ETHNIC ESCAPADE: A CENTRE TO EXPERIENCE

FOLK MUSIC AND CULTURAL HERITAGE OF NORTH

INDIA

A Thesis Submitted
in Partial Fulfilment of the Requirements
for the Degree of

BACHELOR OF ARCHITECTURE

by

Yashika Pradhan
(Enrollment no. A8304016020)

Under the Supervision of

Ar. Smriti Rastogi

to
Amity School of Architecture and Planning

AMITY UNIVERSITY UTTAR PRADESH

LUCKNOW

May 2021
 CERTIFICATE

It is certified that the work contained in this thesis entitled “ETHNIC ESCAPADE: A centre

to experience folk music and cultural heritage of North India”, by Yashika Pradhan

(Enrolment No. A8304016020), for the award of Bachelor of Architecture from Amity

University Uttar Pradesh has been carried out under my supervision and that this work has not

been submitted elsewhere for a degree.

(Ar. Smriti Rastogi)

Thesis Supervisor
Associate Professor
AUUP Lucknow

Date: May 2021

i|P age
 AMITY UNIVERSITY UTTAR PRADESH, LUCKNOW

CERTIFICATE OF FINAL THESIS SUBMISSION

1. Name: Yashika Pradhan

2. Enrolment No.: A8304016020

3. Thesis title: ETHNIC ESCAPADE: A centre to experience folk music and

cultural heritage of North India

4. Degree for which the thesis is submitted: Bachelor of Architecture

5. Faculty of University to which the thesis is submitted:

Amity School of Architecture and Planning Lucknow

6. The thesis has been prepared without resorting to plagiarism. ___YES ___NO

7. All sources used have been cited appropriately. ___YES ___NO

8. The thesis has not been submitted elsewhere for a degree. ___YES ___ NO

9. All the corrections have been incorporated. ___YES ___ NO

10. Submitted 2 hard bound copies. ___YES ___ NO

Sd/- Sd/-
Ar. Smriti Rastogi Name: Yashika Pradhan
Thesis Guide Enrolment No: A8304016020

ii | P a g e
 AMITYSCHOOL OF ARCHITECTURE AND PLANNING

AMITY UNIVERSITY UTTAR PRADESH, LUCKNOW

Report of Bachelor of Architecture Thesis Evaluation

Course Name – Thesis Project in Architecture

Course Code – ARCH518

Name of Student: Yashika Pradhan

Enrolment No.: A8304016020

Institution: Amity School of Architecture and Planning

Thesis title: ETHNIC ESCAPADE: A centre to experience folk music and

cultural heritage of North India

Thesis Supervisor: Ar. Smriti Rastogi

Remarks: Satisfactory / Not Satisfactory (in case of not satisfactory give comments)

Satisfactory_________________________________________________________________
________________________________________________________________________

________________________ _________________________
(SMRITI RASTOGI) ( ___________________)
Thesis Supervisor External Examiner

________________________ _________________________
(Ar. Sumit Wadhera) (Prof. Jagbir Singh)
Thesis Coordinator Director

iii | P a g e
 ACKNOWLEDGEMENT

I would like to thank my Thesis Supervisor Ar. Smriti Rastogi and the Director of
Amity School of Architecture and Planning Lucknow, Professor Jagbir Singh, for their
guidance, support and encouragement over the last semester. To Ar. Sumit Wadhera, I am
grateful for patiently examining my work. It has been a learning experience and a motivating
mission in the past few months due to their diligent supervision.

A word of gratitude is indispensable for the people who have been cooperative and
ready to lend a hand for this effort. My family, classmates, seniors, and juniors was forthcoming
in providing the suitable project in which to implement my thesis.

Furthermore, I would like to thank the Thesis Coordinator, Ar. Sumit Wadhera and Ar.
Madhvendra Pratap Singh and Er. Sharad Chandra, and the entire faculty of Architecture for
flawlessly managing the entire endeavour and assisting me at all times.

iv | P a g e
 DEDICATION

This research endeavour is dedicated to my family who have graciously supported me all
the way through this entire process. Without their motivation, support and sustained help, this
effort would not have been achievable. I would like to dedicate this to my parents who laid the
foundation by inculcating in me the principles, ethics and discipline that have served me well
in all aspects of life. I offer a special thank you to each.

v|P age
ETHNIC ESCAPADE: A
CENTRE TO EXPERIENCE FOLK
MUSIC AND CULTURAL HERITAGE
OF NORTH INDIA
CHAPTER 1: INTRODUCTION
1.1 INTRODUCTION
The topic of my thesis is “Ethnic Escapade: A centre to experience folk music and
cultural heritage of North India” in which ethnic represents the culture, the tangible
and intangible heritage of India and escapade represents the experience, the feeling
the person perceives.

As the name suggests it’s a cultural centre which will make people aware with the folk
music of North India as well as people will get to know about different music
instruments that are used while playing different folk songs and at the same time
people will get to experience the richness of Indian folk music through various spaces
which includes indoor, outdoor spaces. Interactive spaces have also been
incorporated to make a space more interesting and fun for people of all age groups.

WHAT IS CULTURE?
Cultural heritage in general consists of the products and processes of a culture that
are preserved and passed on through the generations. Some of that heritage takes the
form of cultural property, formed by tangible artefacts such as buildings or works of
art. Many parts of culture, however are intangible,
including song, music, dance, drama, skills, cuisine, crafts and festivals.

WHAT IS INTANGIBLE HERITAGE?

Figure 1: SHOWING VARIOUS INTANGIBLE HERITAGE ATTRIBUTES

1|Page
FOLK MUSIC AND INDIAN INSTRUMENTS OF NORTH INDIA

Folk Music of Northern India represents the vast cultural diversity of India. Since ages,
numerous types of folk music have evolved in different regions of the country. A variety
of songs have been composed in the folk music which accompany different events and
moods. Folk Musical Instruments also form a significant part of this age-old legacy
which make the folk songs even livelier.

1.2 NEED OF THE PROJECT

As India is known for its rich cultural heritage, is now losing its importance due to
modernisation and globalisation. Earlier through various folk music and dance the
social messages and cultural practices were transferred to the next generation, but as
now people are more dependent on technology, people are losing interest in traditional
ways and the cultural heritage especially intangible heritage is at the extinct of
forgotten. For preserving the intangible heritage certain ways are been adopted now
to make people aware with the richness of Indian traditions and cultural heritage which
can help in safeguarding the heritage and roots of India, as culture and traditions are
the roots of India.

