Sanskriti Kala k Case Study

Case studies

1. Sanskriti kala kendra, anandgram, new Delhi

2. Kala kuteer , garhi, new delhi 3. Global arts village, tropical drive, new delhi

Global arts village , MOHALI

Table of contents a. Sanskriti Kendra, anandgram, new Delhi 1. 2. 3. 4. 5. 6. 7. 8.

Introduction Location layout access zoning circulation landscape Exhibition spaces • Museum of Indian terracotta • Indian textile • Everyday art 9. haveli ( owner‟s residence) 10. baithak ( administrative block) 11. gaon ( village complex) 12. manch ( amphitheatre) 13. studios 14. materials 15. analysis 16. inference B. Kala kuteer, garhi, new delhi 1. 2. 3. 4. 5.

Introduction Location Concept Layout circulation Global arts village , MOHALI

Table of contents 6. Geometry 7. Studios 8. Picture gallery 9. Analysis 10. Inference c. Global arts village, tropical drive, new delhi 1. 2. 3. 4. 5. 6. 7.

introduction Location Layout Site plan infrastructures/facilities grounds studios • Shared studio • Sculpture studio • 2d studio 8. common building 9. performance space / meditation hall 10. yoga hall 11. Accommodation • Standard rooms • Duplex rooms • Administrative staff quarters 12. owner‟s residence 13. Material used 14. Analysis 15. inference Global arts village , MOHALI

Sanskriti kala kendra, anandgram, new delhi


SANSKRITI KALA KENDRA : anandgram ,NEW DELHI ARCHITECT – UPPAL GHOSH

LANDSCAPE ARCHITECT- MOHAMMED SHAHEER CONCEPT : SANSKRITI KENDRA IS A CULTURAL CENTRE WITH A DIFFERENCE – IT IS A PLACE WHERE ARTISTS , SCULPTORS , WRITERS , MUSICIANS AND VILLAGE CRAFTSMEN CAN PRACTISE THERE ART IN CONGENIAL AND TRANQUIL SURROUNDINGS THAT INDUCE CREATIVITY .

SANSKRITI PRATISHTHAN •THE SANSKRITI KENDRA , SET UP SANSKRITI PRATISHTHAN , INAUGRATED ON 31 ST JANUARY, 1993.

•THE PRATISHTHAN , WAS FOUNDED IN 1979 BY MR. O.P.JAIN UNDER THE GUIDANCE OF DR. MULK RAJ ANAND, DR JYOTINDRA JAIN AND OTHER BIGWIGS . •THE ROLE OF SANSKRITI PRATISHTHAN IS THAT OF A CATALYST IN REVITALISING THE ARTISTIC AND AESTHETIC SENSITIVITES OF INDIAN PEOPLE . •THE SANSKRITI KENDRA Is A SYMBOL OF sanskriti‟s involvement in ACTIVITES RELATED TO ART , CRAFT , LITERATURE, PERFORMING ARTS AND SOCIAL WORK .

PURPOSE •TO ACCOMMODATE A VARIED RANGE OF ACTIVITIES CONNECTED WITH ART AND CULTURE BOTH IN TRADITIONAL AND CONTEMPORARY SENSE. •IT IS INTENDED TO PROVIDE TEMPORARY RESIDENTIAL AND WORKING SPACE TO ARTISTS.


Location:

Way to ghitorni village

Way to sanskriti kala kendra

SANSKRITI KALA KENDRA, ANANDGRAM


• IN THE HISTORICALLY RICH BUT GEOGRAPHICALLY ARID SOIL AT THE FOOTHILLS OF THE ARAVALLI MOUNTAINS ON THE OUTSKIRTS OF DELHI ( MEHRAULI – GURGOAN ROAD) GERMINATED THE SANSKRITI KENDRA.

•it is situated on one‟s waY TO AYANAGAR. •KENDRA IS SET AMIDST ROWS OF OPULENT FARMHOUSES OF THE RICH AND FAMOUS AT ANANDGRAM . IT OCCUPIES A CORNER PLOT . •IT IS 10 KM FROM I.G. INTERNATIONAL AIRPORT . •PUBLIC TRANSPORT / TAXI SERVICE ARE AVAILABLE . •A RADIO STATION IS THE NEAREST LANDMARK .

