(elle ia Nema ier tat} NEW DELHI eT aA ee beat ric} SOCIO-CULTURGL CENTRE Me Prem ates cts ans tae | ry eters: || fertile ground for cultural exchange and socialization. SYNOPS| The Socio- i is . ' cultural Centre in Dwarka aims to provide an active public space for the people in relation to social and cultural aa : ‘ : : pects of the society, by means of an architectural intervention. It would serve as a Cultural and Social organization that will encourage and coordinate activities in the state in the different cultural arts, etc. and promote through them the cultural unity of the country. Primary goals for the area program: fields such as music, drama, dance, literature, fine | Promoting arts and cultures of India and hence educating and propagating traditions and cultures. Conservation and rejuvenation of indigenous arts and skills by offering better opportunities for development of artisans, craftsmen and small scale industries Interactive skill learning workshops for students and people in the neighborhood. Serve as place for international cultural program. Hence this Cultural Centre can become a place for exchange of goods and services, a platform for folk artists to perform to larger metropolitan public, a leisure place fo: ity dwellers and artists to appreciate the culture and heritage of India and a ‘The primary concern of this thesis is to develop a successful public place where people of Dwarka can come and actively interact, with each other and also provide a platform for voicing social concerns. Hence design of the project is effected more by outdoor public spaces rather than internal spaces. With the help of successful case studies from India and abroad, many aspects have shaped the design of the project over the course of the semester. ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20n)INTRODUCTION | Great Public spaces are an extension of the community. When they work well, they serve as a stage for our public lives. If they function in their true Civic role, they can be the settings where celebrations are held, where | exchanges both social and economic take place, where friends run into each other, and where cultures mix. Possible examples may include such spaces as plazas, town squares, parks, marketplaces, public commons and malls, Public greens, piers, special areas within convention centers or grounds, sites within public buildings, lobbies, concourses, or public spaces within te buildings. When cities and neighborhoods have thriving public spaces, residents have strong sense of community; conversely, when such spaces are lacking, people may feel less connected to each other. When public spaces are successful [.] they will increase opportu participate in communal activity. This fellowship in the open nurtures the fe, which growth of pul stunted by the social isolation of ghettos and ARCHITECTURAL THESIS 3015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B.SWETA SUD! arn‘ultural Centres are one of the examples of interacting public spaces. cultural center is a gathering place where people meet to njoy or partake in cultural activities, often with a specific ultural designation belonging to a particular nationality or ‘egional culture. Activities may include speaking a particular language, watching or performing any of various arts, cooking and ating the cuisine of the designated culture, etc. Cultural centers can ’e neighborhood community arts organizations, private facilities, overnment-sponsored, or a 2, HYPOTHESIS Culture is imperative to the quality of our life. So the Governments ind NGOs are increasing funds for this and also the government has tarted designating areas for the building of socio-cultural fa SOCIO-CULTURAL CENTRE, DWARKA ‘ome together in a supportive context of mutual enjoyment. As these experiences are repeated, public spaces become vessels to -arry positive communal meanings. (CARR FRANCIS, RIVLIN and STONE, 1993, p. 344) a1 D.B. SWETA SUDHA ( /2393/20n)in the city. Hence many multi-purpose cultural complexes have come up in the recent years in cities. oday, Cultural complexes are one of the many solutions that provide the avenues for cultural activities for the present ions, Multi-purpose cultural complexes of general nature will foster and coordinate activities in the state in the differ , literature, fine arts, ete. and pr le students and researchers about the information regardi cultural fields such as music, drama, dan jote through them the cu ‘The complex can also serve to act like an institution to pro artists. It can grow up from being just a market place and its cultural heritage, cottage industries, rural artisans and \gand learni d. It can also have demonstration places where theses handicrafts to a level of cultural intermi artisans can voice their opinions and conditions to the city and the governance. artists to perform to larger anda Hence this Cultural Centre can become a place for goods and services, a platform for fo metropolitan public, a leisure place for city dwellers and artists to appreciate fe and heritage of North India fertile ground for cultural exchange and socialization. ARCHITECTURAL THESIS 20 )-CULTURAL CENTRE, DWARKATo provide a public place in the city of Dwarka that would serve as a consolidated point for residents of Dwarka and Delhi to interact, learn sk and be in touch with their culture without having to travel to other parts Delhi for these facilities, Dwarka is an upcoming planned neighborhood in the urban extension zones of Delhi. The neighborhood has been designed for a very dense population and would mainly include people from other parts of the country rap a. : who have come here for working in the IT companies located in Dwarka and - recreational activities. {i Centre here so that it provide skill (cultural) development, Provide recreational and interactional space where people can also ARCHITECTURAL THESIS 205-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETTA SUDHA (A/2393/20n) eenarm about other cultures. It would also act as venue for the major events taking place in the neighborhood. The site is well onnected by road to metro stations and IGI airport. Also it is connected to central Delhi via expressway. RESEARCH AREAS, he core areas that need to be researched in order to gain a better understanding of the context and design considerations nvolved have been ident Nays to create a lively ‘haracter of places Design considerations RCHITECTURAL THESIS 2015-2016 The quality of interaction between people and various activities. Study of transition spaces and understanding their role in an institution other than being circulatory spaces