All this is because of:

• Lack of information about intangible heritage

• Lack of surprise elements or other spaces

• Lack of interest due to an inappropriate amount of knowledge about folk music,

folk/classical dance forms, cultural practices, etc.

• Lack of real-time experience, because of which understanding and relating things

become difficult.

• Lack to create an ambiance which can spark interest in people to visit space with a
different experience.

• Lack to hold the interest of the user due to the monotonous design of a space.

• Lack of usage of technology in a better way to enhance the user experience and
make it an interesting space for visitors or users to visit.

• Lack of knowledge about Indian Musical Instruments, local materials, etc.

• Lack of knowledge about various Indian folk musicians and singers.

1.3 AIM OF THE PROJECT

2|Page
Aim is to enhance the user’s experience in a space and providing knowledge about
cultural heritage and to preserve the cultural heritage, through architecture along with
traditional as well as digital interventions.

1.4 OBJECTIVES OF THE PROJECT

• To study about Indian culture and tradition practices.

• To provide people with the knowledge of Indian cultural and traditional practices.

• To give people a whole new and much better user experience, which can generate
curiosity and interest in music, dance, different cultural practices, etc.

• To make people well-versed with Indian folk music and Indian musical instruments.

1.5 SITE
Site: Gurugram cultural hub by MCG in sector 53 phase-V

Site area: 10 acres

Figure 2: SITE

Site area: 10 acres

F.A.R: 1

Ground coverage: 33%

Setbacks:

3|Page
Front setback: 15m

Left setback:6m

Right setback:6m

Rear setback:6m

1.6 SITE SELECTION:

This cultural complex is being proposed by Municipal Corporation of Gurugram to
make people aware of their culture and traditional dance of India. Therefore, a cultural
complex maybe defined as a platform of different cultural activities, social gatherings
and different exhibitions.

The site is easily accessible and well linked with the means of transport and as the site
lied in DLF phase -V it is also linked with metro making is easy for people to visit the
site.

4|Page
CHAPTER 2: SITE ANALYSIS
2.1 LOCATION:

Figure 3: LOCATION

Gurgaon, officially named Gurugram, is a city located in the Northern Indian state of
Haryana.
It is situated near the Delhi- Haryana border, about 30km southwest of the national
capital New Delhi.
The major highway that links Gurugram is National Highway 48.

Gurugram has architecturally noteworthy buildings in a wide range of styles and from
distinct time period.

Figure 4: SITE PLAN ISSUED BY MUNICIPAL CORPORATION OF GURUGRAM

5|Page
2.1.1 EXISTING SITE CONDITIONS:

Figure 5: EXISTING SITE CONDITIONS

2.2 ACCESSABILITY AND CIRCULATION:

- The access to this site is through ST Thomas Marg road along with the golf road.
- Distance from airport is 17 km which is around 30 minutes.
- Railway connectivity is 15 km from site.
- Anyone can access to this site easily as there are many landmarks and it is easily
reachable.

2.3 LANDMARKS:
1) Westend Heights
2)Shalom Hills school
3) Ansal API
4) Paras hospital

2.4 SITE CONSIDERATIONS:

Site typography: The site has sloping towards road.
Vegetation: Neem tree, wild grass, Gulmohar
Soil Type: The soils are medium textured, loamy sand is the average texture in
Gurgaon.
Organic contents are 0.2 to 0.40 percent and falls in low category.

6|Page
Figure 6: CLIMATE CHART

2.5 CLIMATE:
- Gurgaon experiences a monsoon-influenced Composite climate.
- Summers, from early April to mid-October, are typically hot and humid, with an
average daily June high temperature of 40 °C (104 °F).
- Winters are cool and foggy with few sunny days.
- Spring and autumn are mild and pleasant seasons with low humidity. The monsoon
season usually starts in the first week of July and continues till August.
- The average annual rainfall is approximately 714 millimetres (28.1 in).

2.6 WIND:
Site is getting prevailing wind from North- West.
And Cool breeze from North-east and South- East.

Figure 7: WIND CHART

2.7 HUMIDITY:
Gurgaon experiences extreme seasonal variation in the perceived humidity.
- The muggier period of the year lasts for 4.5 months, from May 31 to October 16,
during which time the comfort level is muggy, oppressive, or miserable at least 25% of

7|Page
the time.

2.8 PRECEPITATION:
A wet day is one with at least 0.04 inches of liquid or liquid-equivalent precipitation.
The chance of wet days in Gurgaon varies significantly throughout the year.
- The wetter season lasts 3.0 months, from June 16 to September 14, with a greater
than 26% chance of a given day being a wet day. The chance of a wet day peaks at
50% on July 22.

N
Figure 8: SITE CLIMATE STUDY (WIND DIRECTION AND SUN PATH)

8|Page
CHAPTER 3: LITERATURE STUDY
3.1 KALA ACADEMY, GOA

Figure 9: KALA ACADEMY(VIEW)

3.1.1 INTRODUCTION:
• The Kala Academy Goa was established by the Govt.of Goa, with the approval
of Govt. of India, Ministry of Art & Culture, as an apex body to develop Music,
Dance, Drama, Fine Art, Folk Art, Literature etc.
• Venue for international film festival of India.
• Represents the art and culture of Goa.
• Known as the prime centre for promotion of art and culture of Goa.

3.1.2 SITE OVERVIEW:

LOCATION: Situated at Campal, Panaji along the banks of River Mandovi. Area has
mixed land use with a military hospital across the road, a cricket ground and a park on
either side.
Architect: Charles Correa
Site Area: 6.3acres
Building Type: Institution
Site Gradient: Gentle Slope

9|Page
Figure 10: LOCATION

3.1.3 BUILDING LAYOUT:

Figure 11: LAYOUT

- Four entries to the site.

- Boat jetty provided on the river side.
- Coverage is about 40%
- Well defined pedestrian and vehicular systems
- Includes the cafeteria, garden and amphitheatre.
- Site is divided into main building service building, muktangan, parking area, the
exhibition space.

A. D.M KALA MANDIR

• It has the seating capacity of 1000 people

• Variety of acoustical conditions ranging from speech, plays to sitar recitals and
orchestral arrangements

10 | P a g e
 • Walls of the auditorium are painted illusions of an old goan theatre.

Figure 12: AUDITORIUM SECTION

B. MINI OPEN-AIR THEATRE

• It has the capacity of 300 people.

• Used as an outdoor classroom and meeting space

C. OPEN AIR AMPHITHEATRE

• It has the seating capacity (no chair) of 2000 people.

