Regional REGIONAL DESIGN CENTRE Design Centre May 2017 Final Year B.Arch Thesis by Abhishek Kumar
RDC|02
REGIONAL DESIGN CENTRE Rarh Region, Shantiniketan, West Bengal
A dissertation submitted to the Indian Institute of Technology Kharagpur in partial fulfillment of the requirements for degree of
Bachelor of Architecture (Hons.) by
ABHISHEK KUMAR Roll No. 12AR10002 Under the guidance of
Dr. Mainak Ghosh
Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur
RDC|04
CERTIFICATE Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur May 2017 I hereby recommend that the Project prepared under my supervision by Mr. Abhishek Kumar, entitled “Regional Design Centre, Rarh Region, Shantiniketan� be accepted in the partial fulfilment of the requirements for the degree of Bachelor of Architecture.
Prof(Dr) Mainak Ghosh Project Supervisor
Prof(Dr) Subrata Chattopadhyay Head of Department
Approved External Examiner 1
Approved External Examiner II
RDC|06
Acknowledgment I would like to take this opportunity to express my gratitude to Prof (Dr.) Mainak Ghosh. With his spontaneous design inputs, constructive criticism and constant encouragement and he has been more than a project guide. A am also indebted to our Thesis Coordinator, Prof. Haimanti Banerji for her unending patience in managing a very big batch and for a gamut of requests from the students. A note of thanks goes to all the professors of the jury during the various stages of viva whose comments and suggestions have helped me constantly better my work and do justice to my project. I owe my heartfelt thanks to parents who have been my pillars of support in my every action. Also thanks to my seniors and juniors specially Siddharth, Aditya, Viansh and Amlan for their assistance. They are the source of my inspiration and energy. A special thanks to my junior Aman Ashish who helped me during my visits. And last but not the least, thanks to all my batch mates, specially Vishnu, Chauhan and Keval who have made the entire duration of thesis an easier journey. Thank You Abhishek Kumar 12AR10002
PROJECT BRIEF
11
Abstract Introduction
INDEX
Current Design Challenge
Chapter 1: Project Brief Aims and Objectives Acknowledgment 1.1: Introduction
Need of the centre
1.2: The Present Design Challenge
Challenges 1.3: Aims and Objectives
Scope
Chapter 1: Literature Review and Case Studies
Limitations
1.1: Why Rarh ?
1.2:Various aspects of selected region Clients 1.2.1: Introduction
DESIGN
Design Philosophy Critical Regionalism Climatic consideration
Methodology Design1.2.1: Geography 1.2.1: 1.2.2: Climate Materials and Building Techniques 1.2.2.1: Literate Introduction 1.2.2.2: Bamboo Geography 1.2.2.3: Terracotta Climate 1.2.3: Regional Crafts and making process Materials and 1.2.2.3.1: use: Dokra | Process
LITERATURE REVIEW Laterite Bamboo Terracotta Thatch Regional Crafts: Introduction Dorka Process Pavilion Design Considerations
RDC|08
23
29
CASE STUDY
59
Contextual Studies Village Kuchlachati Chapter 1: Case Studies Visit 1 : Shantiniketan Centre 1.1: Laurie Visit IIBaker : Shantiniketan
1.2:Various aspects of selected region Building Case Studies 1.2.1: Introduction Laurie Baker Centre, LBC 1.2.1: Geography BLOX, Copenhagen 1.2.1: Climate 1.2.2: Materials and Building Techniques 1.2.2.1: Literate 1.2.2.2: Bamboo 1.2.2.3: Terracotta Why Shantiniketan 1.2.3: Regional Crafts and making process Site Analysis 1.2.2.3.1: Dokra | Process
SITE
95
Observations User and Vicinity Analysis
DESIGN DEVELOPMENT Access to the site and zoning Land-use Site development Circulation Design Drawings
BIBLIOGRAPHY
107
RDC|10
PROJECT BRIEF Introduction Currecnt Design Challenge Aims and Objectives Need of the centre Challenges Scope Limitations Clients
RDC|12
INTRODUCTION India’s globalised economy is based on the ideals of change and modernism. This evolution into modernism initially came about on the premise of inclusivity, but has, over time, propagated a mass trans-national culture to the ultimate exclusion of local identity. This sense of loss, of identity, and of tradition, permeates art, culture, cuisine and lots more, and has led to a certain endemic cultural loss. All around us, we see symbols of a dislocated rootless global paradigm dominating our skylines. A rapidly growing population and the needs of the globalised economy have led to the symbols of economic development concentrating in urban areas and an appreciation of the urban ideal. Concurrently, rural and urban areas are fast changing with a geometric jump in urbanization. In this scenario, the built environment has become one of the most visible manifestations of this change. From Metropolitan suburbs like Gurgaon to urban extensions for traditional cities like Jaipur, the challenges of globalization are now facing India like never before. Our built environment shapes our sense of self, our sense of place, our reverence of our past and our traditions. Building traditions have modified and evolved with the social, economic and cultural needs of the age. Tradition in building serves us in creating a balance between nature and society, optimal utilization of natural resources and of local skills and craftsmanship. As strong forces currently drive the creation of new architecture and urban design in India, the time is now or never to instill in this huge process a sense of “appropriateness� to the local context. The usage of traditional methods is by no means a lost tradition and is very much alive. But to witness the utilization of its principles in mainstream new work is a task, made much harder than ever, due to the mushrooming alien typologies. Culture, Climate & Cost still dictate building as ever, but only the last seems to be making typological impact. In particular, it is so very important that we recognize the role of traditional architecture and building practices in creating buildings which are environmentally sustainable and which, through the ways in which they have been built, can respond effectively to the challenges of Climate Change. Such considerations are vital if there are to be sustainable improvements in living conditions for our children and grandchildren.
RDC|14
THE PRESENT DESIGN CHALLENGE With the increasing number of people, chaos, uncertainty and many other physical problems like high pressure on resources increase. Cities are expanding and unplanned urbanism is scaling up. And this is happening very fast, giving no time for planned development. Moreover, I am frequently struck by the fact that by harnessing simple, and often forgotten, techniques and technologies, coupled with the enthusiasm and enterprise of local people, it is possible to rediscover solutions which have somehow been abandoned in the march of modernization and globalization. We need to learn from the underlying, and timeless, principles of the ancient built heritage of India and view the traditional built environment as a vital means of inspiring and improving living conditions in today’s India.
1.660 Billion Population
300 million
60% population living in urban areas
100+
New Cities
New urban residents
India 2050 ‘World Cities Report 2016- Urbanisation and Development: Emerging Futures’
India provides an excellent case study for investigating the city of the coming century, as the largest democracy on earth negotiates urbanization and economic development on a staggering scale. Contemporary architectural practice should focus on the context of regional and national perspectives, as well as local practices.A true global exchange is where international architects and their counterparts in India can learn from each other to find better local solutions to global challenges, and advocate for high standards for the built environment in conjunction with intelligent city governance and management structures. Our top priorities should include employing appropriate technologies and construction practices to engage the large available skilled and unskilled labor force in India; and devising architecture as infrastructure that integrates and addresses the scarcity of resources, climate change, and other escalating pressures to produce environmentally sustainable architecture and more livable urban environments.The condition of production prompted by transnational exchanges—along with architecture that responds to global consumerism—is not necessarily a bad thing. Nor should it automatically produce insensitive projects. As long as there is some degree of self-assessment, along with a willingness to engage with local vernacular practices and amplify the latent qualities of particular locales, engagement and partnerships could engender more inclusive approaches toward an open-ended architecture capable of sensible change and growth. The truth is that fantastic challenges lay ahead. Cities like Mumbai, Hyderabad, Bangalore, Pune,Ahmadabad, Kolkata, Surat, and Delhi are some of the most exciting places to design on the planet, because they are at once loved and loathed, messy and modern, chaotic and lyrical, rich and poor, old and new, vigorous and corrupt. Above all, they are naively energetic in their insatiable hunger for growth. Unlike western cities, Indian cities are rural in spirit, shaped by the slow linking of towns and villages. They have retained their rural character, as well as overlapping hierarchies of public and private spaces where distinctions are easily blurred, and “contamination” an accepted norm generating, altering, and constantly modifying the urban landscape, creating transitory urbanism with not-soclearly defined boundaries. Every space is a contested territory, ephemeral yet rooted, and perpetually dynamic. In many instances, contamination and messy urbanism of the “informal” are traits closely related to poverty, a lack of resources, and the need for sustenance that have translated into historic patterns stigmatizing Indian cities.
