Design Thesis by Akansha Jain

NAVRACHANA UNIVERSITY SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE

DESIGNING A LIBRARY BY UNDERSTANDING THE PHENOMENOLOGY OF NATURAL LIGHT A THESIS SUBMITTED TO THE FACULTY OF SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE

Guided by:Ar. Ravi Kashyap

Submitted by:Akansha Jain 16192002 2019-20

DESIGNING A LIBRARY BY UNDERSTANDING THE PHENOMENOLOGY OF NATURAL LIGHT

Guided by AR. RAVI KASHYAP

Submitted by AKANSHA JAIN 16192002 | B. DESIGN 2019-20

School of Environmental Design & Architecture Navrachana University, Vadodara, Gujarat

NAVRACHANA UNIVERSITY SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE

DESIGNING A LIBRARY BY UNDERSTANDING THE PHENOMENOLOGY OF NATURAL LIGHT A THESIS SUBMITTED TO THE FACULTY OF SCHOOL OF ENVIRONMENTAL DESIGN AND ARCHITECTURE IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF BACHELORS OF ARCHITECTURE 2019-2020

Submitted to:Prof.Pratyush Shankar Dean, SEDA

Shalini Amin Program chair, B. Design, SEDA

Guided by:-

Submitted by:-

Ar. Ravi Kashyap Architect

Akansha Jain 16192002

DECLARATION I hereby declare that the thesis entitled “Designing a library by understanding the phenomenology of natural light” is a record of original work by me under the guidance of Ar. Ravi Kashyap. The references taken from the published or unpublished thesis and contribution of others have been mentioned in the thesis.

Akansha Jain

In my capacity as guide of the candidate’s thesis, I certify that the above statements are true to the best of my knowledge

Ar. Ravi Kashyap

ACKNOWLEDGEMENT I am most grateful to my guide for this thesis, Ar. Ravi Kashyap, without whose unerring attention this would not have been possible, and for sharing his invaluable experience and knowledge. I would also like to express my heartfelt gratitude to Dean SEDA, Professor Pratyush Shankar and special thanks to our programme chairperson Shalini Amin for her constant encouragement and support in facets beyond the scope of only interior. Furthermore, I am so thankful to the administration and the staff of Central library and Smt. Hansa Mehta Library for cooperating and helping me with my case study. I also thank Ar. Girdhar Loomba for helping me with site drawings. I would also like to thank all the faculty members of the School of Environmental Design and Architecture for shaping and nurturing my journey throughout the undergraduate programme. I must also thank my family for their unceasing support. Last but not the least, I am also grateful to my friends and fellow classmates whose inputs have been invaluable throughout this endeavour.

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ABSTRACT The base of Interior is the build-up of many factors such as form, colour, light, furniture, surrounding, openings, area, height, the orientation of the building and many more which affects the space. One of them is “Light”. Light has a consequential connection with design. Be it a natural or artificial design, both have its own significance and role to form and enhance the space. Light holds the power to enhance the experience of a place irrespective of its type i.e private, semi-private or public. One of the key factors that affect the selection of light which is to be used in a given space is function or activity. This thesis is all about the analytical study of natural light in a library and understanding the types, method, quality and quantity of natural light through various case studies. Towards the end of this thesis, I have attempted to design a fine arts library considering the learning of light from case studies and literature. This thesis is an attempt to understand the natural light and its application for converting it into a design. Towards the end, this thesis helps us to understand the basics of sun path and role-play of the light in a day. Through my thesis, I tried to answer the few basic questions such as: • How different size and type of windows, light well and courtyard brings the light in an interior to make it a beautiful and interesting spaces. • How to tackle light problems such as glare, unnecessary light and • How to maintain consistency of light throughout the day.

AIM

To study and analysis, the library with reference to natural light and to arrive at design intervention.

OBJECTIVE

The main objective of this thesis is to understand and analyse the significance of natural light in a library. Through my thesis I also tried the answer few questions such as: • How space can be created and experienced in the presence or in absence of the natural light. • How light and shadows can be used to create a space. • What are the activities and spaces that require a considerable amount of light . • How to design a library by keeping natural light as the major aspect.

METHODOLOGY

• Referring to literature based on public library and play of light in it. • Taking 2 case study of India and analysing them - Central library of Vadodara. - Hansa Mehta library Vadodara. • Case study cover following parameters: - Placement and geometry. - Element and form of building. - Source of natural light in build ing(opening) - Distribution of mediators like skylight - Nature of material used - Quality and quantity of light required for particular activities or spaces - natural and artificial lights their method and technique • Design a library based on learning from case studies.