• Also has seating capacity (chair) of 1312 people.
• Amphitheatre is of double herringbone shape.
• Acoustics are good as the seats block out noise from the road side and the
stage blocks out noise from the river side

Figure 13: O.A.T VIEW

D. BLACK BOX

• It has the seating capacity of 200 people.

• Used for experimental productions, music concerts, meetings and amateur
performances.
• Also used as a recording studio.
• Control room and a green room provided.

11 | P a g e
 • Black box lobby is also provided.

E. LIBRARY

• It has the area of 135 SQ.M

• Library is in proximity with mini oat. Books are raked in glass shelves.

Figure 14: LIBRARY PLAN

F. CAFETERIA

• It has the capacity of 100 people.

• Square table are provided each with 4 seats 3 sides open in to the outdoor
landscape.
• It is accessible from all theatre.

G. ADMINISTRATION SPACE

• Separate cabins are provided, made of plywood

• Glass and exposed concrete were used.
• Lounge area has been provided for visitors
• Size of the cabins are 3.5 sqm.

12 | P a g e
Figure 15: ADMINISTRATION PLAN

H. ART GALLERY

• It has a running wall display of 51m.

• There are 3 mobile displays.

Figure 16: ART GALLERY VIEW

3.1.4 SERVICES

• The service buildings (AC plant and generator room) are provided on the
western corner of the site no way disrupting the normal functioning of the
building.
• Two separate service entries have been provided. One to the generator room
and the other on the eastern corner of the site.
• The eastern entry caters to the need of the amphitheatre and the canteen.
• A loading deck has also been provided here
• The septic tank is provided underneath the garden.

13 | P a g e
3.1.5 ANALYSIS

14 | P a g e
3.2 MUSEUM OF POP CULTURE

Figure 17: MUSEUM OF POP CULTURE(VIEW)

3.2.1 INTRODUCTION
• The museum of pop culture—formerly known as Experience Music Project and
Science Fiction Museum and Hall of Fame (EMP|SFM) and later EMP Museum
until November 2016.
• The Museum of Pop Culture or Mo POP is a non-profit museum in Seattle,
Washington, dedicated to contemporary popular culture.
• It was founded by Microsoft co-founder Paul Allen in 2000 as the Experience
Music Project.
• Interactive museum dedicated to exploring creativity and innovation in music.

3.2.2 SITE OVERVIEW

Architect- Frank O Gehry
Site- 13000 sqm (3.21 acre)
Established in- 1995-2000
Location- Seattle, US
Typology- Museum
Architectural style -Deconstructivism

Location-

Figure 18: LOCATION

15 | P a g e
 • As the Museum of Pop Culture, the exhibitions are different from a traditional
art museum or natural history museum. The interior of Mo POP has a
mechanical, metallic feel. The museum has a total area of 140,000 square feet
and total floor space of 35,000 square feet with the highest point reaching 85
feet. Ample space ensured enough room to design and layout the exhibitions.

3.2.3 CONCEPT
The project idea was inspired by the Fender Stratocaster guitar that Hendrix used to
destroy after each concert. Hence, the museum takes the form of electric guitar
deconstructed that invites people to get into his spine to discover how the music was
born.

This results in a fragmented and volumetry undulating, as the body of an amoeba.

From the top as the complex is a conglomeration of various pieces of brightly coloured
plants. One of the volumes is crossed by the Seattle monorail, which travels through
the interior of the museum.

3.2.4 BUILDING LAYOUT

Figure 19: GROUND FLOOR PLAN

16 | P a g e
Figure 20: FIRST FLOOR PLAN

Figure 21: SECOND FLOOR PLAN

3.2.4.1 SPACES:
On the inside, each responds to a function space. It is organized into six thematic areas
that celebrate the music world by responding to the exhibition program, educational
and interactive activities to the public.

Admission is by the ground floor or first floor. From here you can access a central foyer

17 | P a g e
and, on the right, the Sky Church hall in honor of Hendrix. Crossing the main lobby, a
bridge connecting the cafes and on the right is spread exhibition halls.

At the other end of the assembly, next to the tracks of the monorail is Artist’s Journey,
a gallery that looks at the lives of artists. At other levels, there is a sound lab, a
multimedia file and a music school. There is also a restaurant and shops.

Balcones on a mezzanine floor. Since there is pass the Seattle monorail. The building
will lie on the tracks. One of the volumes has a large opening that moves the train.
From there, passengers can take a look inside the museum.

The ceilings are high throughout the design modelled by irregular and perimeter walls
have been left free by Gehry, precisely to encourage the involvement of the designers
involved in the installation.

3.2.5 EXTERNAL FACADE

- The building’s most striking exterior features are a series of differently coloured
metallic skins supported by an outer concrete shell that, in turn, is supported on
custom-cut steel ribs. The amorphous stainless steel and aluminium skins, variously
rose-coloured, silver, bronze, red, or sky blue, suggest sea life
- The inspiration for the project was a pile of trash he gleaned from an electric guitar
shop near his office in Santa Monica, California. To this end, draped over roofs on the
east side of the building are a series of metal track-like structures that resemble
mangled guitar fretboards at a massive scale.

Figure 22: FAÇADE VIEW

18 | P a g e
Figure 23: MUSEUM VIEW

3.2.6 STRUCTURE
- The roof is made up of 21 thousand panels of stainless steel with shades of purple,
silver and gold, aluminium and painted red and blue.
- Each panel has a unique shape and size and is cut and warped to fit your specific
location.
- The process resulted in 3,300 unique structural assemblies clad in 21,000 metal
sheets.

3.2.7 BARRIER FREE ASPECT

- The building is designed in a manner that is barrier free for the especially abled
people.
- Ramps have been provided at the entrance.
- Separate restrooms for especially abled are provided.

3.2.8 ANALYSIS

Figure 24: SWOT ANALYSIS

19 | P a g e
CHAPTER 4: CASE STUDY
4.1INDIAN HABITAT CENTRE

Figure 25: INDIAN HABITAT CENTRE (VIEW)

4.1.1 INTRODUCTION
The Indian Habitat Centre consists of 37 institution committed to habitat and
environment along 58 guest rooms, 20 function rooms, 4 performance venue- the stein
auditorium, restaurants, and fitness club.
Various institutes include TERI, HUDCO, MCD, COA, NID, Centre of the building
research, renewable energy development.