RDC|16
The ideology of the modern movement was premised on the cult of ‘newness’ and the purposeful rejection of the past. It equated the avant grade with the production of architecture and urban spaces to be held in critical esteem and relegated any association with traditional architecture and urban spaces to history. In most societies this ‘modernist’ vision raised profound questions, separating the ideals of professionals and the expectation of users, but in developing societies with rich and still fecund building heritage, the situation was particularly poignant because the rejection of the past was detrimental to their well being as well. Thus increasingly, the modern movement was being confronted with reasoned apostasy, promoting the aesthetics of continuity and links with the familiar in the production of new architecture and urban spaces. The new objectives were to heal the rupture created by the modern movement and produce an urban environment more sympathetic to the expectation of society-at-large. This process is gaining ground.
How to be modern and continue the tradition ? To accept all these challenges and converting them into an opportunity to benefit the society by integrating local with the global. We need a place where Design meets Art (Local art). In my thesis I would be concentrating on forming the equation ( RDC as concept) and calculating results for one (designing building for one region).
RDC, Regional Design Centre To Reframe Contemporary Regional Architecture
RDC|18
RDC
Regional Design Centre Built Local Promote Local Fabrication Promote Reuse and Recycling
Community Involvement Training Local Craftsmen and Artisans Participatory Design To provide economic opportunities
Research Research in Local Materials and Techniques Climate & Topographic Research
@Aims and Objectives
Training/Research
Designer Architects
Local Artisans and builders
Awareness
Visitors
Exhibition
NEED OF THE CENTRE Absence of any platform where local craftsman, masons can come and learn about contemporary design and style. The rarh region is full of such craftsman, who are practicing same art from generations, they are poor because there is no innovation in their product and traditional learning process is rigid, providing no opportunity to innovate. Absence of a permanent exhibition of local art and architecture.
CHALLENGES To break the social barrier between various sections of artists, sophistication of formal design education doesn’t allow practicing craftsman to collaborate. To treat stigmas and physical fatigue in local craft-making process.
RDC|20
SCOPE The following aspects of building design are within the scope of the thesis project: • • • • • • • •
Spatial organization Site study and analysis Process study of crafts Circulation concept Innovative Structural Systems Services design Lighting Design Landscape Design
LIMITATIONS Technical detailing of passive design strategies applied, electrical and plumbing systems is beyond the scope of the thesis.Also the project will not cover a detailed cost estimate and structural analysis of building structural systems.
CLIENTS Development Commissioner (Handicrafts) Ministry of Textiles, Govt. of India National Centre for Design and Product Development
RDC|22
DESIGN Design Philosophy Critical Regionalism Climatic consideration Design Methodology
CONCERNS LACK OF IDENTITY
PLACELESSNESS
ORNAMENTATION OF POSTMODERNISM
HOW TO BE MODERN AND CONTINUE THE TRADITION ?
REGIONAL DEVELOPMENT : CRITICAL REGIONALISM INDIAN SUBCONTINENT DIVERSITY IN GEOGRAPHY, CLIMATE, TOPOGRAPHY, CULTURE, LINGUISTIC, DEMOGRAPHY REGIONAL DEVELOPMENT IS MOST TO CONTINUE THIS DIVERSITY
RDC|24
DESIGN PHILOSOPHY About Critical Regionalism Critical regionalism is an approach to architecture that strives to counter the placelessness and lack of identity of the International Style (architecture), but also rejects the whimsical individualism and ornamentation of Postmodern architecture. The styling of critical regionalism seeks to provide an architecture rooted in the modern tradition, but tied to geographical and cultural context. Critical regionalism is not simply regionalism in the sense of vernacular architecture. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture. In Towards a Critical Regionalism: Six points for an architecture of resistance, Frampton recalls Paul Ricoeur’s “how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization”. According to Frampton’s proposal, critical regionalism should adopt modern architecture, critically, for its universal progressive qualities but at the same time value should be placed on the geographical context of the building. Emphasis, Frampton says, should be on topography, climate, light; on tectonic form rather than on scenography (i.e. painting theatrical scenery) and should be on the sense of touch rather than visual sense. Frampton draws on phenomenology for his argument. According to the philosopher Paul Ricouer, a hybrid world culture will only be a possibility through a cross fertilization between rooted culture and appropriate universal civilization on the other. A distinction must be made between vernacular, which is an instrumental sign method, used to evoke not a perception of reality, but uses preconceived information to evoke certain desires. Critical Regionalism is a dialectical expression. It selfconsciously(self awarely) seeks to deconstruct universal modern trends in a way that can be applied to that which is locally cultivated. So whiles maintain rooted cultures and autochthonous elements it is also adulterated-through the introduction of ideas from alien sources. Another distinction between vernacular (or Populism) and Regionalism is that Populism,aims not to provide a livable and significant environment but rather to achieve a highly photogenic form of scenography.
Regionalism suggests a cure for many current ills. Focused in the region, sharpened for the more definite enhancement of life, every activity, cultural or practical, menial or liberal, becomes necessary and significant; divorced from this context, and dedicated to archaic or abstract schemes of salvation and happiness, even the finest activities seem futile and meaningless; they are lost and swallowed in a vast indefiniteness.
Each design must catch, with the utmost rigor, a precise moment of the flattering image, in all its shades, and the better you can recognize that flattering quality of reality, the clearer your design will be…
Key elements of successful critical regionalism: 1. Grounded in topography 2. Response to urban fabric 3. Sensitivity to local materials 4. Sensitivity to craft work 5, Subtleties of local light A Sense of filtration and penetration Similar feelings and concerns are evident on his opposition to the invasion of privacy in the modern world and in his criticism of the subtle erosion of nature which has accompanied postwar civilization. Everyday life is much too public. Radio, T.V. Telephone all invade privacy…..Architects are forgetting the need of human beings for half-light the sort of light that imposes a tranquility in their living rooms as well as in their bedrooms….Before the machine age, even in the middle of cities, Nature was everybody‘s trusted companion…. Nowadays the situation is reversed. Man does not meet with Nature, even when he leaves the city to commune with her. Enclosed in his shiny automobile…Nature becomes a scrap of nature and man a scrap of man. By resisting the visual, and thus the perspective of Western tendency, Critical Regionalism brings to our senses all the range of human perceptions. Perspective as rationalized sight suppresses the senses causing a distancing similar to what Heidegger has called “the loss of nearness.” The tactile physically opposes this visual surfacing of reality, a medium conditioned predominately by the media industry and showing up in the architectural works of Graves, Venturi, etc. The return to touch will realize the poetics of construction, the tectonic.
Regionalism is never a singular theory or practice but is most often a means by which tensions — such as those between globalization and localism, modernity and tradition — are resolved.