Way to anandgram Total area of plot= 379334.2 sqft or 8.7 acres Total covered area= 30247.81 sqft.

Sanskriti farm 192724 sqft or 4.4 acres

haveli

part 66344.1 sqft or 1.5 acre

o.P jain farm 108937 sqft or 2.5 acres 11328.4 sqft or 0.26 acres

Key plan and areas statement Global arts village , MOHALI

LAYOUT •AREA – 8.7 ACRES •BUILT OVER A PERIOD OF 4 YRS [ STARTED IN 88‟ and completed in 93‟]

24

23

22 12

14

16

4

10

13

11

20

7

8

21

22 22

12

5 4

18

17

19

9 6

16

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n

25

3 0 MAIN ENTRANCE

L EGENDS: 0. 1. 2. 3. 4. 5. 6. 7. 8. 9.

entrance Barakhamba nursery museum of Indian terracotta courtyard cafe canteen museum of everyday art baithak museum shop

10. textile museum 11. kund 12. kitchen 13. manch 14. gaon 15. camping site 16. studios 17. nahar 18. ardha kund 19. canopy 20. aangan 21. haveli

22.Services 23. washing area 24. ceramic centre 25. thandi sarak


ACCESS The complex has three main entrances: •The formal entrance ( A) which opens Into an open space containing the barakhamba, a landscape feature, and the baithak with the reception and the offices. This open space branches to provide the path leading to the haveli, the residence of O.P Jain and the service areas. •The second entrance (b) gives direct access to the kund with the writer‟s studios and the OAT. •There are two entrances (C, D) which act as access for the studios.

FORMAL ENTRANCE (A)

A

KEY PLAN

VIEW OF BARAKHAMBA


ZONING THE BASIC MOVEMENT PATTERN WITH THE ENTRY POINTS IS DEFINED WITH ACTIVITY ZONING TO FORMULATE LOCATION OF BUILDINGS AND OTHER STRUCTURES WITH RESPECT TO Functions. •the Buildings are „ oBjects IN SPACE „ and separeted BY varietY of spaces . •ALL DEVELOPMENT ON THE SITE ARE LARGELY ORGANIC – A PROGRESSIVE DEVELOPMENT.

BUILT UP -OPEN SPACE RELATION PLANNING IS BASED ON BASIC MODULES OF SQUARES AND RECTANGLES WITH SLOPING ROOFS TO HAVE A INTERVENING MASSES AND VOIDS.

I N T E R R E L A T I O N S H IP BUILT MASS

•PERMANENT MEUSEUMS •VILLAGE COMPLEX •STUDIO APARTMENTS •HAVELI

OPEN SPACE

• nahar • camping site • kund • barakhamba •aangan


Circulation : •SANSKRITI KENDRA IS ONE OF THE EIGHT FARMHOUSES OF ANANDGRAM

•LOCATED TOWARDS ITS CORNER END . THE APPROACH TO KENDRA IS THROUGH A METALED ROAD . •THE SPACE OUTSIDE THE BOUNDRY WALL OF KENDRA IS USED FOR PARKING , AS SPACE INSIDE FOR PARKING IS INSUFFICENT.

Entrance gate

Metalled road to approach kendra

Boundary wall of kendra used for parking


CIRCULATION INSIDE KENDRA •RHYTHM IN THE MOVEMENT PATTERN , A NEW EXPERIENCE IS INTIATED BY THE USE OF MASS AND OPEN SPACES AT EVERY BEND AND TURN. •PEDESTRIAN CIRCULATION IS FOLLOWED. •PATHWAYS ARE INFORMAL AND FUSED WITH GREEN PATCHES EXCEPT FOR THE PERIPHERAL SERVICE ROAD WHICH ACTS AS THE JOGGING TRACK •AT EVERY BEND A NEW EXPERIENCE IS INITIATED BY THE USE OF BUILT MASSES AND OPEN SPACES SUCH THAT THEY GIVE A RHYTHM TO MOVEMENT PATTERN. •CHANGE IN PAVING MATERIALS AND PATTERNS SHOWS CHANGES IN FUNCTION IN SPACES.

•RAMPS ARE GIVEN TO MAKE THE WHOLE COMPLEX IS DISABLED FRIENDLY.