4.1.2 SITE OVERVIEW

Location: Lodhi road, New Delhi
Architect: Joseph Allen Stein
Site Area: 9 Acres
1. The whole complex consists of five main building blocks with aerial walkways
interconnecting the building blocks.
2. These building blocks being separated manage to create interesting courtyards that
are partially open to the elements

Figure 25: LOCATION

20 | P a g e
4.1.3 DESIGN CONCEPT
A. SPATIAL ARRANGEMENT:
1. The habitat centre is organised as a series of 5 blocks around that are linked with
shaded courtyards and bridges.
2. The built forms are grouped around the shaded courtyard with landscaping including
ponds and trees to maintain the temperature around the building blocks.
3. The office areas are being given access from the inside of the courtyards, whereas
the public and semi-public have been placed in separate blocks and these are linked
beautifully with courtyards and landscaping.

B. GREEN SPACE IN THE COURTYARDS:

1. Sunscreen, a feature of the Indian habitat centre, ingeniously protects the courtyard
from the summer glare while letting on the winter sun, and is a very successful
innovation that greatly enhances the enclosure qualities of the courts.
2. Building blocks are grouped around climate tempered courts, shaded by overhead
sunscreens and enlivened by landscaping, ponds and fountains.

Figure 26: COURTYARD WITH SHADING DEVICES, WATERBODY, PLANTATION AND

AMPHITHEATRE

C. THE PLANNING AND IMPORTANT FEATURES:

1. The two blocks on Lodhi road are handed over to offices on the top and reserved
for public facilities on the ground floor.
2. The third block on the south, houses common facilities like a convention centre, a
large auditorium, library, and a guest house.
3. Building volumes are articulated to form interconnected internal courtyards that are
the major public spaces.
4. Restaurants and exhibition spaces are on the ground floor open out into the
courtyards, either the courts also being the public spaces for exhibitions etc.

21 | P a g e
4.1.4 BUILDING LAYOUT

Figure 27: LAYOUT

A1. LAYOUT SHOWING VARIOUS ENTRIES AND ACTIVITIES

Figure 28: FLOOR PLANS OF CONVENTION CENTRE OF INDIAN HABITAT CENTRE

22 | P a g e
The highlighted part is the convention centre of Indian Habitat Centre it has various
activities like multipurpose halls, Auditorium, Library, etc.

A. Auditorium:

Figure 29: AUDITORIUM PLAN

• The auditorium has the seating capacity of 420 people.

• The area of the auditorium is 576 sqm.
B. MULTI- PURPOSE HALLS
B.1

Figure 30: SILVER OAK PLAN (MULTI-PURPOSE HALL)

23 | P a g e
Silver oak I, II; Silver oak I+II+ foyer; Silver Oak I+II+ foyer + patio all are various
multipurpose halls

B.2

Figure 31: CHINAR AND WILLOW PLAN (MULTI-PURPOSE HALL)

Chinar and willow are also other multi-purpose halls.

B.3

Figure 32: JACARANDA PLAN (MULTI-PURPOSE HALL)

24 | P a g e
Jacaranda I and II are also multipurpose halls

C. WORKSTATIONS

Figure 33: WORKSTATION AREA PLAN

The office space has six workstations. Two cabins are of 90 sqft, two cabins are of
73sqft, one is of 140sqft and one is of 72sqft.

D. THEATRES

Figure 34: THEATRE PLAN

Area below auditorium has various small theatres like Amaltas, Kadamba, Rudraksha.

25 | P a g e
 E. GULMOHAR

Figure 35: GULMOHAR PLAN

It’s the classroom having seating capacity of 113 students.

4.1.5 SERVICES
1. Air conditioning system
2. Firefighting system
3. Provisions for differently abled people
4. Rain water harvesting
5. Storm water disposal system
6. Parking system

A. AIR CONDITIONING SYSTEM:

1. Centralized air conditioning system throughout the complex 3000 tonnes capacity.
2. Total 150 AHU in the building at different locations.
3. It consists of 5 chillers- four with 600 capacity and one with the capacity of 300.
B. FIRE FIGHTING SYSTEM:
1. Centralized fire detection system of Siemens with different smoke and heat
detectors and all indication comes at centralized panel of fire detection system.
3. Central jockey and hydrant pressured water pumps with 100hp.
4. 15 hydrants around the building
5. Provision of hose pipe, fire extinguishers at every core area and every floor.

C. RAIN WATER HARVESTING PROVISION:

1. Rain water is channelized around the building.
D. RAIN WATER DISPOSAL:
1. Storm water inlets are provided on the site at regular intervals to drain out rainwater.

26 | P a g e
4.2 SANSKRITI KALA KENDRA

Figure 36: SANSKRITI KALA KENDRA (VIEW)

4.2.1 INTRODUCTION
• Sanskriti Kendra is a symbol of Sanskriti's involvement in activities relating to
art, craft, literature, the performing arts, and social work. Although diverse on
the surface, these activities are different facets of a single vibrant culture rooted
in Indian soil but universal in its outlook.
• Sanskriti Kendra is, thus, a manifestation of Sanskriti's philosophy of looking at
apparently different facets as parts of a larger organic whole.
• It is a cultural centre where artists and sculptors, writers and musicians, and
village craftsmen, practise their arts in tranquil surroundings that engage the
mind with the imagery of the idyllic pastoral countryside with its manmade
interventions.
• Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps
cultivate an environment for preservation and promotion of India's artistic and
cultural resources.

4.2.2 SITE OVERVIEW

• The buildings are semi-rustic in appearance, with ample space between them
for strolling or catching a breath of fresh air- but not so far apart as to engender
a sense of isolation. The grounds, filled with a profusion of trees, present a
picture of seemingly organic growth.
• Anand Gram, as the complex is called, is just that - a village that makes the
visitor happy. Sanskriti Pratishthan, is an Indian not-for-profit cultural

27 | P a g e
 organization that helps cultivate an environment for preservation and promotion
of India's artistic and cultural resources.
Architect- Upal Ghosh
Landscape architect- Professor Mohammad Shaheer
Site area- 7.4 Acres
Established in – 1993

Figure 37: LOCATION

4.2.3 CONCEPT:
1. A living, creative complex, the Kendra is intended to provide temporary residential
and working space to both traditional and contemporary artists and crafts persons and
in doing so, it aims to promote interaction between the two. 2. Thus the complex
includes in addition to two museums, an open-air auditorium, conference hall and
studio apartments.
3. For rural crafts persons, a separate cluster of huts with individual cooking facilities
provided. All spaces are scattered in a manner of a village dwelling. Over two thousand
trees were planted across the plot with a banyan tree at the entrance.