RDC|26
CLIMATIC CONSIDERATION SUB-TROPICAL CLIMATE •
This is the architecture you actually need in this climate, Moderate temperature, heavy rains and very high humidity.
• •
Plain topography Urban fabric : low height construction, not more than high trees, unique scale and density Local materials and building techniques : the building is designed in such a way so that it could be built by local people with local materials. Local craft work : participatory design and construction process
A ROOF TO COVER
MAXIMUM CROSS VENTILATION NEEDED
A HIGH PLINTH TO KEEP WATER AWAY
• •
RDC|28
LITERATURE REVIEW Introduction Geography Climate Materials and use: Laterite Bamboo Terracotta Thatch Regional Crafts: Introduction Dorka Process Pavillion Design Considerations
Why Rarh ? • • •
RDC|30
Wide History and Culture Design Traditiona Frequently Accessible
রাঢ়
RARH REGION
The Land of Red Soil Rarh region is a toponym for an area in the Indian subcontinent that lies between the Chota Nagpur Plateau on the West and the Ganges Delta on the East. Although the boundaries of the region have been defined differently according to various sources throughout history, today it is mainly coextensive with the state of West Bengal also comprising some portions of the state of Jharkhand and Bihar in India. The Rarh region historically has been known by many different names and has hosted numerous settlements throughout history. It is suggested that the Rarh region hosted an ancient civilisation also called Rarh and a Powerful State, however much of its ancient history remains unknown. Parts of the districts Murshidabad, Birbhum, Bankura, Bardhaman, Medinipur and Nadia constitutes this region. The region is about 50 to 100 m above the sea level.
• Geological Map of Region : Elevation and Soil Type RDC|32(Source:https://www.researchgate.net/figure/275016979_fig11_Location-map-of-the-study-area-a-digitalelevation-map-of-the-Rarh-Bengal-and-location)
GEOGRAPHY Rarh region is believed to be created from the soil from the Deccan plateau. Red coloured laterite soil is predominant.West Rarh’s Bagri river is a fertile, low-lying alluvial tract. Rice, jute, legumes, oilseeds, wheat, barley, and mangoes are the chief crops in the east; extensive mulberry cultivation is carried out in the west.The area is formed by the silt brought by the tributaries of Bhagirathi, Mayurakshi River, Ajay River, Damodar and Rupnarayan River which flow over the western plateau region made up of laterite soil make the soil of the area red in colour. The land slope is from west to the south-east and formation of natural levees along the river banks is a common phenomenon. The ancient snowcovored mountain peaks of Rarh gave birth to numerous rivers. These rivers, fed by melting snow flowed to the east and south east towards the ocean. The most notable rivers are Damodar, Ajay, Mayurakshi, Dwarakeswar, Shilai and Kasai. All the river originates from Chota Nagpur Plateau and flows towards east or south-east finally to meet the River Hooghly.The river Subarnarekha flows through some parts of the region and ends at the Bay of Bengal. In the past, some of the rivers were notorious for causing flood. With the construction of several dams, the floods have been somewhat controlled.
Parts of West Bengal Bankura, Bardhaman, Hooghly, Nadia and Purulia.
Western parts of Rarh merging with the Chota Nagpur Plateau was historically called Vajjabhumi a definition demarcating it from the eastern part of Rarh which was called Subbhabhumi, Sumhabhumi or Suhmo. There are many descriptions of the geographical area called Rarh or Gangaridae, some being quite imprecise they are capable of indicating a very large area and some though being precise, differ in their descriptions. Most precise descriptions of Rarh seem coextensive with West Bengal. More imprecise descriptions denoting larger areas usually derive from Western sources describing Gangaridae. Some sources describe a smaller area while referring to Rarh as a geographical area and a larger description comes with Rarh defined as a geopolitical unit. According to the Encyclopedia Britannica, Rarh is mainly Murshidabad’s surrounding region, a high, undulating continuation of the Chota Nagpur plateau to the West, and the Bagri, a fertile, low-lying alluvial tract, part of the Ganges (Ganga)-Brahmaputra delta, to the East. Banglapedia says that Rarh consists of a large part of West Bengal.[4] And according to West Bengal Travel & Tourism Guide, the northeastern border of Rarh is located within Birbhum. Historically, a statement in Digvijayaprakasha locates Rarh as from the north of the Damodar River and to the west of Ganges in the south. Even though earliest written documents divides Rarh as West Rarh and East Rarh, later documents starting from the 9th and 10th century AD, divides it to Daksina Radha (Northern Rarh) and Uttara Radha (Southern Rarh). However, as inferred from later documents, this newer distinction (North/ South) is not based on geography but two political states. Southern Rarh included different large settlements of the modern districts of Howrah, Hooghly and Burdwan in West Bengal, or considerable portions of West Bengal lying between the rivers Ajay and Damodar. The Ajay river is usually regarded as constituting the boundary line between Northern and Southern Rarh. Based on different epigraphic records, it is suggested that Northern Rarh included the western parts of the modern district of Murshidabad, the entire district of Birbhum, including some parts of Santhal Pargana, and the northern part of the Katwa sub-division of Burdwan district. There are many archaeological sites in many parts of Rarh, where studies are going on. Historian P. R. Sarkar, who has been doing research around most of those archaeological sites, gives a very detailed account of Rarh’s geography, using the old geographical definitions of West/East Rarh. According to this definition:
East Rarh consists of roughly of the following districts: 1. 2. 3. 4. 5. 6. 7.
Western Murshidabad Northern Birbhum Eastern Burdwan (Bardhaman) Hooghly Howrah East Midnapore (Medinipur) Indas of Bankura district
RDC|34
West Rarh consists of the following districts: 1. Old Santhal Pargana district (today 6 districts: Godda, Deoghar, Dumka, Jamtara, Sahibganj and Pakur) 2. Most parts of Birbhum 3. Western Burdwan 4. Bankura district except for Indas 5. Purulia 6. Dhanbad 7. Most parts of Giridih 8. Four block of Ranchi, namely Silli, Sonahatu, Bundu and Tamar 9. Singhbhum 10. Jhargram subdivision of West Midnapore
CLIMATE • • • •
Central Bengal has a tropical climate. The north is cooler. but the humidity is high. The hot season lasts from March to early June, with daytime temperature ranging from 38 to 45 Deg. Winter on plains is also mild, with minimum temperatures rarely dropping below 15 Deg. Rainfall is rare in winters. The humidity is thus substantially reduced, making winter a very pleasant season on the plains. The cold season lasts for about three months, and is followed by a brief month long mild spring season.
(Source:https://www.yr.no/place/India/West_Bengal/dumka/statistics.html)
“
MODERN ARCHITECTURE DOESN’T MEAN THE USE OF IMMATURE NEW MATERIALS; THE MAIN THING IS TO REFINE MATERIALS IN A MORE HUMAN DIRECTION.
Alvar Aalto
RDC|36
MATERIALS
LATERITE • • • • • • •
Laterite is a highly weathered, red, earthy, rock-like but soft material enriched in iron and aluminium. Laterite is used in its natural form Sustainable Material Very less carbon footprint ease of cutting and shaping Compressive strength should be check, as it varies from region to region. Cost effective.