Auditorium, retail, restaurants, exhibit Library, classrooms, Explore design considerations for creating climatic responsive social facility SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20)CHAPTER- 2 | RESEARCH |2a. TO EXPLORE AND UNDERSTAND ANWAYS TO CREATE A LIVELY CHARACTER OF THE PLACE. Transition ~ an in between state, in Architecture defined as the connecting space between two confined spaces. Architectural spaces a incomplete without transition spaces. The inclusion of transitional and circulation spaces, in the form of corridors, draught lobbies, atriums and stairwells, is unavoidable in the design of most non-domestic buildings. The percentages of such areas may vary between 10 to 4o percent of the total volume in different building types. Transitional spaces are defined as spaces located in-between outdoor and indoor environments acting as both buffer space and physical link. Other than being functional as circulatory routes for the building, the designs of these spaces is considered very important by building designers for reasons of aesthetics, health and comfort, and as emergency exit route the event of fire. The importance of optimum energy consumption in transitional spaces is also important in non- ARCHITECTURAL THESIS 2015-2016 Ss) CHAPTER aa SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/201)4 an . lomestic buildings, as these spaces do not generate income, hence any wastage associated with higher energy cost is economically difficult to justify We transit so frequently that we are not even aware of the presence of that space. It is very interesting to know about it. We experience them from macro to micro levels Types of transition spaces: * Transition between two interior spaces * Transition between outside and interior spaces. © Transition between nature and building. Right from the prehistoric architecture there was an apparent evidence of the usage of transition spaces and transition elements as well. In Neolithic period, we can see F : 5 SOURCE the confined spaces for transition in the adjoining excavated dwelling at Skara Brae. SOURCE: http//shwetadeshmukhin 9] ciPrER ss ARCHITECTURAL THESIS 2015-2016 ‘SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200In Egyptian, Pre Columbian and Persian period these spaces were enriched due to utilitarian aspect and gota new dimension. Their functionality had increased due to timely requirements of the respective [aE = 4 user. Greek, Roman was the period when Architecture flourished at its best. It had contributed lots of inventions in terms of construction techniques, designing details. These spaces very used so intelligently that they acquired a new position in the design elements. SOURCE: hp/shwetaeshmah ‘SOURCE: bep//shwetadeshmukihin SOURCE: hutp/shwetadeshmukh.in| In Indian architecture, the very ancient civilizations like Mohanjodaro and Harappa were expertly constructed as an advanced civilization comparable to ancient Mesopotamia and cucen PR ra Egypt. If we study the city planning here, you will find a well thought planned city with the interplay of transition spaces. v0 | CHAPTER 24 ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20n)Indian temples are one of the best places to st temple plan we will arrive at the hierarch int Gopuram. Then we igh a colonnade acting transition happens when we enter in the temple through come to Sabhamandapa that is connected to Mandapa t as a transition space. Then the Antaralaya between the Mandapa and Garbhgriha stands as another ti space. Garbhgriha is again protected by Pradakshina jon space. There is hierarchy of transition spaces here, logical transition path one more required to enter in a god's abode. A person entering into a temple mentally gets prepared for his actual confrontation to almighty. He can't directly enter to Garbhagriha as he cannot achieve that level of devotion required to enter in a shrine. level, District level, Local level. The There is hierarchy of transition spaces in any urban plat ion spaces, gathering spaces, urban corridors, plazas standstill again entire road network is a transition mode. Then int nsition space at macro level spaces in their own way. Urban nodes can also be referred as t ss] CHAPTERS SOCIO-CULTURAL CENTRE, DWARKA, D.B. SETA SUDHA (A/aTransition spaces play a vital role in Environmental Behaviour. It is the study that covers relationship between human behaviour and properties of urban places, the study of the mutual interactions among people, social groups, culture and the physical environment at all scales from interior architecture to regional planning, with applications to improve the quality of life through improved environmental policy, planning and design: The one of the most important func ns of transition spaces is sustainability in building design. The accurate use of these spaces in a built form may increase its energy efficiency up to great extent. The design considerations should include this space as a constraint. When architects talk about orientation of the building, built form, site organization, topography, landscape then they should consider Transition SOURCE Ipsec Spaces as one of the aspects in building design. The peripheral corridors reduce the glare and solar radiation, resulting in cooling in the interior spaces. ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200)The connecting passage between two dwelling units creates a comfort level for the inhabitants, The provision of water bodies in a transition space invokes cool breezes giving out the cooling effect to the interiors. Courtyards have been a hot favourite for vernacular style. Even today courtyard planning is used in India, Being a transition space courtyards also act as a very ARCHITECTURAL. D.B. SWETA SUDHA (A/2393/200) HESIS 2015-2016If we compare building designs with wrapped around circulation space, with internal corridor, ith courtyard, with wrapped around circulation space with courtyard, we would find that the last design with external circulation space and courtyard is the most efficient design in terms of energy saving and benefits the most from the change in temperatul Design guidelines for all types of climate suggest the importance of transition spaces. For example, in warm and humid climate the building spacing should be such that the air flow is promoted Design elements contribute a lot to transition spaces. There are colonnades, aisles, courtyards, water bodies, openings doorways, pathways, grounds, _ patios, gardens, trellis, pergolas, foyers, lobbies etc If there is no defined space then confinement by some of the above elements itself make SOURCE tt the space