4.2.4 SITE LAYOUT:

Figure 38: LAYOUT

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

Figure 39: BAITHAK(PLAN)

B. HAVELI:
• This is the residence of O.P. Jain, the moving force behind the organization, the plan
is based on six and a half overlapping squares with intersecting pyramidal roofs.
•The dining, living, bedroom and the kitchen are arranged around an aangan
(courtyard).
•The most striking feature is the meticulously restored old entrance door from
Rajasthan from where one gets the first glimpse of the aangan - a perfect square patch
of green with an equally geometric rectangle of water along one side.

C. STUDIOS:
•There are eight studios in two blocks placed along the Nahar where participants with
an urban background can live and work.
•The units are small and simple but provide a variety of spaces, both indoor and
outdoor.

29 | P a g e
•These are located away from other built forms that allows artists to concentrate on
their work.

Figure 40: STUDIO FLOOR PLANS

D. EXHIBITION AREAS:
• The Kendra incorporates two museums – the sanskriti museum of India terra-cotta
and the Sanskriti museum of everyday art. These, the most public of all the spaces,
needed special attention for clarity of movements.
•The layout of spaces is such that a visitor moves from one exhibit to the next without
repeating any.

Figure 41: EXHIBITION AREA PLAN

E. MANCH: amphitheatre
•It is an open-air theatre next to gaon court
•It has a seating capacity of 200 people
•Used by artists for performance and entertainment.
•Stage is covered by lush green grass and brick paved steps.

30 | P a g e
F. ENAMEL CENTRE

The centre is run by Sanskriti in collaboration with the Enamellist Society of India. This
well-equipped Enamel Centre is set up for the purpose of promoting the art and craft
of metal enamelling amongst craftsmen, artists, hobbyists, professionals, etc. By
imparting training in the most up-to-date techniques the Enamel Centre is helping
reinvent the use of enamel.

G. CERAMIC CENTRE

• The Sanskriti - Delhi Blue Ceramic centre the only one of its kind in India - plays
host to diverse ceramic activities and interactions, both national and
international.
• The programs offered include residencies, classes, interactive workshops for
ceramicists, talks, slide shows, firings and demonstrations.

4.2.5 MATERIAL:
Material application the architect Upal Ghosh took his visual cues from rural
architecture but wanted the buildings to be practical and long lasting. He therefore
chose cement that was made to look like mud bricks with pyramidal terracotta tiled
roofs provides a design that could be replicated easily.

4.2.6 LANDSCAPE:
• Landscape supervised by landscape architect Mohammad Shaheer.
• The Kendra being spread over 3 hectares on the foothills of the Aravalli range,
landscape is thus recognized as focal to the scheme.
No activity that would disturb the basic character of the land was undertaken.
Landscape elements
• A judicious mix of formality and informality, both in plant and hard landscape.
• Geometric forms, pavements, paths and hedges intersperse the lawns, vans, and the
Nahar and the meandering parks.
• Approximately two thousand trees have been planted to predominate the complex.
• The rainwater drainage channel that runs down the centre, and existing clumps of
trees become the major structuring elements of the layout plan. The rainwater channel
has been converted into a linear water body (The Nahar). This starts from a semi-
circular pool fed by water attention pond, passed under a couple of foot bridges,
washes up the steps of Ghats on either sided, and ends at the Manch. Excess water

is run off through a by-pass drain.

31 | P a g e
4.3 DILLI HAAT, INA

Figure 42: DILLI HAAT-INA (VIEW)

4.3.1 INTRODUCTION
DILLI HAAT is a project of Delhi tourism and New Delhi municipal corporation. It
provides an ambience of a traditional village market for more contemporary needs. It
provides a synthesis of craft, food, and cultural activities.

4.3.2 SITE OVERVIEW

• DILLI HAAT is not just a market place; it has been visualized as a showpiece
of traditional Indian culture- a forum where rural life and folk art are brought
closer to an urban business.
• These shops change hands every 15 days and therefore provide opportunity
to the visitors with a different set of shops periodically and therefore motivates
them to keep revisiting again and again.
• It provides encouragement to need artists and serves as an outlet centre for
them.
• A small food court which brings a variety of cuisines of different states together.

Figure 43: LOCATION

32 | P a g e
Location - Kidwai Nagar, opposite INA market, NEW DELHI.
Date of completion- December, 1993
Client- Delhi tourism & municipal corporation of Delhi.
Architect- Pradeep Sachdeva, design associates, New Delhi.
Site area- 6 acres, approx. 100M x 300M
Built up area-3190 Sqm
Site Dim. -100 x 300 M
Ground coverage - 12%
Nearest bus stop-INA

4.3.3 SITE LAYOUT

Figure 44: LAYOUT

33 | P a g e
Figure 45: VIEWS OF VARIOUS SPACES OF DILLI HAAT-INA MARKED IN LAYOUT

A. SHOPS

• The craft shops, essentially a verandah like arcade, have different kinds of built-
in shelves to provide a variety of selling styles: off- counter, on the floor,
stepped display and so on.
• From the central spine first comes the open platform meant for temporary
shops these are provided with just constructing pillars and platform.
• For these shops roof is of wooden purlins with bamboo mat special stores have
been provided for temporary shops where craftsmen store their goods at night
trolleys for transporting goods to the stores have been provided shutters made
of bamboo mats are used for closing the shops at many places, the shops ae
placed in a row, while at many others they occur in form of clusters.
• This is due to towering eucalyptus trees that lined the site.

Figure 46: SHOP LAYOUT

B. FOOD PLAZA

• Food plaza is provided at the back, due to the requirement of hygiene & dust
proofing is furnished in Kota stone flooring and flat R.C.C. Roof.
• There are 52 food stalls in whole plaza, with each one specializing in the foods
of a particular state, thereby providing food from all states since lots of space
was required for having so many food stalls as small as 20-24 sqm.

34 | P a g e
 • Space is given to each food stall and open seating in front are created in levels.
Seating in front is both permanent and temporary.
• Small gardens have been created with seats arranged around them and the
restaurants are covered under sheds all the food stalls are simple brick
structures with flat R.C.C. Roofs and parapet walls are given a treatment of
brick jaali the front facade of different blocks are given different treatments in
form of traditional arts of their state.
• The counter is given a treatment of mosaic that depicts the culture of the state.

Figure 47: FOOD PLAZA PLAN

C. OPEN AIR THEATER:

• A small performing arts theatre ends the vista.

• Stage 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.
• 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

4.3.4 SPATIAL FORM ANALYSIS:

• The welcoming entrance plaza transforms into an oblong central plaza area.
• The plain flat area is dramatized by the use of steps and ramps in turn defining
the building more distinctively.