Cutting laterite bricks :An usual scene from Angadipuram, India Laterite is well known in Asian countries as a building material for more than 1000 years. It was excavated from the soil and cut in form of large blocks; temples at Angkor are famous examples for this early use. At begin of the 19.century it obtained scientific interest when the English surgeon Francis Buchanan travelled along the western coast of southern India and published his manifold observations and results. He coined the term laterite when he wrote (1807): “What I have called indurated clay …is one of the most valuable materials for building. It is diffused in immense masses, without any appearance of stratification and is placed over the granite that forms the basis of Malayala. It is full of cavities and pores, and contains a very large quantity of iron in the form of yellow and red ochres. In the mass, while excluded from the air, it is so soft, that any iron instrument readily cuts it, and is dug up in square masses with a pick-axe, and immediately cut into the shape wanted with a trowel, or large knife. It very soo after becomes as hard as brick, and resists the air and water much better than any brick that I have seen in India. … The most proper English name would be laterite, from lateritis, the appellation that may be given to it in science”. (The Latin word later means brick)
RDC|38
The true laterite occurs in massive beds, from which slabs are excavated for buildings. It is easy to cut and shape, and becomes hard and tough after exposure to air, so that it makes admirable building material. Some of the temples at Vishnupur in Bankura are built of it, and in spite of its nodular structure and irregular surface, it has been use for carvings. (Provincial Geographies of India, by Sir T. H. Holland) The special characteristics of laterites, by which they differ from other soils, are: • Soft occurrences tend to harden on exposure to air, which is why blocks have traditionally (eg in India) been cut in situ, allowed to harden and then used for masonry wall construction (hence the name was derived from “later”, the latin word for “brick”). • The darker the laterite, the harder, heavier and more resistant to moisture it is. • Some laterites are found to have a pozzolanic reaction when mixed with lime (which can be explained by the high clay content), producing hard and durable building materials (eg stabilized blocks).
From Samsara Documentory The Khmer people constructed the Angkor monuments—which are widely distributed in Cambodia and Thailand—between the 9th and 13th centuries.The stone materials used were sandstone and laterite; brick had been used in monuments constructed in the 9th and 10th centuries.Two types of laterite can be identified; both types consist of the minerals kaolinite, quartz, hematite and goethite.Differences in the amounts of minor elements arsenic, antimony, vanadium and strontium were measured between the two laterites.
Traditional Use:Regional traditional buildings made by laterite as primary material, oldest standing building date back to 1656.
Source: RMA Architects
Contemporary Use: Xanta Ashram, Architects
Goa,
RMA
BAMBOO • • • •
Bamboo is a versatile, strong, renewable and environmentally friendly material. A member of the grass family, subfamily Bambusoideae,it is the fastest growing woody plant producing a mature fiber for use within three years. There are more than 1200 species and 75 genera (Tewari 1993) of bamboo of which 130 are found in India. Bamboo is an extremely strong fiber with twice the compressive strength of concrete, and roughly the same strength to weight ratio of steel in tension. In addition, testing has shown that the shape of bamboo is hollow tube gives it a strength factor of 1.9 times over an equivalent solid pole.
Bamboo Spiral : Showcasing flexibility and experimental use. (Source: Bamboo Construction Source Book by Hunnarshala Foundation for Building Technology and innovations)
RDC|40
Bamboo has been in wide usage since ancient times as a lowcost material for houses, bridges etc. Recently started appearing in designer homes as flooring, walling and paneling material Is viewed as a material preferred only by the poor or for temporary constructions Unpopular in conventional construction due to low durability, lack of structural design data, exclusion from building codes etc. Strength - Bamboo is an extremely strong natural fibre, on par with standard hardwoods, when cultivated, harvested, prepared and stored properly. Flexibility - Bamboo is highly flexible. During its growth, it may be trained to grow in unconventional shapes. After harvest, it may be bent and utilized in archways and other curved areas. Earthquake-resistance - It has a great capacity for shock absorption, which makes it particularly useful in earthquake-prone areas. Lightweight - Bamboo is extremely lightweight. Consequently, building with bamboo can be accomplished faster with simple tools than building with other materials. Cranes and other heavy machinery are rarely required. Cost-effective – Economical, especially in areas where it is cultivated and is readily available. Transporting cost is also much lesser. Durability - As long-lasting as its wooden correlates, when properly harvested and maintained.
Joinery Tools: Bamboo is generally used as it is in required length or in split form. Traditionally this task is performed by only one tool. Though there are few carpentry tools that can be used for different purposes. Usually, below shown traditional tools are used by bamboo artisan for harvesting and construction. All the joinery in the structure is based on four types of lashing and three types of shear keys. The following terminologies will describe the joinery. Lashing: Lashing is used for joining two or more poles together with a tying material. Wrap: A wrap is a turn around two or more poles. Frap: A frap is turn made between two poles to pull the wrap together. Dowel: Dowel is a pin (wood or bamboo with fibers in longitudinal direction) of 10 mm. Diameter inserted right through the pole Clove Hitch: Clove hitch lashing is used for joining two or more poles together with a tying material.
Traditional Tools (Dabiya)
Square Lashing: Square lashing shall begin and end in a clove hitch. It shall be used in a condition where there is no tendency for poles to spring apart. Splitting Bamboo
Square Lashing
Diagonal Lashing: The square lashing shall begin and end in a clove hitch. It shall be used in condition where there is tendency for poles to spring apart.
Avoid the crushing of horizontal Members Shear Lashing: A shear lashing shall begin and end with a clove hitch. Two ore more poles shall be first wrapped and then frapped to tighten the poles together. If there is not a node, the bamboo becomes flattened. It is recommended to insert a wood cylinder in order to avoid the flattening
Fill up the internode with cement mortar 1:2
In order to avoid the flattening of the beam in Fig. A, is necessary that the beam has node at the end. And to fillp the internode with cement mortar in case that the wall thickness is small Bamboo section with node
Wood cylinder
RDC|42
Fixing Horizontal And Vertical Members With Pins And Bolts
Building Systems & Components
This construction method adopted in the context of Kosi Flood Rehabilitation work in Bihar with appropriation one can adopt this in to their context, part or whole. This study matches best for our region. We’ll carry a similar study in our context in december. Promise. :P
Foundation and Plinth
Fixing bamboo into plinth
The practice of putting bamboo post directly in the ground shall not be permitted. Bamboo posts shall be fixed into the plinth.
The distance between two pedestal footings/ Piles shall not be more than 2.0 m for bamboo based superstructure. Minimum diameter of bamboo posts at thinner and shall not be less than 70 mm. Unsupported height of the post shall not be more than 3.0 m. if the height of the post is longer, a horizintal tie of bamboo shall be provided. Tar or Creosote treatment at the bottom of the post is required that needs to be embedded in the plinth. A 300 mm deep and 100mm diameter hole shall be made in the plinth beam and the foundation pile/ pier below to embeded and fix the bamboo post. The post shall be erected in this hole and clean sand shall be filled and compacted around the post in the hole. A shear key of split bamboo shall be fixed through the plinth beam and the bamboo post
RDC|44
Fixing detail of bamboo post into plinth masonbry
Fixing detail of bamboo to plinth using bolted connection : Alternatively, the bamboo post can be fixed with bolts to the plinth. In this case, bolst shall be embedded at appropriate places at the time of casting plinth beam.
Pile Foundation Detail
Super Structure Plinth: Bamboo as discussed earlier is prone to fungal and borer attack due to presence of starch. This strach needs to be removed through chemical treatment to ensure longevity of bamboo structures.
Diogonal Bracing : Diagonal bracing between the posts in each wall at the corners from plinth level end to attc level end shall be provided. It shall be mirrored in the opposite corners of the wall.