RAMP LEADING TO THE TERRACE WHICH IS USED AS AN EXIBITION SPACE FOT TERRACOTTA

PATHWAYS ARE FUSED WITH THE GREEN PATCHES THE PAVINGS ARE PUCTURED WITH SPACES (GREEN)TO GIVE RELIEF AND AVOID MONOTONY.


LANDSCAPE MEANDERING LANDSCAPE , YET DEFINED BY TWO MAJOR ELEMENTS•THE NAHAR •THE EXISTING CLUMPS OF TREES. .

LANSCAPE WAS RECOGNISED AS FOCAL TO THEME IN THE LAYOUT OF COMPLEX. •NATURAL FEATURES LEFT UNDISTURBED •BASIC CHARACTER OF LAND INCORPORATED IN THE DESIGN .

TYPOLOGY •MAIN CENTRAL GREEN

LANDSCAPE FEATURES

•SECONDARY GREEN

•WATERSCAPE

•LEFT OVER GREEN

•NAHAR •KUND •CLUMPS OF TREES


LANDSCAPE SYNTHESIS OF FORMALITY AND INFORMALITY BOTH IN PLANTS AND HARD LANDSCAPE. Kabutarkhana acts as a

•HEDGES AND SHRUBS ARE USED TO DEFINE SPACES .

•GEOMETRIC FORMS, PAVEMENTS, PATHS AND HEDGES INTERSPERSE LAWNS, VANS , THE NAHAR AND MEANDERING PATH.

TREES AT GRAM

landscaping element

ASHOK AUSTRALIAN KIKER ALSTONIA AMALTAS ARJUN AVLA BOTTLE BRUSH BAMBOO CHAMPA CASIA CADAMBE FICUS GUAVA GULMOHAR JAMUN KIKER LEMON MANGO MULBERRY NEEM PIPAL TEAK

•POTS OF TERRACOTTA AND METAL , AN ANTIQUE MANDIR , LANTERNS ADOR THE GHATS AND GREEN SPACES HERE AND THERE . •THE TREES CONCEAL THE BUILDINGS AND LANDSCAPED TERRACES CREATIVELY DIVIDES THE SPACE. Village complex with the kund


Indigenous trees Left over green area

nahar

Clumps of trees waterscaping


RAIN WATER DRAINAGE CHANNEL WAS CONVERTED INTO•A LINEAR WATERBODY , THE NAHAR . •STARTS FROM SEMICIRCULAR POND . •PASSES UNDER A FEW CAUSEWAY AND WASHES AT PLACES , STEPS WHICH IMITATES GHATS . •IT ENDS AT THE MANCH . •EXCESS WATER IS RUN OFF THROUGH A BYEPASS DRAIN .

TREES ALONG THE NAHAR BINDS TOGETHER THE WHOLE COMPLEX , AND BRINGS ABOUT A SERENE AND TRANQUILL SETTING AND IS HEAVEN FOR CREATIVITY.

NAHAR, THE RAIN WATER CHANNEL

Bridges over the bypass drain

•INDIVIDUAL IDENTITY IS GIVEN TO COURTYARDS AND LANDSCAPED TERRACES. •ETHNIC EMBELLISHMENT , TERRACOTTA FIGURES, METALLIC UTENSILS ARE ELEMENTS WHICH ENRICH THE RURAL MILIEU.


EXHIBITION SPACES MUSEUM OF INDIAN TERRACOTTA •TERRACOTTA , A FUNCTIONAL ART , IS THE FIRST CREATIVE EXPRESSION OF THE CIVILIZATION. •SELECTED POTTERS FROM ALL OVER INDIA AND ABROAD ARE INVITED TO DEMONSTRATE THEIR SKILLS FROM TIME TO TIME .

Entrance to museum

THE ROOF IS PYRAMIDAL AS IT SUITS THE SQUARE PLAN AND BLENDS WELL WITH THE SCALE AND RURAL SETTING. Display in courtyards around the museum

ORIGINALLY THE SRUCTURE IS IN RCC AND BRICK AND ABOVE IT LIPPAN IS APPLIED TO GIVE IT A RURAL LOOK.