35 | P a g e
 • The shops are majorly rectangular in shape. This uniformity is altered by use
of curved pathways which bring about slow dynamic movement to the
otherwise fast linear movement.
• The shops are predominantly on ground level. They have shaded corridors.
• The permanent structures are majorly made of brick masonry except for some
food stalls and administrative areas which have stone masonry used.
• The use of exposed brick masonry walls contemplates the colourful traditional
environment and the Indianness of the space.
• Kota stone is used as benches for seating.

4.3.5 INFERENCES
• Green space is provided at relevant spaces.
• Consist of many negative spaces which are a place of dust collection.
• Unauthorised stalls have been setup.
• The spine concept is used very efficiently.
• Location of drinking water is not appropriate i.e., near to the washrooms.
• Every kitchen has its own gas and water supply.
• Every food stall has different style of seating and shade.
• The paved area seems monotonous which can be improved.

36 | P a g e
4.4 INDIA INTERNATIONAL CENTRE

Figure 48: INDIA INTERNATION CENTRE(VIEW)

4.4.1 INTRODUCTION
The India International Centre is a premier non-official organization in the capital
playing a unique cultural and intellectual role in the life of the citizens. It is among the
best convention centres. The Centre’s dedication to the values of liberal humanism is
best reflected in its activities and calendar of events. These cover a wide range, from
lectures, seminars, panel discussions, international and national conferences to a
variety of cultural events of music, cinema, performing and visual arts, both classical
and folk.

4.4.2 SITE OVERVIEW

This non-profit institution works for the cultural interaction between nations. It is a
meeting point & gossip gallery for foreign diplomats & Indian bureaucrats. The Centre
is non-official in its character and do not affiliate itself to any government, political,
economic or religious organization.

Location-The IIC is located on 4.6acre site of Lodhi road on the Maxmuller road. It is
located on the south side of the New Delhi.

37 | P a g e
Figure 49: LOCATION

Architect- J.A. Stein

Site area- 4.6 Acres

Built up area-8582Sq.m

Covered area-4400Sq.m

Construction-1960 – 1962.

4.4.3 CONCEPT
• The Centre was designed so that IIC and Lodhi garden could function as one
entity.
• The architectural scheme is characterized by the careful relation of indoor and
outdoor spaces.
• Entries are provided in such a manner to enter any section of the Centre
through outdoor spaces without disturbing the ongoing activities in others.

4.4.4 PLANNING
The surrounding north wing of services and the west wing of the guest –rooms have
been raised up on piers, bringing the Lodi tombs into framed view and creating a large
verandah beneath.
Passing through the portico, the visitor enters into the main courtyard and then into the
gardens of the, which the rear and the north of the sides of the site.
The first, or entrance court, provides access on the north side to the guest room
On the south to the auditorium and programmed block of library and offices.
Uniformity in design & architectural character.

38 | P a g e
Landscape merges with the LODI Garden.

4.4.5 CIRCULATION AND PARKING

CIRCULATION:

• The two vehicular entries are from the western side from the max muller Marg
• In south side entry from the compounds of the building and ford foundation
• Vehicular circulation is laid in such a manner that it does not cross any of the
open space or pedestrian path.

PARKING:
• Parking provided behind the main block (10-12 parking on the site)
• Entry to the hostel is not directly possible from the parking.

Figure 50: CIRCULATION PLAN

39 | P a g e
4.4.6 SITE LAYOUT

Figure 51: SITE PLAN

Figure 52: PLAN SHOWING ACTIVITIES WITHIN COMPLEX

40 | P a g e
A. AUDITORIUM
It has the seating capacity of 250 and Theatre style with 12 semi-circular rows
approached by two aisles with area of 300 sq.m and has the Hexagonal plan it is
surmounted by a dome in the shape of smaller inscribed hexagons

Figure 53: AUDITORIUM VIEW

B. GUEST ROOMS
38 Single Bedrooms-Area 16sq.m
28 Double Bedrooms-Area 36sq.m
It has been given a curved form which approaches, then recedes from the part
boundary, avoiding the expression of a long rigid arcade along the park.

Figure 54: HOSTEL BLOCK LOBBY AND GUEST ROOM VIEW

C. LOUNGE AND DINING

It has the Hexagonal plan and the lounge is slightly elevated above the adjoining
ground to obtain a better view into the centre garden and also to make it attractive. It
is surrounded and shaded by its own verandah, on which it freely opens the lounge
enjoys the feeling of its space extending far beyond its enclosing glass.

41 | P a g e
Different spaces and areas:

The dining hall has the capacity of 120 people with area of 180sqm.

Private dining space has the capacity of 45 people with the area of 70sqm

The lounge has the capacity of 90 people having an area of 108sqm.

Bar has the capacity of 40 people with the area of 48 sqm.

Kitchen has the area of 380sqm.

The conference hall 1 has the area of 92 sqm.

The conference hall 2 has the area of 50 sqm.

The Library is the rectangular block with area of 450sqm.

Figure 55: DINING HALL(VIEW)

OTHER SPACES IN ANNEXE:

It is four storey structure contains conference hall of 55 persons capacity, lecture

halls, art gallery and guest rooms.

Figure 56: CONFERENCE AND MEETING ROOM

42 | P a g e
4.4.7 LANDSCAPE

• India international centre is conceived as a design of interrelated interior &

shaded spaces, courtyards & gardens.
• Each courtyard or garden has its own unique function & aspect.
• The first entrance court provides access on the north side to the guestrooms
and on the south side to the auditorium.
• After processional entry one is met a welcoming portico of extended precast
vaults which bound the western edge of court.
• Passing through portico the visitor enters into main courtyard and then into the
gardens of the centre, which bound the rear and north sides of the site.
• The centre retains its own distinctive character of a green oasis amidst the
newer buildings in Lodhi estate. In the hurried pace of life, it imparts a sense of
leisure, with the buildings opening into outer and inner courtyards, lawns and
flowering trees and pools of still water.
• Landscaping has been done to enhance the ambience rock garden.
Central court is designed for dining in open areas
• Building landscape is merging with adjoining LODHI Gardens.

4.4.8 CLIMATE STUDY IN RELATION TO BUILDING OREINTATION:

Delhi lies in composite climate and various elements used in the building to reduce the
heat entering into the building are –
A. COURTYARD AND GARDENS

• The India international centre is conceived as design of interrelated interior and

shaded space courtyards and gardens.
• Each courtyard and garden at the IIC have a difference function and aspect.

B. BUILDING ENVIRONMENT
The centre retains its own distinctive character of a green oasis amidst the newer
buildings in Lodi estate. In the hurried pace of life, it imparts a sense of leisure, with
the buildings opening into outer and inner courtyards, lawns and flowering trees and
pools of still water.