RDC|46
The distace between two posts shall not be more than 1.2m centre to center
Lamboo Structure, Marion Airport (Cross Bracing)
Knee Bracing : Alternatively. knee bracing may be provided at each post to connect post and the attic level beam
TERRACOTTA • • • • • • • • •
Fired clay Typically hollow, formed by pressing clay into a mold, by hollowing out portions of a solid, or by extruding it. Usually low-fired Typically a reddish, unglazed ceramic material. It may also be a hard-fired glazed or unglazed ceramic material. Durable (dependent upon the degree of firing) Fireproof Strong Can be molded into virtually any shape Available in a variety of designs, colors and finishes
Carving on a temple in Bishnupur : Done by terracotta
Typical Use
Types of Terracotta:
Typical historical uses for terracotta included: • Sculpture • Unglazed units used for structural purposes • Glazed units for building exteriors
Brownstone terracotta: Hollow cast block - typically dark red or brown Often used to imitate sandstone, brick or actual brownstone Popular during the mid- to late 19th century
Typical current uses for terracotta include: • Cladding • Used in both commercial and residential applications • Rain screen cladding with waterproof membrane behind
Fireproof construction terracotta: Not widely used today, Inexpensive, Lightweight. Fireproof, Used to span areas between metal I-beams in wall, floor and ceiling construction Ceramic veneer terracotta: Extensively used today, Not hollow cast, but ribbed on the back for attaching to metal ties anchored into building Glazed architectural terracotta: Hollow units cast in molds, Durable, Impervious, Easier to handle and more affordable than stone
RDC|48
The Terracotta Temples of Bishnupur, Bengal The surviving brick temples of Bengal were mainly built during a period when the region was witnessing a revival of Hinduism with particular focus on the cult of Krishna. This was after prolonged exposure to Islam. As a result, temples built during the sixteenth century and later absorbed the monumental style of the traditional Muslim building forms and techniques. Local materials, bricks and terracotta, and features like the curved “Bangla” roof blended with the Muslim domes and Islamic multilobed arches. This distinctive architecture also assimilated styles from the neighbouring regions. The influence Orissa style of temples arrived in the form of the “Deul”. The diverse influences can earn these temples the label of a “hybrid” form. However, these monuments should be valued for their unique creative attributes. Native builders assimilated and combined different forms to evolve a living tradition during a time when the other regions were witnessing degeneration to a sterile replication. The temples can be classified into mainly the “Chala”, “Ratna” and “Dalaan” styles. The first has the curved “Bangla” roof and the curved cornice. The second is characterized by the towers, while the “Dalaan” has the flat roof. The vitality of the temples is not restricted to the architectural forms. The temple walls are covered with moulded baked clay panels. The early temples continued with the foliate and geometric designs of the fourteenth and fifteenth century mosques and tombs of Bengal. By the seventeenth century there evolved a rich iconography with religious and secular themes. Favourites were the epic battles of the Mahabharata, the Ramayana, and of Chandi with the demons. The life of Krishna was another favourite. Secular themes included the warriors, hunters, musicians, tradesman, birds and animals.
Simple domestic hut form transformed into temple form
Rekha Deul brickTemple at Sonatopal
REGIONAL CRAFT
Handicraft of Bengal emodosy our rich heritage od aesthetics, creativity and artistry. The craft sector provides low cost, green livelihood opportunities to more than 5.5 Lakh men and women. In today’s globalised world, the growing retail industry, fashion and luxury markets, demand for green production, potential for e-commerece have increased income opportunities to craft communities like patuas, potters, weavers, wood carvers, dokra makers etc.
Sital-Pati
The word Sital-pati means cool-mat, These mats are luxurious, comfortable and utilitarian. Sitalpati mats are crafted from green cane slips of Maranta dichotoma or Muthra reed, which are split into fine slices length wise.The slips are then skillfully joined by interlacing weave.
Wood Work
Ethnic character dolls handmade from Natungram village, Agradeep of Bardhamaan District. West Bengal,are carved in wood and decoratively painted by a group of rural crafts persons. These crafts persons are referred to as ‘Sutradhars’ (meaning ‘narrator’ or ‘story teller’), because they make characters from ancient folklore and mythology and tell stories through theirdolls.
Dorka
The name Dokra was used to indicate a group of crafts persons of nomadic type scattered over eastern and central India and was identified by their beautifully shaped and decorated metal products.
RDC|50
Clay Dolls
The brilliance of human imagination lies in its transformation of mundane into magnified. Being a river basin, West Bengal has a rich abundance of clay, which has been used as a raw material for a wonderful tradition of doll making in Ghurni, Krishnagar since last 250 years.
Patachitra
Patachitra and Pater Gaan are unique cultural traditions of Bengal. The Patuas paint stories on long scrolls of cloth. The ‘Jarano and Gutano’ Pat means a scroll depicting a story in serially in picture frames.
Terracotta
Terracotta is a type of fired clay, typicalLy of a brownish red colour which is used as ornamental building material and ¡n modeling different idols, figurines etc.
DORKA | PROCESS
(Source: Gourav Vaidya https://www.behance.net/gallery/27673189/DOKRA)
Dokra casting is believed to be named after Dokra Damar tribes which are the traditional metalsmiths of West Bengal. The process is well known for its primitive simplicity. This process is mainly followed in West Bengal, Jharkhand, Chattisgarh and Orissa. Lost wax technique is very ancient process followed in India almost for over 4500 years. One of the most celebrated artifact made by this process is the dancing girl of Mohenjo-daro from Indus civilization. Ornaments, animals, birds, traditional figures, measuring bowls, idols are the most popular handicrafts made by this process.
Clay Core Making : Red Soil 8, rice husk are mixed in proportion. This mixture is used to make clay core by hand pinching technique. A layer of black clay is coated on the dried red clay cores. RDC|52
The idea was to learn the process right from the first step and use its primitive simplicity for making utensils using so’id as well as hollow castings. Dokra (also known as Dhokra) casting is non ferrous metal casting which uses investment casting or lost wax casting process. Metal ßsed in this type of casting is brass (copper+zinc) or bronze (copper+tin). If tin content is high then it is called as bell metal. It is amongst the earliest known method of casting Dokia process is practiced in some of the eastern states of lndia The project was carried out in collaboration with one of the tribal communi ties in Jharkhand.
Wax Threads Preparation : Candle wax 8. incense are mixed in 1:1 proportion and heated in a pot The
heated mixture s filtered through cotton cloth This prepared wax is squized in hand held press to take out flexible wax threads.
Clay Core Making : Wax thread is coiled over clay coie and different designs ae made over the coiled wax with
the same threads. It is then packed with black 8. red clay respectively. Crucibal with metal pieces ‘s attached to the finished rnoulds.
RDC|54
Furnace Heating : Moulds are places in coal furnace for 3 hours They are takec out one by one and turned upside down Due to this the molten metal replaces wax work & we get replica of coiled wax in metal
DESIGN GUIDELINES : PAVILLION DESIGN User Behavior and circulation Considerations An exhibition circulation should : • • • • • •
Aggravate the curiosity of visitor Easy for way finding Should minimize collisions and crowding Have no or least interference with the services Should adhere to the flexibility of spaces Should be safe and sound for all users
Users generally follow a two dimensional emotion pattern • • • • •
I like it / I don’t like it Dominant / submissive Approach / Avoid Interesting / Boring Pleasure / Displeasure
Radial Pattern
Advantages
Disadvantage
• • • •
• •
Crowd clearance Segregation of display Quicker access
RDC|56
Lose of interest More traversing
Linear Circulation
Advantages
Disadvantage
• •
• • •
Guides the visitor throughout Simple for way finding
Creates crowding Long corridors make the user tired
Central circulation
Advantages
Disadvantage
•
• •
•
Ideal for display of models and statues Users can get an all side view
Takes more floor area Need skylight for lighting
Brush circulation
Advantages • • •
Ideal for display of models and statues Better crowd control Easier for Lighting
Disadvantage • •
Takes more floor area Visitor collisions
RDC|58
CASE STUDY Contextual Studies Village Kuchlachati Visit 1 : Shantiniketan Visit II : Shantiniketan Building Case Studies Laurie Baker Centre, LBC BLOX, Copenhagen
CONTEXTUAL STUDIES Village 1 : Kuchlachati Location : about 2 km from Prembazaar Gate, IIT KGP Objectives of Case Study: • • •
To understand the traditional construction process Architectural feature of traditional houses Use of material and site-specificity
We met Inshaan dada at a village nearby to IIT Campus who is skilled in bamboo structured mud house construction and has completed most of the village’s houses.