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TABLE CONTENT PREFACE

Abstract Aim Objective Scope and Limitations Methodology CHAPTER 1. Light: Introduction

CHAPTER 2.

Space and light

CHAPTER 3.

Daylight and significance of light

CHAPTER 4.

Case study

CHAPTER 5.

Site analysis

CHAPTER 6.

Design Process

1.1 Natural light 1.2 Artificial light

4.1 Central library, Vadodara 4.2 Smt. Hansa mehta library, Vadodara 5.1 Site introduction 5.2 Site analysis 6.1 Design idea 6.2 Application of industrial material 6.3 Design program 6.4 Conceptual idea 6.5 Organisation

CHAPTER 7 Design and views

Appendices

Appendix 1 - List of Figures Appendix 2 - Bibliography

1. INTRODUCTION 1

1.INTRODUCTION Light, a basic word but with a great significance which surrounds us. Light is a source without which life would not be possible not only for human but also for animals and plants, it is a source of survival. Since we all know the light is divided into 2 major types natural and artificial. 1.1. NATURAL LIGHT Natural light is inbuilt, a gift from nature to human. From the first ray of sun to the light of moon and stars these all are natural light. The efficient use of natural light reduces power consumption and makes the building more sustainable. Natural light is also known as daylight which is elaborated in chapter 3. 1.2. ARTIFICIAL LIGHT Artificial light is a human invention, but of all humankind significant invention is fire. Fire is defined as a source of heat, protection and above all, as a source of light. Light emerged from fire allowed us to experience longer days and thus, to control our surroundings. History is proof that light sources have dramatically evolved and has improved our livelihood with more comfort irrespective of what the place is. Home, work. leisure, etc. We all see how the shopping centres, cities and public spaces can tackle the power of light to create an experience that can attract and engage people. After all these evolutions and facts, we all know that natural light is the best option for human activities than artificial light and this is scientifically proved. Lighting plays a major role in helping people to understand and experience the architecture. Light is the medium which helps us to see and appreciate the beauty of a building and its surrounding no matter whether the building and its structure is lit naturally or artificially. Light helps to bring an emotional value to architecture or interior which creates an experience for those who utilise the space. Without light architecture would not have the same impact. Both natural and artificial light highlighting the texture, colours, form of a space, helping architecture achieve its true purpose. We enjoy architecture majorly from vision and it is enhanced by lighting

Fig 1.1 Vertical window brighten up the space with natural light.

Fig 1.2 Spot light is used to create focus on display

There are few key aspects of architectural lighting which create a successful balance between lighting and architecture. Those aspects are aesthetic, function, and efficiency. The aesthetic aspect is where the focus is on the emotional impact on the user by balancing the lighting and architecture. In this designer decided how they want users to experience the space when they walk around it. Use of this aspect can be prominently seen in retail locations like exterior lighting brings customer focus and then interior lighting should have feelings to amaze them as they walk through the door along with the focus on the product. Function an important and focal point for architectural lighting, we want light in a certain way to create the experience but the major function is to see. Light’s major function is to create a clear vision for a person to walk in space and explore it. The last aspect is the green building and sustainable movement. While designing one try to save as much energy possible this can be done by designing in such a way that light goes directly on the object rather than wasting. Efficient use of natural light reduces the demand for artificial light and save the power which results in more sustainable building Even in artificial light with the advancement in technology we have the option of LED light which saves the energy as compare to florescent

2. SPACE AND LIGHT 5

2. SPACE AND LIGHT The connection between light and space is very strong. There is different type of spaces for different type of activities, as activity change so do the space like study room to study, kitchen for cooking, bedroom to sleep, and many more. So, as the spaces change the quality, quantity, and type of light required by them also change, we need mild light while studying and working, less light in the bedroom. If we see at a larger scale, there is a different category of buildings. The first category is a public building comprised of a museum, library, exhibition, etc these type space needs a different type of light like for exhibition and museum space we need more focused light to focus on an object while in the library we need more of proper light and a good amount of light on the bookshelf to refer book and on the reading area. The second category is a building that is comprised of warehouse and office building. One of the main objectives of these buildings is to make building energy-efficient and sustainable, as the consumption of energy in this type of building is much more and due to this reason, they prefer more natural light and those artificial light that are sustainable. They also need that the problem of glare on the laptop screen should not occur. The third category is private buildings which are comprised of private property like house, courthouse, etc. the light required by these type of buildings are mixed like according to the spaces in that building there is no particular type of light that is being required and to have such different type of light majorly artificial light is used. And in some places, if possible natural light can be utilized. Since I want to study the natural light, I select the library from public building to understand how the consistency and efficiency of natural light are maintained as it needs more constant light while other spaces need more focus and spotlight which is created with the help of artificial light.