•SPACES ARE IN THE MODULE OF SQUARE WHICH ARE USED FOR VARIOUS PURPOSES – SOMETIMES AS A PLATFORM , A ROOM WITH OR WITHOUT ROOF AND SOMETIMES TOTALLY ENCLOSED WITH DOORS AND WINDOWS . •THE LAYOUT OF SPACES IS SUCH THAT A VISITOR MOVES FROM ONE EXHIBITS TO THE NEXT WITHOUT REPEATING ANY. EACH EXHIBITION CAN BE APPROACHED AS WELL. •OPEN AREAS, COURTYARDS, TERRACES ARE INCORPORATED AS OPEN DISPLAY AREAS.

Display of objects on varying platforms

The roof is done by steel angles and sections as supporting members which is topped by bamboo roof

Display of various objects from different regions of north Global arts village , MOHALI

Indian textile

Picture gallery

Display of textile materials from different regions. Like punjab (phulkaris), jammu kashmir(pashmina shawls),


Everyday art:

Picture gallery


H A V E L i : owner‟s residence •THIS IS THE RESIDENCE OF MR. O.P.JAIN – THE MOTIVATOR OF THE KENDRA. IT IS A SINGLE STORYED STRUCTURE DESIGNED IN SQUARISH FORM WITH INTERSECTING PYRAMIDAL ROOFS . •ALL ROOMS ARE ARRANGED AROUND CENTRAL COURTYARD- AANGAN •THE MOST STRIKING FEATURE IS THE METICULOUSLYRESTORED(OLD) ANTIQUE ENTRANCE DOOR FROM RAJASTHAN FROM WHERE ONE GETS THE FIRST GLIMPSE OF THE “aangan”. •THE CENTRAL COUTYARD HAS A ZEN GARDEN WITH A WATER POOL •THE DINNING AREA AND FORMAL SEATING FACE TOWARDS THE COURTYARD CREATING A SEARNE ENVIRONMENT .

INTERIOR OF THE HAVELI


B A I T H A K: administrative block •THE BAITHAK IS the „ common room‟ OF THE KENDRA, HOUSING FACILITIES SUCH AS DINING ROOM , CONFERENCE ROOM AND OFFICE .

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3

4 2

•THE BAITHAK IS DESIGNED IN SPLIT LEVELS . •THE BUILDING CAN BE ENTERED FROM VARIOUS LEVELS

1 1

UPPER GROUND FLOOR

1.

LOBBY

2.

OFFICE

3.

DINING / LOUNGE

4.

ATRIUM

5.

PANTRY

6.

LIBRARY

7.

COMPUTER ROOM

8.

STORE

9.

SYMPOSIUM

10. KITCHEN

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6 8 LOWER GROUND FLOOR

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2

Double height foyer of baithak

Entrance to the baithak


(7) Computer room

(3) dinning/ lounge

Wooden pyramidical roof of dinning area

(6) library

(2) office


G A O N: village complex •GAON COMPRISES OF CLUSTER OF HUTS MEANT FOR RURAL CRAFTSMAN TO WORK AND RESIDE .

2

•EACH UNIT IS A SINGLE STORIED STRUCTURE , COMPRISING OF LIVING / SLEEPING , KITCHEN , TOILET .

3 1

PLAN

Central courtyard Used as work space by the artists .a

6 4

1

GREEN ROOM

2

GAON

3

MANCH

4

LIV / SLEEPING

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KITCHEN

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LOW HEIGHT MUD WALLS TO DEFINE SPACES

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VERANDAH USED BY CRAFTSMAN FOR WORKING OUTDOORS.

5 7 UNIT PLAN •THE DORMITORIES OF ARTISIANS ARE PLACED AROUND A CENTRAL COURTYARD WHICH IS USED BY CRAFTSMEN AS OUTDOOR WORK SPACE. •EACH UNIT IS PROVIDED WITH AN INDIVIDUAL KITCHEN. Double height roof admits more light to interiors


MANCH: amphitheatre •IT IS AN OPEN-AIR THEATRE NEXT TO THE 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 .

STUDIOS •there are 8 studios in 2 Blocks placed along the „nahar‟ where PARTICIPANTS FROM AROUND THE WORLD CAN LIVE AND WORK .

•THE UNITS ARE SMALL AND SIMPLE BUT PROVIDE A VARIETY OF SPACES BOTH INDOOR AND OUTDOOR.