RDC|60
Dimension : 15 m x 5 m Age : nearly 25 years Cost : Rs. 25,000 Work men : 5 Time of Construction : 3-4 weeks Foundation : 3 feet excavation and leveling with mud Superstructure : Walls of mud with bamboo reinforcement Roofing : Bamboo structured pitched roofing
Visit 1 : Shantiniketan Time : Late December | During Poshmela Objectives of Case Study:
Relevant Places visited :
• • • • •
• • •
To understand local context and available building material To understand the design process practiced Skills in locals related to construction Use of material and site-specificity Student life and work environment of Kala Bhavan
Bidyut Roy
When I build a house I first look at the land, considering carefully its core qualities and tradition. From the tradition I select the surface and from the core qualities the material. Only then my structure does start to grow, as a seed in the land, with the force of something I would call “bhuin phor”, which could probably be a volcanic force ready to rupture. I don’t want the creation to be a collage (but an organic growth).
The happy marriage of modern and tradition can be seen in this 35 years old guest house by him
RDC|62
Visited site and villages in vicinity Met self taught architect Bidyut Roy Buildings built by him
Spaces where tension between modernity and tradition are resolved • • • • •
1. Entrance lobby with pottery display 2. Bedroom and living room 3. Washroom 4. Bedroom 5.Veranda
Visit 2 : Shantiniketan Time : Late January | With Scholars’ Team Objectives of Case Study:
Relevant Places visited :
•
• • • • •
• •
To understand the locals’ mindset towards local materials and construction techniques Visited local villages which were involved in construction Interviewed local craftsman to find that innovation in crafts can save local knowledge base and creative economy
B.A.B.L.I
AN EFFORT AT LIVING IN HARMONY WITH NATURE
A service quarter submersed in nature
Those who initiated BABLI were born to a generation inspired by Rabindranath, Vivekananda and Gandhi. Brought up in the indifference of urban India, they were lucky to have an opportunity to interact with its rural interface. They were deeply aware of the enormous yet severely depleted natural wealth of the countryside, the deprivation of indigenous communities, the apathy or alienation of those who might care and who had the means to offer redress.
Residence-cum-Room ‘S’
RDC|64
B.A.B.L.I. Amar kutir Viswa bharti campus Local craft market Weekly craft market | Shanivaare haat
• • • • •
1.Kitchen at BABLI 2. Typical house unit in nearby villages 3. Kala Academy 4. Amar kutir craft showroom 5. Local craft shops
BUILDING CASE STUDIES RDC|66
LAURIE BAKER CENTRE | LBC The Laurie Baker Centre for Habitat Studies (LBC) was created by his friends, students and admirers to propagate his philosophy of the concept of sustainable development through research, extension, training, documentation, dissemination and networking. At its core, it is intended to include such areas as design and use of appropriate materials for buildings, creation of support facilities such as sanitation and drinking water, waste treatment, water harvesting and management, land development, promotion of non-conventional and ecofriendly sources of energy and creation of awareness of the need for sustainable development. The LBC is established with the active support of the Centre of Science and Technology for Rural Development known as COSTFORD, which was cofounded by late C. Achutha Menon, former Chief Minister of Kerala and a development visionary, late K.N. Raj, one of India’s renowned economists and social thinker, Laurie Baker and by T R Chandra Dutt, social activist for the promotion of appropriate technology for building construction as well as for rural development. The 3.34 acre (1.35 hectares) campus is an undulating piece of land dense with trees and other flora and fauna. The campus at present has five buildings that represent the last set of buildings personally designed and built by Laurie Baker for one of his friends who wanted to start a community centre for differently able children and adults who will also interact with other persons in the society. This initiative could not continue and hence a proposal was made to secure the land and buildings for establishing the LBC with financial assistance from the Government of Kerala. Objectives of Case Study: • • •
To understand the functionality and spatial distribution Relationship between Activities and Spaces Sustainable Strategies
Location and Accessibility : The LBC Campus is located in the Nooliyode Village in Vilappilsala Panchayat, 12 kms away from the centre of Thiruvananthapuram city. It is 12 kms away from the Trivandrum Central Railway Station and 18 kms from the Trivandrum International Airport.
RDC|68
Master Planning
The campus has nine buildings including: (1) an office, (2) a kitchen with a dining hall, (3) a dormitory to house 16 persons with a lecture hall, (4) a guest house to house seven persons, (5) a tower that houses a rain water harvesting tank and a view tower where discussion sessions can be held.
1. 2. 3. 4. 5. 6.
Use of Arch to create a well thought space for better light and ventilation Natural terrain is maintained Appropriate light achieved through brick jali Internal Veranda for ventilation and light Water Harvesting tank Lobby near tank
RDC|70
Planning | Sustainability • • • • •
• •
•
•
The overall master plan incorporates the varying levels of the site, and the rain water harvesting tank is situated at the highest point. To minimize the cost of construction, all the buildings incorporate Laurie Baker’s well-known construction technique – the Filler Slab. The magnificence of using filler slabs can be seen in the thin roofs which adorn the landscape.The roofs don’t seem to follow any rule and flow with the landscape. Typical of Laurie baker’s structures – brick jalis, mango motifs, and openings are all part of these buildings. The campus exemplifies the practice of sustainable architecture. Built on a granite quarry, the deep excavations provide contours to the site. Laurie Baker, true to his principle of building with minimum intervention to the site shapes the buildings along these quarry lines.The load bearing buildings have no footings and are built on a random rubble masonry foundation. What was once a barren land, is now abundant with trees. The 1200 odd saplings have grown into a forest rich with flora and fauna within a span of 15 years. As it is his style of working, none of the buildings have any drawings. The Junior Architect admitted to the trouble he had documenting these buildings with varied curvatures and heights as the dimensions were nowhere near to a whole number. Before the construction of these buildings, the campus was a rubble quarry with very little of green cover and top soil. However, within a period of ten years the campus has been turned into a dense green covered area with many plants and trees. It also houses a patch of forest-like area with wild growth of trees and plants. It is proposed to introduce organic agriculture without disturbing the existing green cover. There is also a plan for setting up a biogas plant as well as solar energy generating units. This simple ideology of Mr. Baker made him the person who successfully evolved new ways of construction which were cost-effective and energyefficient
This graphic represents the development according to natural terrain
5
2
3 4
1
1. 2. 3. 4. 5.
Filler slab roof with brick jali skylights Designed drainage Curved Walls Internal Courtyard Backyard
RDC|72
Dormitory • • • • • • • • •
Dormitory is used to house a large number of people in a school or institution Dormitory of LBC can house 16 people at a time and has a lecture hall. It is situated in between the entrance of the institution and the other building block of the centre, There is seating space provided outside. Low cost housing techniques are used throughout the dormitory This building features some of Baker’s most virtuosic brick work. curved jali walls creating a breezy, shaded space. The monolithic walls rise up two stories, and end in a handrail on the second storey balcony. Private rooms are located at the back of the building, shielded from the public walkway The building’s plan, like others on the campus, was planned around existing plants.