3. DAYLIGHT AND ITS SIGNIFICANCE 9

3. DAYLIGHT AND ITS SIGNIFICANCE Daylighting is a part of sustainable design which refer to the idea of bringing natural sunlight in interior spaces and using it more efficiently. Daylighting reduces the use of artificial energy and helps in conserving energy with maximising comfort within the interior. Natural light changes the human experience. It makes confined space look slightly larger than what it is. It highlights the colour on the walls, furniture, floor differently and makes it livelier, which cannot be done by any of the light bulbs. It is scientifically proven that daylight is more efficient it helps in human performance, create a healthier environment not only for adults but also for the students it is beneficial for both. Daylight reduces the use of artificial energy and makes it an energy-efficient. It also helps in forming the shape of the building (fig 3.1 and 3.2) Reasons why light is an important element to design: 3.1. Light provokes our mood Light help to set human mood as good amount of natural light will provoke one to work actively and maintain human efficiency, while dark and low light makes one feel dull and less productive some of the people also suffer from depression, suffering from the seasonal affective disorder. The light can make one space both cheerful as well as depressed, it’s all about the correct selection of light.

Fig 3.1 The Jatiyo Sangshad Bhaban designed by Louis Kahn

3.2. Light creates atmosphere Light helps to get the feel of a space. Like clinical atmosphere can be felt from white lights glaring off walls, space becomes more welcoming if warm lights are used. Similarly, twinkle on and off lights make space more festive. So, with the use of different type of lights, we can transform a space. 3.3. Light affects our emotions Light has a great impact on human emotions, the intensity of light affect one like bright light intensifies emotions while on the other hand low light keeps emotions steady which means people can be more convened and less active.

Fig 3.2 Church of light designed by Tadao Ando

3.4. Directional lighting Light makes space or room lit through constant light or it can focus on a particular wall or object depending on the type of light used. Light helps us to create a directional light and create the focus on the object while keeping the other less focused object in less light. Like centre, fixture lit up the overall space or room and the directional or focused light highlight the particular element in a space. 3.5. Functionality Functionality is one of the major roles of interior lighting. It should not be a waste of electricity it should have a purpose. It applies to both natural as well as artificial light. An opening on the wall should be well used to light up space properly it should not be wasted. Like Chandeliers place in the foyers, room and entryway are to light up space with centrally themed. So, every light should have a function. 3.6. Space Light changes one experience for space. A dark room can brighten up by bringing natural light from window or opening or through artificial light. Light can make the open experience a warm big space even in a small room. I t is suggested to experience the space its texture and colour one should go for the use of natural light rather than the artificial one

4.1. CASE STUDY I CENTRAL LIBRARY VADODARA 13

4.1. Central library, Vadodara, Gujarat Location: Bank Rd, Beside Bank of, Bajwada, Mandvi, Vadodara History: Having the floor area of 1050 sq. m, the central library was the idea of Maharaja Sayajirao Gaekwad, who was the pioneer of public library movement in India that began in 1906. Initially, the library was situated in Sarkarwada, but now it relocated just opposite to it. Designer: The library was designed by William Alanson Borden along with other 3 Baroda based architects and Sir Edward Lutyens a builder from Delhi. Specification of the library: • The library was commissioned in 1910 and was completed in 1931. • The library was the first mobile library unit and training centre for professionals in India. • The library’s stack area is a three-tier arrangement, with each stack being 85 feet long and 34.5 feet wide. Each level is separated from the other with flooring of 9-mm thick glass imported from Belgium. • Adjustable steel shelves with a four-tier arrangement that can store about 3 lakh books at each level (acc. to volume). Three fumigation chambers in the library help to keep books free from insects.