BACKYARD OF THE STUDIOS.


ARTISIANS WORKING IN POTTERY WORKSHOP

Display of ceramic objects

Pottry machine Backyard of studio Washing area

Porter at work

Brick kiln Electric kiln Global arts village , MOHALI

•COMPLEMENTING THE MUSEUMS ARE RESIDENTIAL FACILITIES AND WORKING SPACE FOR CRAFTS PERSONS WHERE ONE CAN SOMETIMES GET AN OPPURTUNITY TO SEE THEM AT WORK. •LIVING , DINING , WORK SPACE IS ON THE LOWER LEVEL , WHILE SLEEPING AREA IS LOCATED ABOVE.

6 5

FIRST FLOOR

1.

ENTRANCE COURT

2.

LIVING WORK SPACE

3.

SITTING

4.

DINNING / KITCHEN

5.

SLEEPING

6.

UPPER LIVING

7.

GARDEN

7 4 2 3

1

GROUND FLOOR

INTERIOR VIEW OF A STUDIO


MATERIALS CONSTRUCTION MATERIAL

Pyramidal roofs finished with Mangalore roof tiles.

•PLAY IN MASS AND VOID FINISHES AND TEXTURES

•EARTHY COLOURS

• „Bhoosa‟ reinforced plaster has Been used in MANY PLACES. •ORDINARY CEMENT PLASTER HAS BEEN TEXTURED WITH STEEL COMB TO GIVE IT A ROUGH LOOK . •THE LOW PROFILE BUILDING PAINTED WITH SNOCEM IN HUES OF BROWN AND EARTHY COLOURS IMPARTS A CLOSE RESEMBLANCE TO VILLAGE WALLS .

ARCITECTURAL CHARACTER

•THE CONSTRUCTION MATERIAL USED ARE R.C.C , BRICK , STONE , STEEL ETC

•PYRAMIDAL ROOFS FINISHED WITH MANGALORE ROOF TILES.

•ROOF OF TERRACOTA MUSEUM IS MADE UP OF THATCH AND BAMBOO MATS.

•THE SUBDUED DUSTY FACADES ARE ENLIVENED BY THE MANGLORE TILES LAID ON SLOPING PYRAMIDS, WHICH FIT WELL WITH THE SQUARE PLAN BELOW. •THE SLOOPING ROOFS ARE MADE BY STEEL ANGLES AND SECTIONS AS SUPPORTING MEMBERS WHICH IS TOPPED BY A NETWORK OF BAMBOOS AND COVERED WITH ROOF MADE OF MANGLORE TILES OVER THATCH. Thatch roofs of museum

ONE WALL PAINTED ORANGE IN CONTRAST WITH THE BACK GROUND


ANALYSIS • The complex has no visibility from the road and lies in the interiors thus preserving the isolation, quietness and solitude of the Kendra •THE 3 main entrances create a number of options to be followed to reach the different spaces, each offering different features and views, thus generating interest in the individual. • Circulation inside the complex is limited to pedestrians. •Various levels have been incorporated to add a new dimension to the simple plan layout. • The concept of creating a village environment and setup is fulfilled by the use of materials and different components of a rural setup but the formal planning mars the purpose to an extent. • The site planning can be broken down into an arrangement of squares which is the form of all buildings and open spaces. • On both macro and micro level, a strong relation exists between the built mass and their surrounding open spaces as they are highly interactive in nature consisting of levels in topography and components like open air theaters, water pools etc. while in the building too, spaces flow into each other giving the interiors a very open feeling creating an ambience which fuels the artist‟s creativitY. • Most of the exhibits are in open enclosures with mud walls forming charming frames and providing a pleasant authentic backdrop. • Landscaping has been done quite extensively, employing several elements such as water pools, pergolas, freestanding columns, concrete frames etc. the area is full of trees and vegetation, which makes the surroundings cool and pleasant. • Minimum breach of existing vegetation and land has been done • Baithak-office has been strategically placed at a higher level overlooking the entire complex. •In studios, a variety of spaces, both indoor and outdoor are provided where artist can work and relax. • An attempt to recreate the scenario by means of mud cottages built in traditional systems has been. Thatch and tiled roofing can also be seen at several places.



Sanskriti Kala k Case Study

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