as

possible; hence, introducing the two floors asymmetrically brought respect and focus to the
structure. Due to meeting space requirements for both old and new purposes, the new use
merged well in the structure.

2. Space - The steel book stack's great scale was necessary since a spread of shelves along and
across the nave would have detracted from its character; also, café Selexyz required 1,200 sq. m
of selling space to enhance the shop's finances add up. Changes in lighting were also planned,
and they were incorporated with the furniture or the volume to avoid pollution in the interiors.

3. Structural Systems - The original frame structure was left unchanged; the book stack was added
to two floors above in order to have additional horizontal free space on ground level.

Figure 9. Clear ceiling heights have been left so that the paintings in the church are visible with book stacks.

4. Services for the café are provided at the end of the left aisle, from the back door at the corner.
Although there are no toilets.

14
Figure 10. Wall in black steel book stacks have been added to the old structure.

During the day, the natural lighting maintains the essence of the church. Artificial lighting is provided
for the evenings with 4 way looking spotlights on the columns. The steel frame is also outfitted with
ceiling-mounted tube lights in the aisle between the bookcases. The original framed construction was
left unaltered; a book stack was added to the upper two stories to create horizontal free space on the
ground level.

Figure 11. Floor plans of the church after renovation.

15
Figure 12. Sections contain book stack and lighting detail.

INFERENCES

 Due to matching space needs for both old and new uses, the church's new use as a bookstore
integrated nicely with the structure. There is no distribution of the core structural system and
spaces. For retaining the old fabric of the church, the steel structures are not retrofitted into the
columns and are independent. The original fabric and character of the church are retained with
contemporary usage.
 Religious sensitivity is also taken up as a crucifix is placed in the form of a table in the café. No
addition of partitions or wall panels is done leaving the place into its original form and scale.
 The artificial lighting provided is placed in a way that it does not overshadow the church’s
paintings and mosaic floors.
 The sole disadvantage of keeping public places such as shops and libraries in simple sites such
as churches is a lack of flexibility in providing services while avoiding retrofitting.

BIBLIOGRAPHY

16
Mustafa, Faisal. “KHUDA BAKHSH ORIENTAL PUBLIC LIBRARY.” n.d. 2021.
<researchgate.net/publication/328161998_KHUDA_BAKHSH_ORIENTAL_PUBLIC_LIBRAR
Y>.

Sharan, Anirudh. Re-Imagining the Public Library. Thesis. Delhi, 2020.

Vaughan, Don. “A Brief History of Libraries.” Britannica (n.d.). 2021.

<https://www.britannica.com/story/a-brief-history-of-libraries>.

Pradeep Singh, Mohammad Laraib Ahmad. “Adaptive Reuse- A Case of Lal Baradari, Lucknow.”
International Research Journal of Engineering and Technology (IRJET) 06.03 (2019). 2021.

17