functional and sensible. cuaereRss ARCHITECTURAL THESIS 2015-2016 ‘SOCIO-CULTURAL CENTRE, DWARKA. D.B. SWETA SUDHA (A/2393/200)Flexible Space Use of transitional spaces F | Scales of Transitions for different cultures Spaces in Transition oe | “Neutral Zone. Transitiona The use of transition between: external and internal open and closed dark and light ARCHITECTURAL THESIS 2015-2016 ‘SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20u)ENTRANCE LOBBY AND FOYER The lobby space type includes foyers, entries to halls, and security screening areas at or near the entrance to a building or demarcated space, and are meant to welcome and direct tenants and visitors, control access, and provide exit ways from buildings. This space type is often designed with both secure and non-secure areas. Building lobbies often serve as the "public face" of building interiors. Itis a repose area for spectators and place of venues, especially used before performance and during intermissions but also as a place of celebrations or festivities after performance. In lobbies it is common for there to be comfortable furniture, such as couches and lounge chairs, so that the customer will be able to wait in comfort. Also, there may be television sets, books, and/or magazines to help the customer pass time as they wait to be served. | corre ARCHITECTURAL THESIS 2015-2016 SOCIO-CUL:TURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20u)Usually a foyer is a large, specially designed hall, but sometimes, itis a | corridor surrounding the main hall. Itis furnished and big enough to enable spectators to stroll, get together and relax. Foyers are commonly adorned with art works, permanent or temporary exhibitions related to the activity of the \n, and a refreshment room or buffet. Moreover, the foyer can be the main place of some events such as vernissage, meetings with the artists, actors’ benefit, etc. ‘The character and function of a lobby space often influence a visitor's first impression upon entering a building. Key design concerns for this space type include balancing aesthetics, security, and | ‘operational considerations. | «Utilize appropriate finishes, furniture, signage, and art to reflect the public nature ofthe space. Equipment that must be installed in lobbies should be of a low profile variety and consolidated with other equipment to minimize bulk. | ‘© Acontrol desk and bag checking area should be located within the secure area. «Mechanical ductwork, piping and main electrical conduit runs should not extend from one area to the other. ions, visitor seating and exterior | «Larger security screening areas should be located in conjunction with art instal entrances. | + Adequate space should be set asid | resistant construction. © For lobby spaces at the exterior of a building, utilize daylighting to reduce electri * Design of lobby doors to street must account for egress from higher floors if sta | the outside. fe for queuing, If queuing will occur, the area should be enclosed in blast hting needs. (0 lobby, and not directly to D.B.SWETASUDHA [ARCHITECTURAL THESIS 2015-2016 __SOCIO-CULTURAL CENTRE, DWARKA‘* Consider air lock or vestibules at entrance doors to prevent loss of heating/cooling. Plazas and Courtyards A public plaza is a community amenity that serves a variely of users including building tenants and visitors and members of the public. This space type may function as pedestrian site arrival points, homes for public art, settings for recreation and relaxation, and inconspicuous security features for high profile buildings. Plazas are a beneficial feature of any lively streetscape. PETER SQUARE VATICANCITY Programmatically, plazas are strongly linked to the lobby space type. Both are “™wYSINrwietwhem a “public face" for a building that welcomes and orients visitors. The most important consideration in designing exterior plazas and public spaces is the future, potential use of those spaces. ae * Plazas should invite users to partake in programmed activities (eg. by PAL Bal providing seating, tables, and shade: lunchtime diners may be encouraged ‘Tye a to frequent a space), but should also be flexible enough to accommodate activities that users plan themselves (a shaded, grassy area could host a performance, an impromptu game of Frisbee, or solitary reading) * Grass and earth covered plazas must be well maintained in order to ensure compliant routes and ground surfaces. sa] CHAPTER ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SETA SUDIIA (A/a393/20u)+ However, masonry surfaces can be easily designed with compliant slopes that meet accessibility standards and properly direct rainwater. * Entrance plazas should have slopes of 1 percent minimum and 5 percent maximum to allow for proper rainwater run-off + Where paved areas are adjacent to buildings, provide slopes of 2 percent minimum away from the structure to a curb line, inlet, or drainage way to Provide positive drainage of surface water. * Utilize appropriate materials, furniture, signage, and art to reflect the public nature of the space. + Materials for outdoor amenities and furniture should be very durable and resistant to the elements and vandalism. ‘+ Moveable seating can be an important component in effective public plazas. ‘+ Where appropriate, perimeter wal and stair elements should be designed to provide comfortable height and depth for seating. source Enwikipedia org [ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA. DB.sw Ast1.2 SECONDARY ISSUES: SPACE TYPOLOGIES. A Cultural Center is a collection of multiple functional components and activities which gives the place a unique character. n and activities and gathering ging people together through art, crafts, trad The idea is to have a center for ‘Culture’, spaces. Therefore itis necessary to explore such activities and the functional components housing them. important to bring together the An understanding of the functional working of each ofthe various individual components variety of activities in a common shared space. * Theatre/ Auditorium socio-cu URAL CENTRE, DWARKA, D.B. SW ARCHITECTURAL THESIS,AUDITORIUM The Auditori 4 ‘uditorium space types are areas for large meetings, presentations, and performances. Auditorium space type facilities may include assembly halls, exhibit halls, auditoriums, and theatres. Auditorium space types may also include such TaN 1s 09 ton ton tos ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWE features as sound reinforcement systems, audio-visual systems and projection screens, food service facilities, proscenium stages with heights greater than 15m or fly gallery, orchestra pits, revolving