Fig 4.1.1 Central library on google map

Fig 4.1.2 Sun path shows the light intensity in central library

Fig 4.1.3 Central view of Book stack area on ground floor

Fig 4.1.4 Central view of Book stack area on ground floor

Fig 4.1.5 Light well view from ground floor to bring natural light

Fig 4.1.6 Light well view from first floor to bring natural light

Fig 4.1.7 Book stack area on ground floor towards west

Fig 4.1.8 Book stack area side coridoor

Fig 4.1.9 Book stack area on ground floor mezzanine

Fig 4.1.10 Exterior staircase to first floor

Fig 4.1.11 Book stack area on ground floor mezzanine

Fig 4.1.12 Central book stack area

Fig 4.1.13 Central book stack area on mezzanine first floor

Fig 4.1.14 Book stack area on first floor mezzanine

4.1.1. FUNCTIONAL ANALYSIS

Functional analysis is done based on the current use of space. Majorly 3 shades of color are being used i.e. blue, green, red. Shades of blue will define the different type of books, shades of green will define the office space and reading space whereas shades of red define the transition

Reading area Office area Book exchange section Rest room Reference section Coridoor Vertical transition

FIG 4.1.15 GROUND FLOOR PLAN 16

Office area Confrence room Head librarian office Reference section Children and ladies reading room Rare books collection Utility area Coridoor Vertical transition

FIG 4.1.16 FIRST FLOOR PLAN 17

4.1.2. LIGHT ANALYSIS

The light analysis is done based on the amount of light that a particular space gets. The brown color shows the bookshelf while the black hatch part shows the dark space and the more the intensity of black less the light

FIG 4.1.17 GROUND FLOOR PLAN 18

FIG 4.1.18 FIRST FLOOR PLAN 19

FIG 4.1.19 SECTION AA’

FIG 4.1.20 SECTION BB’

4.2. CASE STUDY II HANSA MEHTA LIBRARY, VADODARA 23

4.2. Hansa mehta library, Vadodara, Gujarat Location: Station Rd, Near Arts Canteen, Maharaja Sayajirao University, Sayajiganj, Vadodara, Gujarat History: With the floor area of 2950 sq. m, the Hansa Mehta library was established on May 1, 1950, in the central block of the old residency office building, and in 1954 foundation stone of the new (current) library was laid. Specification of the library: • It has a single largest Reading Room of 10,600 sq. ft. which can accommodate about 1100 readers at a time • It has an impressive collection of rare books that include books as old as those dated back to the sixteenth century. • Approximately 3,500 books are preserved in this precious collection, which comprises some noteworthy titles, which are out of Print • The library has 2 floors and 2 mezzanines each floor having the height which is either of double-height or single height. • The library has the 3 light courtyards as a source of light which is now covered. • Library also has a good building envelope with a combination of the window of different lengths, width, and height.

Fig 4.2.1 Smt. Hansa Mehta library on google map

Fig 4.2.2 Sun path shows the light intensity in library

Fig 4.2.3 Foyer

Fig 4.2.4 Help desk

Fig 4.2.5 Corridor at ground floor

Fig 4.2.6 Reading hall at mezzanine ground floor

Fig 4.2.7 Reading hall at first floor

Fig 4.2.8 Reading hall at first floor

Fig 4.2.9 Reception at first floor

Fig 4.2.10 Office space towards south

Fig 4.2.11 Confrence room towards east

Fig 4.2.12 Foyer towards south

Fig 4.2.13 Courtyard to bring light in interior

Fig 4.2.14 Courtyard to bring light in interior

Fig 4.2.15 Book stack at ground floor

Office Ramayan section Record section

4.2.1. FUNCTIONAL ANALYSIS

It is done based on the current use of space. Majorly 3 shades of color are being used i.e. blue, green, red. Shades of blue will define the different types of books, shades of green will define the office space and reading space whereas shades of red define the transition.

Journal and Thesis section Reference book section Utility area Coridoor

FIG 4.2.16 GROUND FLOOR PLAN

Vertical transition

Reading section Newspaper reading section Binding and printing section Rare book section

Reference book section Utility area Coridoor

FIG 4.2.17 MEZZANINE GROUND FLOOR PLAN

Vertical transition

Head office Office area Confrence room Reading area Newspaper reading room Visitors room

Journal and Thesis section Rare book section Binding and printing section Reference book section

Utility area Coridoor

FIG 4.2.18 FIRST FLOOR PLAN

Vertical transition

Office area Confrence room Reading area Newspaper reading room

Reference book section

Utility area Coridoor

FIG 4.2.19 FIRST FLOOR MEZZANINE PLAN

Vertical transition

4.2.2. LIGHT ANALYSIS

FIG 4.2.20 GROUND FLOOR PLAN

FIG 4.2.21 MEZZANINE GROUND FLOOR PLAN 31

FIG 4.2.22 FIRST FLOOR PLAN

FIG 4.2.23 FIRST FLOOR MEZZANINE PLAN

FIG 4.2.24 SECTION AA’