3
2
5 4
1
1. 2. 3. 4. 5.
Entry Courtyard Waiting Lounge : Filler Slab Traditional Element Addition
RDC|74
Guest House • • • • •
A guest house to house seven persons, with a waiting room There is courtyard surrounded by the rooms. In-built furniture’s. The guest house is situated behind the office building. Low cost housing techniques are used throughout
5
2
3 4
1. 2. 3. 4. 5.
1
Outside Dinning : Appropriate light through window Service Area Washroom Dinning area slab with skylights
RDC|76
Canteen /Dining Hall • • • • • • •
At the entrance is the dining hall Followed by a washroom in the centre A kitchen and storage space on the left A serving space at the back. The furniture is built-in. Filler slabs and skylights are used on the roof Terracotta tiles are used on the floor.
4 1
5 2
1. 2. 3. 4. 5.
Visitors Area Open Balcony Staff Residence Intersection of Visitors and Admin Bamboo Staircase
RDC|78
3
Admin Block • • • • • • • • • •
The administrative building is sited in the main route through campus, and is approached by a rock cut staircases, that connects to the first floor level. The building’s plan, like others on the campus, was planned around existing plants; here, a dramatic open space holds two towering trees. A narrow staircase leads to a dynamic roofscape dotted with benches and mango-shaped plant troughs. There is a visitor space with a balcony. And an admin room which contains all the work of bakers in books. The ground floor contains office room, storage spaces, and a visitors space. Much of the furniture used is built-in. These are either of brick or rubble masonry raised above floor level. Most common arch shapes come in semi-circular, pointed, corbelled, and bell shapes. The first floor of the building is the residence of the office staff. The main feature of this office building is the bamboo staircases.
Architecture Features • • • • • • • • • • • • • • • • • • • •
Steps directly cut in rock Entrance has small sitting area for guests The wall is decorated from broken pottery, pens, glass A calling bell for visitors to announce their presence Use of natural light Never cut trees instead adapted his design accordingly Inner courtyard, close to nature Arches led into a beautiful open room Courtyard has many gardens and ponds Pitched roof made of Mangalore tiles Baker’s fondness of arches Gables for proper air circulation and ventilation Simple yet beautiful windows Grill made of bits and pieces Conical structure used. Cost effective baker’s window Louvered window typical of baker’s type Stained glass effect Water tank for storing rain harvested water
Observations • • • • • • • • •
All the natural elements are maintained aptly. Usage of natural light has taken care of, most of the rooms has Jaalis and skylights to allow natural light to enter. Pitched roofs made of Mangalore tiles. Gables are used for proper air circulation and ventilation Grills of doors and windows are made of bits and pieces of iron and steel Stained glass in form of bottles and glasses are used to fill the window voids to create a light effect. Water tank is used to store rain harvesting water. Jaali forms are made out of bricks on walls and windows to allow natural light to enter. Water bodies in form of ponds present to give a cooling effect.
RDC|80
“
I DON’T THINK I’VE EVER BEEN INSPIRED BY WHAT ARCHITECTS HAVE DONE BUT MORE BY WHAT ORDINARY CRAFTSMEN HAVE. Laurie Baker CREATED.
RDC|82
DANISH ARCHITECTURE CENTRE | BLOX The design for BLOX is a linear display of the tenets of Danish Modernism: monumentality, simplicity and politeness. The Copenhagen harbour is experiencing a surge in development, transforming a previously under used natural asset into a new city-wide destination. The Bryghusgrunden site lies in the centre of this transformation. To capitalize on the site’s potential we propose to use the building as an ‘urban motor’ to actively link the city and the waterfront. Providing a connection under the busy Christians Brygge, where entrances to the different program elements are strategically located, the site becomes both a destination and a connector at the hinge of the waterfront and the ‘entrance’ to the city. As opposed to the typical stacked section, where building programs remain autonomous, the program ‘heap’ can create unexpected and unpredictable situations where each program is made aware of its coexistence with the others. (Source: OMA Website)
Zoning The Bryghusgrunden site, situated on a fault line between two zones - a stagnant heritage zone of government offices and historic buildings, and a mutating metropol zone - can be considered as a newly born urban district. The polarity between the two, along with the waterfront location, give the site a unique position within Copenhagen. While occupying an ideal location along the harbour waterfront, the site lacks any identity. Public spaces, city, and water merge into one continuous field of asphalt and concrete. No Spatial Definition The public domain on and around the site also currently lacks any spatial definition. No distinction is made between road, car park and urban plaza. The open area is too large and very unspectacular. There is no sense of being in the epicenter of Copenhagen, a place where city and waterfront are coming together. No Connectivity Currently, the public circulation throughout the site enforces the separation between city and water With no connection between the two, movement from the city remains distinct from pathways along the waterfront. The typical remedy to this situation is to setback buildings from the water to create a public passage. However, looking at the existing situation along the harbour front, the size, quality and atmosphere of these spaces renders them empty and unusable. “Meeting Point” To give the waterfront definition and a sense of destination, a strong building footprint, touching all four sides of the site, would break the monotony. Each side of the site would retain its own identity. The building would become a meeting point of the waterfront, the harbour, Kierkegaard’s Square, and the city. Urban Definition With the square footprint the surrounding areas are reformed. Kierkegaard’s Square is given a strong border and a sense of enclosure. The northern area of the site is reformed into an intimate urban plaza, while the waterfront is reactivated with public activity. Building Can we create a building that not just responds to the contextual issues, but that is capable of introducing a new impulse in this area? Can we turn the constraints into exciting conditions and create a new language for Copenhagen? Harbour Modernism A linear display of the tenets of Danish Modernism: monumentality, simplicity and politeness. The harbour holds some of Denmark’s most notable architectural icons, both past and present
RDC|84
OLD BUILDING
Undergound One
Ground Floor Plan
RDC|86
Roof Plan
First Floor Plan
Volume The urban context made us interested in a large footprint for the building. In order to fit in the requested program a solid volume, similar to the adjacent modern buildings, could be the base for the design. Heights Surrounded by historically significant and protected buildings on three sides of the site, the surrounding context is highly sensitive to the building’s volume. The highest point of the building relates to the Lille Christianborg to the west and the Old Brewery to the north east forming an enclave of low rise historical buildings directly to the north. Mixed-Use Building The various program elements are stacked in a seemingly random order. The public program, the urban routes and the DAC, reach into the heart of the building and create a broad range of interaction between the different users. Urban Passage Situated between the city centre and the waterfront, the site possess one of Copenhagen’s few remaining opportunities to connect the two. To capitalize on the site’s potential the building introduces the concept of the ‘urban motor’ to Copenhagen and actively reunites the city to its harbour. Program Opposed to the typical stacked section, where building programs remain autonomous, the program ‘heap’ can create unexpected and unpredictable situations where each program is made aware of its coexistence with the others. DAC The Danish Architecture Centre is the only architecture research and display venue to be embedded within its own subjects of housing, offices and parking. Program Sequence The DAC program is organized as a vertical sequence through the building. Starting below ground and moving upwards to the cafe with its view over all of Copenhagen, each program is given a unique position and quality making a varied progression through the building. DAC Auditorium Looking out over the city of Copenhagen, the DAC Auditorium reconnects the visitor to the city; from the outside it becomes a attracting beacon for DAC.
RDC|88
Internal Spaces : Old Building, To identify the activities.