or hydraulic stage platforms, flying balconies, movable seating, or billboard systems. SPACE A’ Auditorium spaces are designed to accommodate large audiences. As such, they tend to have wide spans and are multiple-stories high in order to accommodate seating, sightline, and acoustical requirements. Raised stage/dais floors and special lighting equipment are often required as wellSloped Floors: Sloped floors, with level terraces for each row of seating, help provide the proper sightlines from the audience to the stage. The bottom and intermediate rows should be directly accessible from entry levels to allow for physically challenged persons. Since spectators sit in gaps only every second row requires full sight elevation (12cm). + Fixed Seats: Typically, fixed seats with tilting upholstered seat and for back, integral arm and tablet arm are provided with articulated back maxi um occupant passage space between rows. The seats may be fully upholstered or wood contoured outer back and seat shells with wood armrests with tablet arm option and aisle light option at row ends. Wheelchair access option-removable seats in sections of two and accessible end chairs for mobility limited occupants should be provided. Dramatic lighting systems include front lighting, foot lighting, spot lights, follow spot lights, beam | + Special Lighting: ble lighting controls, and space fi lights, and flood lights, and a projection room/booth with manual and programmal ms should be flexible to accommodate various performance venues (€.g., the spot light operator space. Lighting syste lectures, plays, musical performances, etc.) in the Auditorium. 2] CHAPTER A SUDHA (A/2393/- ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B.SWEARCHITECTURAL THESIS 2015-2016 + Increased Cooling Capacity: Heating, ventilating, and air-conditioning (HVAC) systems for Auditorium spaces performance are sized and zoned to accommodate varying internal loads, which are a function of audience si ighting loads, and projection equipment. Particularly, air handling units (AHUs) with increased cooling capacity as. Also, should be zoned separately for the auditorium, lobby, projection spaces, stage areas, and audience seating are: the Auditorium typically has a separate AHU constant volume with modulated temperature control for ventilation. + Raised Floor: The recommended system for distribution of HVAC in auditorium spaces is ducted supply through auditorium and lobby. In other spaces, ducted ceiling supply with floor vents with ducted ceiling return air vent: return air ceiling plenum is recommended. There should be transfer ducts at all acoustically rated part ns. ‘SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2:+ Fire and Life Safety: Proper notification systems, lighting, and signage are required to fa evacuations during an emergency in the Auditorium spaces. Step lights recesse ecle 2 ren © Cotng shape snd sound retecion Oe ee and wall mounted low light level sconce lights along side walls are typical. Sprinklers should be provided per code | and under stage platforms to suppress fires. + Special Acoustical Design: Quality acoustical characteristics are important in Auditorium spaces so that performances and presentations can be clearly heard and understood. For performance spaces and general presentation spaces, recommended noise criteria (NC) rating ranges from NC-20 to NC-30; recommended sound transmission class (STC) rating ranges from STC 40 to STC 50. ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKARIUD ARCHITECTURAL THESIS Rectangular: Cross reflectors between parallel walls contribute to increase fullness of tones. Fan-shaped: © Bring the audience close to the sound source Permit the construction of balconies © Make good sight lines ‘The curved rear wall and curved balcony front enhance acoustical quality if treated. Horseshoe-shaped: © Traditional layout of opera house © Rings of boxes on top of each other, contribute efficiently to sound absorption, Producing a relatively shorter reverberation time suitable for rapid peerages of, opera but short for orchestral performance. Curvilinear : © Normally associated with a dome room of excessive height © Unless treated acoustically, may create chaos, long delayed reflections and sound concentrations. i i SOURCE: en.wikipedia org, SOCIO-CULTURAL CENTRE, DWARKA, D.B. SWETA SUDHA, (AJ: ae 2015-2016 393/201)| EXHIBITION HALLS | Amat gallery or exhibition hall i a building or space forthe exibition of ar, usually visual art, which includes, sculpture, decorative arts, furniture, | textiles, costume, drawings, artist’ books, photographs, and installation at are also regularly shown. Although primarily concemed with providing a space to show works | = of visual art, art galleries are sometimes used to host other Ea activities, such as performance art, music concerts, Shum en wikipedia.org or poetry readings. The main concems of art galleries are collecting, documenting, (pac preserving, researching, interpreting and exhibiting some form. ja | © ize taming nna of material evidence. So the collections of works are normally divided a) objects of study, and (b) objects for display. Exhibits should be displayed in a way which allows to view them without effort. for a variety of carefully selected, spacious in rooms of a suitable shape and in an interesting and logical sequence. + As far as possible, each group of pictures in an art gallery should have a separate room and each picture a wall to itself, which means small rooms. « Fora standing viewer, well-it pictures should be hung 10m away with the top not more 115-2016 SOCIO-CULTURAL CENTRE, DWARKA, D.B. SWETA SUDIIA (A/23¢than 4.9m above eye-level and the bottom about 70 cm below. + The best hanging po: n for smaller pictures is with the point of emphasis at eye level. Itis necessary to allow 3-5 m” hanging surface per picture, 6—10 m? ground surface per sculpture, and 1m? per cabinet space per 400 coins. * Inart galleries there is generally no continuous circular route, just separate wings. * Side rooms for packing, dispatch, administration, a slide hmmm" "section, conservation workshops and lecture theatres are required. @ Pett vn mate nes There should also be spaces for relaxation and refreshments, as well as space for transport and storage. @ Painciog store with sing steel mesh frames on which Dlctures can be hung ax desired and bo available Yor study SOURCE: NEUFERT EDITION ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2392.1.2 TERTIARY ISSUES: DESIGN CONSIDERATIONS ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200)BEST POSSIBLE ORIENTATION OF TYPICAL EXISTING PLANFORMS +o a1yY | ORIENT BUILDING LONG FACES ALONG N-S |N'S orfentation can be used in creative ways to | generate o variety of uit and open spaces. ee ~ ae ] Le | | | ead | | Ey | azz_| | encsneneer | NS ease ps eks bomen ” Untaveroie otentationoffand,|_——— Joo 245 PLANFORMS ‘OURCE: INTEGRATED GREEN DESIGN booklet, CPWO. ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA. ‘The composite zone covers the central part of India. Dwarka experiences this type of climate. The intensity of solar radiation is very high in summer with diffuse radiation amounting to a small fraction of the total. The maximum daytime temperature in summers is in the range of 32 ~ 43 °C, and night time values are from 27 to 32°C. In winter, the values are between 10 to 25 °C during the day and 4 to 10 °C at night. This region receives ‘strong winds during monsoons from the south-east and dry cold winds from the north-east. In summer, the winds are hot and dusty. The sky is overcast and dull in the monsoon, clear in winter and frequently hazy in summer. Generally, composite regions ‘experience higher humidity levels during monsoons than hot and dry zones. Thus, the design criteria are more or less the same as for hot and dry climate except that maximizing cross ventilation is desirable in the monsoon period. In the hot - dry climate a smaller perimeter-to-area ratio (P/A) would result in less area exposed to radiation and lesser conduction heat gains. 29 | CHAPTER ss D.B. SWETA SUDHA (A/2393/200)ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200)BUILDING TYPOLOGY * Courtyards are important for daylight & ventilation and tas lta ticance too + Ventilation in hot dry climate is useful Thus the courtyard should + be proportioned to be mostly shaded, and / or + contain cooling element trees, soft paving and water bodies if water is an if the air is cool. Courtyard — omens) i in the hot-dry ty is low in this zone. But water Water bodies autide orin courtyard for cooling the o*. Water bodes should be thoded to minimize evaporation onze: ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA COURTYARD EFFECT IN TRADITIONAL SETTLEMENTS: Shadedsteet Party shaded courtyard Variable sizes create temperatur: differential & can induce cross ventilation Possible strategies include: « Cooling the courtyard by shading (H/W ratio nearing 1:1). + Shading by verandahs / covered passages or by vegetation IAPTER 28 D.B. SWETA SUDH. 5/2011 OPENINGS Sth DING tnt buling design sratogy fy Shading of openin al CHAPTER ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20u):ACADES: : gen Fa ovide alternatively with solar louvers Ren wall ide where semi- covered spaces for south Be created thus reducing the need to air jon a these areas using active mechanical HVAC ion fond penefis al air-purification + Natpetical value : + Aeslige urban heat island effect and shield . Rete from rain and thermal fluctuations, uildin «acoustics SOLAR SHADING LOUVER SYSTEMS Solar shading louver systems are one of the most effective ways to reduce air conditioning loads, while offering designers the Opportunity for distinctive architectural impact. Radiation from the sun is reflected by the eee Ca transmitted, absorbed and e louvers. As a result solar heat gain is Prevented from Passing into the building, If an qDetable system is chosen, the adjustable louver s will track the position of the e sun increasing the systems shading effectiveness and further reducing glare. On overcast days, the operable louvers can be opened to maximize the natural daylight into the building. In this project the louvers on south fagade will have solar Panels attached to them and will generate electricity. hap fawn omni-ecosystems.com SOURCE hip ormi-ecasy ARCHITECTURAL THESIS 2015-20 prowrtenas | 1O-CULTURAL CENTRE, DWARKA D.B.SWETA SUDHA (Al2393/20n)ss to bulging should be eas ound and accessed and be a welcoming feature on "pace should be designed between the building approach and indoor Should include materials that relate tothe materials sed "exterior walls, This space should also provide some protection from RUBS jects should strive to create coh ‘of Some trees and addition nice needs, the campus encourages the use of plants that do not D-CULTURAL CENTRE, DWARKA D.B.SWETA SUDIHA (A/2393/20u)ARCHITECTURAL THESIS 2015-2016, friendly & comfortable t Spaces i would want to create in the cultural center, and how to treat them to make it environment fo be in, )-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20n) 35) CHAPTERCHAPTER- 2.2 | CASE STUDIES ULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2: {CHITECTURAL THESIS‘ ITA’ eee 2 iypIAN HABITAT CENTRE (1HC), Lop, HITROAD, NEW DELHI mic an ivities, Dramas, plays organized atthe centre. There is falland party lawn and also a - Basically, it is open for public use fee Habitat Centre would be home not 2) thse fies and research organizations putin order to facilit eraction, the centre provides tonference VENUES © ints and performance venues for vl ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA, D.B. SWETA SUDHA (A/2393/20)entre iS organized as a series of four to seven storey blocks around : nuns ade courtyards. ‘The built forms are grouped around climate pol ts, shaded by overhead sunscreens and are enlivened by vertical cl echas ave well planned segregation of spaces, Al] blocks /areas, vecet fed to experience a large and regular inflow of public have wit od very close to the entrances; the office areas being given the access pen ide of the courtyards. Although the public and the semi-public a teen placed in separate built blocks, the courts and the landseape as eo forma very good connection between the two. The landscape forms a sas stegral part of the design and seems to be a part of the builtscape, vey {TURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B, SWETA SUDHA (A/2393 nt) a!an NING & IMPORTANT FEATURES a : ff sexis accessed from al sides the major pedestrian Sia e 9 i Road on the north, fo jois on Lodi road are handed overt offices. onthe top and yo bl en for public facilities on the ground floor, a nd toek onthe south, houses common facilities like a conference the rium, library and a guest house, lh pots ool alarge audito ements house a the parking and Services extend under the entire block, Restaurants and exhibition spaces on the oor open out into the courts, with the courts also being used for the public exhibitions au ARCHITECTURAL CHARACTERISTICS up BRIDGES spebslngs are grouped around semi-covered courts and linked atthe sth and 6th for yreland above by bridges to form huge gateways for entrance into various zones/ courts. ‘these multievel bridges provide office spaces as well as links between various bi Tc and complete the character of the enclosed courts. source: /www:indiahabitat. org! ‘the brdges form framed views and wl TURAL CENTRE, DWARKA .B, SWETA SUDHA (A/2393/200) ARCHITECTURAL THESIS 2015-2016popes : ofopen to sky, shaded canopies over the em ae ‘arge Paved courts, Provide relief from tropical sun with fixed shade elements, devised to shade the courtyards in Summer, and the let in the sun in the winter. 