43 | P a g e
Figure 57: WNDOW DETAIL

4.4.9 STRUCTURE:
• The concrete frame is filled in with various types of cladding (local stone, pre-
cast concrete panels), windows, and shading devices of various sizes, the
particular quality of the site.
• The final construction was highly economical, largely as a result of efficient
construction and use of simple exposed material which requires no additional
finishes.
• This combination of simple material and careful detailing has allowed the
building age gracefully.
Individually shaped elements (rough-cut stones for walls, cut stone flooring
pavers) and the modular elements (jalis, aluminium window sections) were all
made on the site and then carefully fitted into place.
• The structural work is finely detailed and is evident from the development of
auditorium roof dome and the coffered ceilings in the centre.

4.4.10 SUSTAINABILITY ANALYSIS:

A. ENERGY EFFICIENCY

• Solar shading devices are installed in the building to protect the building from
solar radiation.
• Rain water harvesting system on the site.
• Landscaped courtyard and water body increases the efficiency and aesthetic
of the site.

B. USE OF LOCAL BUILDING MATERIALS

• Brick jali throughout the building for the entry of cool air.

44 | P a g e
 • The construction methods and procedures employed in the building of the India
international centre were typical of the methods and skill levels available in
India at the time of construction (1958-62).
• The pre-casting of some of the elements on the ground was undertaken in order
to ensure high –quality construction, both in terms of structural integrity and
finish.
• The IIC is virtually a hand-made building.

Figure 58: JALI USED ON FAÇADE AND FOUNTAIN

4.4.11 INFERENCES

• Orientation of the building worked according to the Delhi weather usage of jails
on the facade as light breakers, gives it a monotonous look.
• The landscaping includes green areas as well as water bodies adjoining the
lounge and guest room.
• The historic and cultural heritage of the site kept in mind
• Vertical landscaping is also seen on the stair tower with creepers all over it,
• The jalis the orientation as well as materials used, keep the space cooled by
the use of water bodies as well as the experience at the space stimulates the
user.
• The whole façade consists of exposed materials which gives the building a very
rich look.
• Good relation is maintained between indoor and outdoor spaces.
• Use of courts and openings through the buildings to create a lively sequence
of visual experiences from approach to entry to exit.
• Planning done in three different wings with separate entries to each wing
without disturbing any wing.

45 | P a g e
4.5 TRIVENI KALA SANGAM

Figure 59: TRIVENI KALA SANGAM (VIEW)

4.5.1 INTRODUCTION
Triveni Kala Sangam is an important cultural and arts complex and education centre
in New Delhi.

Founded in 1950, by Sundari K. Shridharani, who was also its Founding Director.

Triveni, as it is commonly referred, contains four art galleries, a chamber theatre,

outdoor theatre, open air sculpture gallery, besides this it runs its various arts, music
and dance classes. It is situated on Tansen Marg, between Mandi House roundabout
and Bengali Market.

4.5.2 SITE OVERVIEW

Location: The centre is situated on a small plot of about one acre at Tansen Marg
near mandi house round about.
The other institutes that surround it are the Sangeet Bharati, sri Ram centre, Rabindra
Bhawan, Sapru house and the sri ram Bhartiya kalakendra.
Architect: Joseph Allen Stein
Site Area: 1 acre approx. (7000 sqft.)
LOCATION:

Figure 60:LOCATION

46 | P a g e
4.5.3 SPACE CHARACTERSTICS

• Enclosure achieved by surrounding the space with low height structure which
relate to human height.
• Focus has been made towards the stage & thus the user faces away from the
higher building.
• On the ground floor, there is one admin office and a reception room with
wooden walls.
• It also has an exhibition gallery named “SHRI DHARANI “.
• The pergolas & the green spaces and forms used together create informal
inviting space.

4.5.4 CONCEPT
• Perfectly synchronized interior & outdoor spaces having provision with the
clarity in functioning of each and every space.
• Large number of functions to be handled on a small site.
• A high degree of flexibility required for various functions.

4.5.5 PLANNING

• The centre is organized into a four-storey classroom block with a canteen &
shaded dining & terrace.
• A ground floor gallery back with a shaded roof terrace above to the west.
• Opposite the gallery is a covered stage opening onto an outdoor garden theatre
which is heart of the complex.
• The building was built as one of the pioneer cultural institutions for promoting
Indian ethos.
• The three storey extensions of 1977 to the North house’s additional classrooms
an indoor auditorium and instructor’s apartment and also create shaded
outdoor spaces for painting and sculpture classes.

4.5.6 CIRCULATION

Figure 61: CIRCULATION PLAN

47 | P a g e
4.5.7 SITE LAYOUT

Figure 62: LAYOUT (SHOWING VARIOUS ACTIVITIES WITHIN COMPLEX)

A. RECEPTION AND LOBBY AREA

• The main entrance to the building leads to a large rectangular space which acts
as the reception area.
• The wooden partitioned cubicle service as the reception office.
• Staircase opens into this area & connects various floors basements.
• The space is well lit and has good circulation within.
• A special framework of wood is attached on the roof, which has spotlight on it.

B. EXHIBITION GALLERY

It is located right next to main entrance. The gallery is curved and is supported on a
beam column structure. The displays are hung on wall a special framework of wood is
attached on the roof, which has spot light on it. Art Heritage Art heritage or exhibition
hall for visual art is located in basement floor. Space is well lit and has good circulation
are within.

48 | P a g e
Figure 63: EXHIBITIOB GALLERY

C. OAT (Open Air Theatre)

OAT is located between teaching corridor & art gallery. It has capacity of 250-300
people. It is overlooked by terrace on first floor. The service yard is placed at back of
stage. The dressing room, green rooms,
toilet etc lie behind stage.
The OAT forms heart of institute. It acts as a breathing space in otherwise tight
planning.

Figure 64: O.A.T

D. AUDITORIUM

• The entrance to auditorium is through an entrance lobby which is also served

as display cum exhibition space.
• The auditorium has seating of 150 people and has one entry and one exit point.
• The interior is done with wooden panels, the flooring is also wooden.
• There are only side aisles in auditorium.

49 | P a g e
 • The projector room is at rear end.
• Stage lights concealed in depth of coffer slabs.
• Coffered ceiling in expose concrete with a few acoustical panels, placed
randomly.
• Glass wool is used as a material behind wooden panels.
• For exclusion of external noise, ducts treated internally with sound absorbing
lining.
• Control room located behind audience seating has both sound & light
control.