Laboratory DAC could take advantage of its varying position throughout the building by treating the surrounding program as testing ground for architectural experiments in housing, offices and parking. Offices The rentable office spaces offer generous views into the city through the large glass facade. The facade to the DAC atrium provides internal relations to other building users and the public. All offices are provided with natural ventilation which will enhance the comfort in the office space. Landscape As an extension of the urban passage, the surrounding site is reformed into a series of public spaces. The north, adjacent to the MaterialgĂĽrd, is small in scale and designed as an intimate public plaza. Along the water, the long and narrow strip is populated with urban activities further intensifying the population of the site. Playground In the design of the building and the landscape a playground concept is integrated. Different than the current playground the new proposal has different typologies of playgrounds distributed over the entire site. The most secured playground area is an exterior terrace located within the building volume, the landscape at the waterfront is attractive for the older kids. The playground will have a mix of an urban character and natural topographic elements and will challenge the children.
RDC|90
SECTION 1 : Cut through DAC (mostly) Showing various spaces and their position in the whole volume
Section 2 : Section perpendicular to the previous one, showing free flow of people to the ground and underground.
Lake Side Landscapes during the evening time.
Waterfront | Urban Spaces
RDC|92
Entrance during morning time;.
DAC Exhibition
RDC|94
SITE Why Shantiniketan Site Analysis Observations User and Vicinity Analysis
WHY SHANTINIKETAN ? Within rarh region • •
Creative economy centre University Town - many art and craft graduate from viswa-bharti
•
university stay in Shantiniketan to practice. Tourist attraction - Due to the deep traditional attachment a high number of tourists visit town for short and long term stay
•
Rich cultural heritage
Bolpur town itself acts as a design centre for rarh region, the craft industry is rich here and there are many efforts by various NGOs, locals and govt.
RDC|96
SITE ANALYSIS Detailed Climate Analysis : Under Literature review
RDC|98
Towards site from amarkutir road
From site towards road and canal
OBSERVATIONS • • • • • • • • •
Area – 20 Acres with scope of expansion. Good connectivity with major craft and art centre Koramangla - 10 Mins Electronic City – 22 Mins Due to wild life sanctuary no possibility of development in south Very quite and calm environment Existing trees and water body Climate –Tropical Hot and Humid Prevalent Wind Direction– South West
USER AND VICINITY ANALYSIS
RDC|100
AREA PROGRAMMING There area is calculated as per standards and personal observation of activities and spaces during case studies.
Training Indoor Workshop Outdoor Workshop Experimentation Yard Studios(3) Storage Toilets
1200 600 550 225 12 20
Training
2607
Ancillary
Areas
Admin Residency Services
50 1200 60
Total
1310
RDC|102
Awareness
Areas
Exhibitions (2) Lobby Multipurpose Conference Library cum Bookshop Storage Offices Toilets
800 m2 90 m2 600 m2 60 m2 30 m2 36 m2 15 m2
Total
1631 m2
Recreation
Areas
CafĂŠ Resteraunt Plazas OAT Toilets
35 m2 60 m2 800 m2 400 m2 20 m2
Recreation
1315 m2
Research Material Testing Lab CAD Lab & Media Lab Fabrication Lab Classrooms (3) Storage Toilets
475 m2 120 m2 360 m2 90 m2 50 m2 15 m2
Research
1110 m2
Awareness 20%
Training 33%
Recreation 17% Ancillary 16%
Research 14%
Clusters
Storage 0%
Toilets 1% Studios(3) 9% Experimentation Yard 21%
Training
Indoor Workshop 46%
Outdoor Workshop 23% Admin 4% Services 4%
Recreation
RDC|104
Residency 92%
Storage 2%
Offices 2%
Library cum Bookshop 4%
Toilets 1%
Exhibitions (2) 49%
Multipurpose Conference 37%
Lobby 5%
Awareness
CafĂŠ 3%
Toilets 1% Resteraunt 5% OAT 30%
Plazas 61%
Ancillary
Toilets 1% Storage Classrooms 5% (3) 8% Material Testing Lab 43% Fabrication Lab 32%
Research
CAD Lab & Media Lab 11%
RDC|106
DESIGN DEVELOPMENT Access to the site and zoning Land use Site development Circulation Design Drawings
ACCESS TO THE SITE AND ZONING Existing green belt
Accessible/ public view
Quite and green/secluded
Quite and green water body view
RDC|108
LAND USE Existing green belt
Awareness
Residential
Training Research Recreations
SITE DEVELOPMENT MAJOR AXIS From site analysis there are two major forces on site :Green and Water
GREEN AXIS
WATER AXIS
RDC|110
Welcome centre
Pavilion
Residential Restaurant
Lecture hall
Workshops Design Studios Labs
CIRCULATION
+300 +600
Office
Open
Info
+1200
Cafe
DN
UP
villion
n/Pa
Exhibitio
UP
Office
Handloom
Work Station
Machine Splitting Bamboo
Cutting Storage
Slicing Machine(2-3)
Paint
Bamboo Storage
Experimentation Yard
+600
Clay
+1200
Mud
0.00
Mortar MIX
es Servic
2
Store
es Servic
e Hall
and
Filter
Kiln
Toilets
Clay and Mud Lab
UTM
Glaze
and
Store
Store
+600
Design Studio
1
+600
Store
e Hall Lectur
Store
Lectur
3
Service
(M) Work Station
Round Bamboo Storage
+1200
Wax
UP
2
(M) Work Station Work Station
DN
General Designers Services
SITE PLAN
RDC|112
Office
Office
Vehicular
(M) Work Station
1 Primary Access
Store
+900
UP
+300 +600
Office
Open
Info
+1200
Cafe
DN
UP
villion
n/Pa
Exhibitio
UP
Office Office
Office
Handloom
Work Station
Machine Splitting Bamboo
Cutting Storage
Slicing Machine(2-3)
Paint
Bamboo Storage
Experimentation Yard
+600
Clay
+1200
Mud
0.00
Mortar MIX
es Servic
2
Store
es Servic
e Hall
and
Filter
Kiln
Toilets
Clay and Mud Lab
UTM
Glaze
and
Store
Store
+600
Design Studio
1
+600
Store
e Hall Lectur
Store
Lectur
3
(M) Work Station
Round Bamboo Storage
+1200
Wax
UP
SITE PLAN
Secondary (only Pedestrian)
(M) Work Station Work Station
DN
2 Pedestrian movement
(M) Work Station
1
Store
+900
UP
RDC|114
RDC|116
RDC|118
RDC|120
RDC|122
RDC|124
RDC|126
BIBLIOGRAPHY Vincent B. Canizaro, editor, Architectural Regionalism Collected Writings on Place, Identity, Modernity, and Tradition Tzonis, Liane and Stagno, Tropical Architecture - Critical Regionalism in the age of Globalization Foster, The anti-aesthetic; essays on postmodern culture suman-limbu, Lumbasumba | Ethnic-art-centre, dhankuta (https://www.slideshare.net/sumanlimbusubbayakthumbu/thesis-2014-lumbasumba-ethnic-art-centre-dhankuta-suman-limbu) Kenneth Frampton, Towards a Critical Regionalism : Siz points for an Architecture of Resistance Deependra Prashad, ‎Saswati Chetia New Architecture and Urbanism: Development of Indian Traditions Newfert Ernst, Newfert Peter, Architecture Data Time Saver Standards for Architecture Data https://en.wikipedia.org/wiki/Rarh_region http://bangadarpan.blogspot.in/2010/03/rarh-region-in-west-bengal.html Design clinic scheme | http://www.designclinicsmsme.org/
RDC|128
RDC|130
Department of Architecture and Regional Planning Indian Institute of Technology Kharagpur