1.6x1.4m in size are anchored at the pvc termined angles within this framework to Provide shadi ede oe x eflectors are installed above the building to provide shade and prevent sun from . ther ng into the building. The reflectors are aligned at a i = in angle which reflect back me ifthe sunlight and change their angle during winter ing element. Source: http:| /trulab.orgy Sunlight to fall on the windows. 6siGN F ght ofthe building is around 30m high. The entire facade ig : cladded with red bricks which give a majestic look to the tet Vera and Horizontal ibbon windows hve heen wed with a special glass that ycture. ° asthe entry of sunlight, wt jum of the structure is beautifully designed with various landscape features such tri a . Pa tures, green areas in the centres resulting in the formation of a roundabout in the ee The atrium is rectangular in shape and is divided into three parts. The middle one atrium. FIGURE 2.58 CENTRAL ATRIUM {open whereas theres landscaped roundabout formation on its either sides, Source: http wor indahabitat org! isleft o +0 " {CHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA ARK D.B. SWETA SUDHA (A/2393/20n)apING eee ee sc" styard has been designed to impart a distinet J al courty identity to the can be anticipated. dis conduc 1d by paving patterns in different materials, the achieve ive to the type of functions or activities that civ Use of water, a wy pater POM oto rovided to cut the rigidity of harsh materials, sare pI : is designed as a series of terraces ilding, too, is the buil dens. converted into roof Ba el ptt » Which have been D.B. SWETA SUDHA (A/2393/200)Se mee Ficure 2, SOURCE mINkETCH OF IKK COMPLEX Pee aehinamy on Correa’s plan for the Kendra pr: Co! ce riginal CONT rectly the origi ink ne house Mandala. One snare is pivoted to recall the ofthe a the and also to create vi La of Jaipur city based ef eae Yantra in which one : onthe displaced and two central =e 4s square is displ ‘The squares is = bined. : sa by m high wall, symbolic of the jm , sym shrfalkendra rajasthan gy. 2393/20) 16 SOCIO-CULTURAL CENTRE, DWARKA D.B.SWETA SUDHA (A/2393) JRAL THESIS 2015-201 ARCHTTECTUIgondea sam ants and eras conte Ioeato in he Ki i F ve put its lose association with the ty of Jaipur i ru ' ‘The centre wa, as builtin the ye he ed in 1991. The centre was launch e year 1986 and the completed in 1991 : Need by the tae goverment on indi and display the rich erat hetitage, 0 provide space to the cultu | ales pal atre for the city of Jaipur, is ded cated to the memo cel i ural pen field near the university in TY of India's ied in an Sreat leader Jawah Part ofthe city, formed in Correa's mind anew analogue of the original city plan of 5 ‘ipur raja, a scholar, mathematician and astronomer, J re mig-r7th century. His ety plan, guided bythe ship ancient Vedic mandala of nine squares or houses which Tepresent the the at cluding two imaginary ones Ketu and Rahu), Due to the presence ne panels a squares was transposed to the east and two of the squares were an for the Kendra invokes directly the original navagraha or plan dala. One of the squares is pivoted to recall the or iginal city plan ® mate the entrance. The plan of Jaipur city based on the vue square is e ce ‘Te Plano pur city isbasedon in square yntra in hone square is displaced and two central squares combined, LUT irebipeeplanantip copay ear aap , symbolic of all along th drawn up Singh the a Shastras, was g, int of cortea's sine bows and also 10 wt ant combined ld city GURE 2.65 CONCEPT FOR PLANNING SOURCE: pe arcinomycom/case studies ‘TRE, DW, STA SUDHA (A/2393/20u) JO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393 (TECTURAL THESIS 2015-2016 ance“GRID TRON PLANNING “CENTRAL CouRTYARD “INWARD LOOKING, “2 MAQOR axis N ON studies ean comleases a (A/2393/201) D.B.SWETA SUDIKA ( SOCIO-CULTURAL CENTRE, DWARKA 2016 cI {URAL THESIS 2015; AgCAITECTa ic ace pet 2 ope! evel sities ce he ate 1 but sta hasan am gir thea sat the time 0! jrwalls Wi within U hap a contemporary me ss flow as * en makes the place unusable duy wh spitect in his attempt t ficially. superti inable nazing interplay of light, shai urs, a narrative and changes the moods ofthe usp tre is only good to look at, owd. ‘th no fenestration in the Gade makes the bu he building the activities are disintegrated but ening individually. CULTURAL CENTRE, DWARKA. ‘hitecture Ji ‘Alpur has evoki ding enclosed combine to a hete nti and it does not open up rogent ixture of D.B. SWETA SUDHA (A/2393/200) ued covered the city us cultupaRKING: Basement ES; Cultural, Civic & Retail CONCEPT: The concept design is driven py the desire to blur the boundaries yetween retail and cultural zones and indoor and outdoor spaces with flowing al transitions that encourage discovery and deliver an energetic civic node serving one-north and beyond. The unique design of the building aims to harmoniously blend technology and nature, steel and foliage, and at the same ime, seamlessly blend the two zones, ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20) wlARCHITECTURAL THESIS 2015-2016 CIO-CULTURAL CENTRE, DWARKA, DR SWEtA SoA A)CONCEPT ‘The design for the 24,000 sq.m. retail space Tesponds to the ch: allenging site topography as the zone spirals inwards addressing the ‘major entry points and culminates in an open amphitheatre, Above, a 4om high grand foyer = ¢Teates a visual and spatial connection between the retail, civie and cultural zones. It = also provides a canopy under which the Public can experience outdoor entertainment and al-fresco dining while protected from the elements. The focus of the cultural zone CIVICR CULTURAL CENTRE xe of its kind in Singapore capable of sta; stven sing amplified musicals, iogest™ and other large scale visual events. Ce esupported with administration, artist and techn vente 188 spore ical support, s, foyers, concessions and circulation spaces making up the son spaces, foy function the 30,000 sq.m. cultural and civic program. inder of a to peleels of the Civic and Cultural Zone will complement the range of Tesi ee venues currently available in Singapore, This newlang yok performing lex is poised to become the venue