Figure 65: AUDITORIUM VIEW

E. CLASSROOMS

• Vocal and instrumental classes take place on the second floor.

• Dance classes take place on the first floor.
• Classes can accommodate approx. 15 people in a class.
• Dance classes have mirrors on one side of the room.

Figure 66: MUSIC AND DANCE CLASSROOMS

50 | P a g e
F. CAFETERIA

Cafeteria is designed to have two separate seating one in covered area and one is
semi covered.

Figure 67: CAFETERIA (INSIDE

SEATING AREA)

G. TOILET

Toilets provided at the end of the

passage under the staircase.
Gents’ toilet- 4 urinals,2 W.C & 3
washbasins.

Figure 68: TOILET LAYOUT

H. SCULPTURE AREA
This area has photography studio, recording studio, Sculpture department, Control
room, etc.

Figure 69: SCULPTURE AREA (INCLUDES RECORDIBG STUDIO, PHOTOGRAPHY STUDIO,

CONTROL ROOM, AND SCULPTURE DEPARTMENT)

51 | P a g e
I. OFFICE
After entering the reception area there is an office just beside staircase.

Figure 70: OFFICE LAYOUT

J. RESIDENCES
Third floor has the apartments on both above classrooms as well in the building of the
auditorium.

Figure 71: RESIDENTIAL AREA VIEW

4.5.8 DESIGN ELEMENTS

• Extensive area of jaali and planting boxes are arranged into vertical gardens
are prominent elements.
• The jaali panel create a cool space of filtered light in the classroom buildings’
corridor.

Figure 72: JALI WORK ON FAÇADE AND PERGOLA ON TERRACE

52 | P a g e
TRIVENI KALA SANGAM was designed to be executed in 2 phases:
PHASE I – Music & Dance studios, OAT, Library, Cafe, Exhibition galleries & admin
area.
PHASE II – Auditorium for 150 people, painting & sculpture Workshop & residential
apartments.

Figure 73: SECTION OF PHASE ONE AND PHASE TWO

4.5.9 BUILDING MATERIALS

4.5.9.1 Finishes/surface articulation

• The colours of the façade are of light grey concrete and have grit finish on the
walls.
• The textures are rough and rugged.

53 | P a g e
 • Lack of bright colours is soothing as the abundant greenery adds brightness.
Concrete bands enhance the verticality of the curved walls of the gallery
precast concrete jaalis help in maintaining visual linkages.
4.5.9.2 Material
• The building is composed of a clad R.C.C framed structure with several infill
material.
• Indigenous jaali panels, concrete blocks.
• Plastered finish on most elevation,
• Rough cut stone facing on gallery facade, concrete planters and concrete clad
with Gray chips for the pergolas.

4.5.10 INFERENCES

• Despite of a tight program, a feeling of a spacious has been achieved by

incorporating the O.A.T as a multifunctional space.

• The parking is done along the roadside which creates a little traffic problem.

• The sculpture court provide opportunity to work in an open atmosphere.

• Large number of functions to be handled on a small site.

• All floor provide planter into exterior wall, creates good environment.

• The light and ventilation are taken care by providing window opening on whole

length of wall north side.

• A large green lawn enhances the landscaping.

• Separate entries for gallery, exhibition hall and cafe.

• Architecture features with plaster facade as well as planter into wall pedestrian

movement & vehicular movement is done along the periphery of site.

• Triveni Kala Sangam built on rectangular which is internally divided into various

functions.

• There is no parking space, vehicles have to parked main road & paring space
is not sufficient.
• The two heavy massed blocks rise up to 4 storey & are a response to tight
program within the tight site.
• 4 storeys building but not provided any lift.

54 | P a g e
CHAPTER 5 COMPARATIVE STUDY

Figure 74: COMPARATIVE ANALYSIS ON CERTAIN PARAMETERS

Figure 75: AREA COMPARATIVE ANALYSIS CHART(A)

55 | P a g e
Figure 76: AREA COMPARATIVE ANALYSIS CHART(B)

Figure 77: AREA COMPARATIVE ANALYSIS CHART(C)

Figure 78: AREA COMPARATIVE ANALYSIS CHART(D)

56 | P a g e
Figure 79: AREA COMPARATIVE ANALYSIS CHART(E)

Figure 80: AREA COMPARATIVE ANALYSIS CHART(F)

57 | P a g e
Figure 81: AREA COMPARATIVE ANALYSIS CHART(G)

Figure 82: AREA COMPARATIVE ANALYSIS CHART(H)

Figure 83: AREA COMPARATIVE ANALYSIS CHART(I)

58 | P a g e
ASPHALT PAVING GREY CONCRETE PAVERS
STONE
CONCRETE BROWN STONE CONCRETE TILES
PAVING
BERMUDA GRASS LIMESTONE GRANITE

TERRACOTTA TRAVERTINE
WATERBODY/FOUN
GRASS CONCRETE
TAIN
PAVING BLOCKS
RECREATIONAL SPACE BETWEEN MAIN BUILDING AND AUDITORIUM.

- PLUMERIA ALBA(FLOWERING TREE) ARE INTRODUCED WITH

SEATING FOR CHILDREN AND SCULPTURES OF MUSIC
INSTRUMENTS ARE PLACED.

- SEATINGS WITH TRELLIS TO PROVIDE SHADE DURING MORNING

TIME AND THE OUTDOOR SEATING ARE PLACED IN FRONT OF
THE RESTAURANT OF THE AUDITORIUM PROVING PEOPLE AN
OUTDOOR SPACE TO SIT AND ENJOY.

MAIN BUILDING CENTRAL COURTYARD

- THE CENTRAL COURTYARD IS BEEN PROVIDED WITH THE WATER
BODY WHICH HELPS IN CONTROLING MICRO CLIMATE
- IN COURTYARD TREES HAVE BEEN PROVIDED TO PROVIDE SHADE IN
MORNING TIME AND PEOPLE CAN SIT THERE UNDER THE SHADE OF
THE TREES.

OAT , SEATING SPACE AND OPEN

EXHIBITION AREA
-OAT HAS BEEN PROVIDED WITH THE
SHADE SO THAT PEOPLE CAN ENJOY
DIFFERENT PROGRAMS EVEN IN
SUMMERS.
- SEATINGS SPACES HAVE BEEN
PROVIDED USING EXISTING TREES
AND EVEN SOME FLOWERING
TREES HAVE BEEN
INCORPORATED SO THAT PEOPLE
CAN PRACTICE BEING NEA TO THE
NATURE.