of choice for touring concert a as Se shows, family entertai potions, porate and community events. corporate a ment and attractions as well as NAL VIEW OF SING! wee arch com L THESIS 2015-2016 CULTURAL CENTRE, DWARKA D.B, SWETA SUDHA (A/2393/200) ARCHITECTURAI 5-2ned up to ner workings of the facility as a ‘visible section’ ‘The mass of the theatre floating above is faceted with glass fissures, and SOURCE: ARCHITECTURAL THESIS 2015-2016 CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20u1)TEU OV ay Cony t Centre of the city, Residential area at Adjacent to Schoo! Gandhi Nagar near ther cultural centres in Smriti van vicinity Created micro-climate using Insignificant sun screen over the large courtyards, environment friendly construction material Vertical: multiple service cores A Pre-defined, restridts Jeading to upper floors flexibility, pedestri basement and Se Tee es Varying heights Monotonous 5 Tage courtyards & plazas in| Laie cential Ona proportions with Bui amphitheatre with freed Heights, Gardens distributed fragments, Responded to a Adjusted according, to the concept Built-open-built: open: SeeRTeM 4 floor high grand pe large courtyards plaza and gardens build through fo ‘Small courts, water body ECTURAL THESIS 2015, |O-CULTURAL CENTRE, DWA\ Serra Tara CULTURAL CENTRE oa DWARKA Residentially dominant area. Centre of the city, “uneven topography, surrounded by residential are Shaded by aud on top, facades uses Specially double skin for fac Ventilation and lighting vertical louvers Multiple Vahicular'and!) Vehicatar access mite Pedestrian entries at to periphery, Pedestrian, different levels movement on the inside. monotonous Varying, Enclosed and covered) | Enclosed 6pen \ Central grand foyer courtyards Open on south facade. Responded To respond 4om grand central Serie of built semi= foyer linked to covered and open balconies on various spaces floors D.B. SWETA SUDHA (A)CHAPTER- 3 READING OF THE PROGRAMMEpapules robo mes ral a efor a (0 IGI airport. very neat iat : theme of Fe of the center ‘would essentially 1B ARCHITECTURAL THESIS 2015-2016 their cultural needs are very less and mostly located to ; *entfed some sites fr culty H hubs of which major are lo. nt veloping in terms of infrastructure and eare hasbeen a esi the zonal plans of this urban extension area, Apo a cultural hub in Dwarka sector-11, The main objective ies in the atea and also to be used for international he Centre has been conceived to revolve around “eultural an e ated in Dwvarka, east Delhi and Ken to incorporate sufficient of 10 aeres of land has been Of it isto provide fora large cultural fests as i is bean educative and participative experience forthe vistors, by showeasing TURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200) demonstrating art,afi’ PROGRAM: «oo scriviTY PROGR! ARCHITECTURAL THESIS 2015-2016 ERCIAL CENTER THAT PROM | EXCHANGE, CENTRE FOR VISUAL ART] = |_-RCESSION AND CATALOGUING 30 a | [pITING K MAINTENANCE ROOM aa 2 | _—§TORE (OLD & NEW) a0 =. a2 | rome 15 SQM/PERSON [a 15 | SECRETARY 10 SQM/PERSON [i 5 | “TOILETS a | | TANGUAGE MUSIC, ART AND \ PERFORMING ARTS LEARNING RECEPTION: a ; & STUDIOS 75SQM/ROOM [30 Tagoo | FACULTY LOUNGE z 7 | MICHTTECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/23: ‘7 |CHAPTER 3| \ L { f 4 | (7 RESTAURANTS s [no eo \ \ NITCHEN, PANTRIES AND STOR | [ [S00 \ \ ~_(TorLets Wr [38 \7 (198 \ \ as | I | \ ra L | [SHOPS [ze (7__ [seo | 5 sianrne, | ‘SSCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/201) \ \—aa PANTRY [xe eae {nformation, transport | { t \ (oe jrravel/stay logistics, bank counters and See: i prayer rooms, currency exchange, care and play pen, first aid and medical storage, laundry, saloon, | b gene : eupment hiring ete « | Services | I —— Transformer, Electrical room & gencvator | 1 Tisb0 _—iehanieal Services: pump Foom, water Y a | | sorage, waste water treatment, emergeney | \ , |fre fighting with Jockey pump ete. | | TURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA DB. SWETA SUDHA (A/2393/20) cprtia{oti Tor walls, toilets, pantries, teas i8 0 sing machines, lobbies and coffee ver sion systems, janitor cupboard and jroulal roth emegency exits, Server rooms, switch sore jectrical and mechanical support owas GROUND COVERAGE: st0LE HEIGHT: aon ‘ % gcc ATION AREA: ac a 40800 SQ.M. =4.08 Hectares | 1 Ak SOCIO-CULTURAL CENTRE, DWARKA 60 CHAPTER 3 D.B. SWETA SUDHA (A/2393/20n)nt VEoKwy KRUUKAMME ARE: . FROM HE UU Vy y pawn ee opostl, the project should meet Green Building Standan the P! PF gt” - ‘ds by LEED certification. Hence measures such as climatic yo puilding skin design, energy harvesting from solar and ensures cs other renewable sources avilable on site, rain water harvesting, ei dered from beginning of design process, ot abe ‘ i a gould foe electrical safety standards are important to consider due to presence of high tension pole and wires across the site. ose sof the area programme have different densities of footfall and hence components of higher footfall can be placed on lower is — easy accessibility and vice versa, ‘ wit goo" areas form an important component of programme and hence they should be Properly designed with shadings, seating and joe a ‘ mee savenience facilities. het gies requires high serviceable areas, hence buildings should be placed near Periphery where roads and service roads can be te ast me wenience facilities should be located throughout the site, « tele 1 emporny stals should be provided for major components of the proj entrance lobby areas ipo le project, 4 Separate for selling wares can be placed neat all public open spaces, {60 |CHAPTER3 ACATECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA. D.B. SWETA SUDHA (A/2393/20n)CHAPTER- 4 PROJECT SITEi pcr site {India is the way of living of the people of languages, religions, dance, music, re, food, and customs differ from place to ane the country. The Indian culture, often a ‘an amalgamation of several cultures, spans the Indian subcontinent and has been influenced wa «gory that is several millennia old. Many we ats of India’s diverse cultures, such as Indian Fees Indian philosophy and Indian cuisine, have hada found impact across the world, re 0 me pus the capital of India has attracted many people from sips ofthe India to make a living here, Many industries jadi companies are still coming up in the NCR region ic. As they tend to find homes stating even more pe syartheir places of work >d better living standard, sub- dees like Dwarka, Narel~ Noida, ete. are becoming main. preferences. ‘These sub-cities are bein: , developed as planned settlements. ARCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKAsh panned neighbourhood with robust infrastructure and several 1 tuactions for its residents are planned and in dev ipcoming urban amenitic loping process. ‘he sub-ity is Tocated in South-West Delhi in the vicinity of Gurgaon and international airport. tis bounded by NH-8, Outer Ring Road, Najafgarh. Road, Pankha Road, and the Rewari rail + West End, Uttam Nagar, Vasant Kunj, Vikas Puri , Najafgath, Bijwasan, Palam vihar, Vasont Vihar, ‘Janakpuri residential areas and Delhi cantonment are the other major surrounding areas in west/south west Delhi, + Dwarkais. argest residential suburb in Asia, with a total of 1718 residential claves, and a net population of 1,100,000. + The sub-. sy provides housing for about 500,000 families, DDA has imp’. mented the ‘unique concept of Mixed Land Use (MLU) in Dwarka. Most of the ! DA housing clusters in proximity. varka have commer buildings in close a many sectors, approximately 80% of a plot is used for residential flats ARCHITECTURAL THESIS 2015-2016 socic RAL CENTRE, DWARKA a =— ee fe mmmercial purpose. This unique MLt ee 9g for commerci ian U concept provides lot nvenie ye 2% shopving, ining and purchasing grocery in close pro mit 's of convenience tothe occupants of Dwatka DDA flats a they lity , fi ha. a 8048 1964 ha. gpoit up 4688 ha. i \ ee project is planned with 29 sectors, \ pa center and other major parts of the city by MTS. There are a total of 8 metro stations in Dwarka. + Connected to Indira Gandhi Internatio Airport Terminal g via Sector 21 Station interchange with the Airport Express Line. + The sub city is now connected through metro rail to Noida (UP) and Anand Vihar. + The sub cit connected to the mother city by 4 major roads from all directions. + Ifentering from the north, a 45 metre wide road connectin; i Pankha Road partly by covering Palam drain. Work was completed and the in 2007. ‘rom the west, a 60 metre wide road connecting Najafgarh Road is constructed. ol RCHITECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/20n)ee soa cast, a. 45 metre wide road through Cantonment area witha fly-over near Palam. The fly over and road were opened ‘i pblicim rom the 50 Jine known as the Delhi Airport Metro Express connects Dwarka to the Indira Gandhi International Airport. 2006. utheast, a 60 metre wide road from NH-8 (with a rail underpass). The road was already constructed. gymettO al ais expected to be connected to Gurgaon by metro in the near future due to its close proximity to the NCR town. pat «temperature Pet month Average days with precipitation per month en ee @lewarie SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETA SUDHA (A/2393/200) — ee+ Dwarka has a robust and well connected road network + Ithas DWARKA SECTOR 1 METRO STATION at 1.2 km from the site. + The sub city will be connected to the ‘mother city by 4 major roads from all directions + Access road to the site is Road no. 221. + Ithas two bus stops but the frequency of buses is very low and mainly for school hours only. PEDESTRIAN PATH + The site has compact high tise residential area in ir —_venicutar par) the precinct area, RESIDENTIAL ARE + Ithas around three schools and one Institute Of Management in this sector. @ Eamonn + Thereis a drainage Nala running in the northwest of the region, * There is a DWARKA SPORTS COMPLEX on the north and a DDA market opposite to complex. B COMMERCIAL A's G@ICWAPTER 4 ARCHITECTURAL THESIS 2015-2016 _ SOCIO-CULTURAL CENTRE, DWARKA DB. SWETA SUDHA (A/2393/200)‘VIEW OF OWARKA spoRTS COMPU EX FROM {AND WITHLNO SIGNICANT St KEYPLANOF CONTEXT MIG RISE RESEDENTIAL AREA IN THE PRECINCT INTERNATIONAL CENTRE IS AN EVENT HALL WITH. [RENTABLE CLASSROOM SPACES, a OHTECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA, D.B.SWETA SUDHA (A/2393/200)ae cts DRAWN FROM THE SITE ANALYSis aRr; is served by two adjacent 45 m stesite of way toads, all entries and exits are to be connected to these. * imate control interventions need to be incorporated, i" sits in a mixed use zone, Th th rhe pedestrian drop-off high, so there need to be proper place for auto-rie ‘The high tension wires pass through the site rendering a part of st ‘buildable, pedestrian axis through and also to provide direct lestrians. route from pedestrian entry to sports complex for ped dable area is irregular. oy D.B. SWETA SUDHA (A/2393/20n) ACHITECTURAL THESIS 20153CHAPTER- 5 ANALYSIS OF THE SITE CHITECTURA! HESIS 2015-2016 SOCIO-CULTU J, DWARKA, D.B. SWETA SUDHA (A/2393/20n) =panes aN ROT, se Sse 8 Sle” TiePOSTS rect SOCIOCULTURAL CENTRE, DWARKA D.B.SWETA SUDHA (A/2393/200)‘SORTILWEST VIEW OF CENTRAL PLAZA FROM OPEN GROUND AND PARKING SPACE HA (A/ap00 10-CULTURAL CENTRE, DWARKA, D&. SWETASUDI soct‘SOCIO-CULTURAL CENTRE, DWARKA DB SWETA SUDHA (Al3393/200)Ire variances caus helps in cooting, f direction created by the central enclosed pany, sense of stron wind sed by building form ite, Aso the placement of water body in the site. wind! ‘Which keeps the movement of of the plaza, nerating ideas should be Mcorporated into the Program, More Revente the building but user vehicles should also reson all buildings without having to walk. ices reacl services r' Enough v1 HHA (Al2393/ ‘SOCIO-CULTURAL CENTRE, DWARKA D.B. SWETASUDHA.\ Transition Spaces. (Blog) INFINITY ARCHITECTURE. shwetadeshmulkh.in/ 2009/10 /1.4/transition- Marae), \ MBAR, Mlaza. tn: Whol of Urban Divers: alana : Woodrow Wilton Con ling Design Guide. Washingron, DC: \ 2006. Cultural fw Debi. [Blog] Archinomy, mae ew azchinomy.cOm[case-ssdiesayfindg hen -E tNeut cessed 24 April 203 \ "anning For Urban Development And Creative Brookes Uni ir, India [Blog] Archinomy. Pitts, A, Saleh, 1b. Po ees ase-st i : ce, Con) ©. &Sharpes,§., 2008, Paper No: 55, Building aa Man aan et BErTnwabas al. Sones, Cnet and Eregy Use Dada nea lege Dub sed 24 Mar. 20x : aa i Sats FoF Spaces (ao), What a Placemaking {Blog| Project for Pub ks Department, 305. Integrated Green Design for bang Speca ‘Available at: pl Iwewpps.orgireferencel what is, placemaking! et Delhi: DG, CPWD. Westied a Fess Lobby. In: Whole Building Design Guide, Was 2010. so hingto Project mn, DC: Project for Public Spaces (2009). What Makes a Successful Place [Blog] Building Sciences. for Public Spaces. Available. atchttpr/ wwnw pps org)referencelgxplacefeat! = (Accessed 2a Feb, 2016), ment Plan for Zone Kell Whole Building Gu ent Authority, 2080. The Zonal Develop ioe Del : Delhi Development Authority. be Design Guide, 2009. Auditorium. In: Whole Building Design de. Washington, DC; National Institute of Building Sciences. QHTECTURAL THESIS 2015-2016 SOCIO-CULTURAL CENTRE, DWARKA DB. SWETA SUDHA (Al2393/20u)