FIG 4.2.25 SECTION BB’ 34

5.SITE ANALYSIS 35

5.1. SITE : ALEMBIC CITY

Founded in 1907, Alembic Group, an Indian conglomerate holding company having an enormous business empire is headquartered in Vadodara, Gujarat Located in the city center is the Alembic Factory. Alembic city was earlier a chemical industry and with the change in time has gone through several interventions, which beautifully showcases both the Industrial heritage. Alembic city is a cluster of various cultural spaces with museums, art studios, display and exhibition space with ancillary spaces for a library, AV room, and a cafe. WHY ALEMBIC: For the selection of site the sole purpose was to get a building with a good exterior envelope and the orientation of building with respect to the sun. The building in alembic city is fulfilling the above criteria its north-facing orientation creates an interesting play of light. Another plus point is no neighboring building creates a hindrance to light. SITE AREA: 80 M x 9.6 M ORIENTATION: NORTH

Fig 5.1.2 Inside space at industrial shed, Alembic

Fig 5.1.1 Alembic art district, Gorwa Vadodara on google map

Fig 5.1.3 Skylight at centre an intresting element

Fig 5.1.4 Different cultural spaces aroound the site

Fig 5.1.5 North west elevation

Fig 5.1.6 North east elevation

Currently, the site is under construction with the restaurant coming over there but in my opinion, this site could be more efficiently used if a library is constructed over there as the place have a museum, artist studio and the proposed restaurant can be shifted to other industrial sheds nearby. SITE DRAWINGS* 36350 35655

6365

38750 37925

16645

20955

1600

2690

2730

12440

770

A' 22985

325

2705

1600 1105

2705

3740

9600 9180

230

Fig 5.1.7 Plan @2000mm

NOTE : DRAWINGS ARE NOT IN SCALE

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 5.1.8 Reflected ceiling plan

PRODUCED BY AN AUTODESK STUDENT VERSION 6.313 M WIDE WALKWAY

SOUTH ELEVATION

Fig 5.1.9 Elevation

PRODUCED BY AN AUTODESK STUDENT VERSION

4990 4700

PRODUCED 8300 BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDEN

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 5.1.10 Section AA'

SECTION AA'

PRODUCED BY AN AUTODESK STUDENT VERSION

SOUTH ELEVATION

D BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

6.313 M WIDE WALKWAY

5.2 SITE ANALYSIS

Fig 5.2.1 The form of building is rectangular which bring the sense of linerarity.

Fig 5.2.3 The form also got the embedded geometry in it.

Fig 5.2.2 Volume in section

Fig 5.2.4 Light in section

Fig. 5.2.5 According to the sunpath, the east part will have the morning sun the south west part will get the harsh light while . North side will get the indirect sun.

Fig 5.2.6 Accessecibility to site.

Fig 5.2.7 Different cultural spaces aroound the site

5.2.1 Spaces in alembic museum

Fig 5.2.8 Alembic museum partially displaying the old machines and elements used in industries.

Fig 5.2.9 Alembic museum partially displaying the old machines and elements used in industries.

Fig 5.2.11 Exterior spaces of alembic

Fig 5.2.12 Exterior spaces of alembic

Fig 5.2.13 Transition spaces between the studios

Fig 5.2.15 Interior of studios having the rawness and showing significantly more use of metal in furniture

Fig 5.2.16 Interior of studios having the rawness and showing significantly more use of metal in furniture

5.2.2 Spaces in alembic city

Fig 5.2.10 Alembic museum partially showing the exhibition space

5.2.3 Spaces in artist studio

Fig 5.2.14 Interior of studios having the rawness and showing significantly more use of metal in furniture

5.2.4 Work done by artists using raw material

Fig 5.2.17 Construction rod is used to make sculpture.

Fig 5.2.18 Construction spade is used for installation.

Fig 5.2.19 Sculpture from mud.

Fig 5.2.20 Artist working with brick .

Fig 5.2.21 Rods, metal sheet, concrete is used in to create a sculpture.

6.DESIGN PROCESS 43

6.1. DESIGN IDEA Alembic city holds both cultural and historic essence in terms of its construction, material, and quality of space. How the building transformed from various forms of industries to the present situation as the construction of the alembic art district resembles the evolution of building since 1907. The rawness of material in the form of exposed brick, ceiling, and furniture is what connects the building to its history i.e to the industry and to give it an industrial look. It is designed in such a way that the spirit of the building is maintained. After much research and cognizance about the Alembic art district, the materials, and the philosophy used, I decided to carry forward with the same philosophy ahead for my design idea in the form of inspiration and by not breaking the language of the place as the site I selected is a part of Alembic city. Being a fine arts library, this site is relatively more approached by the artists or the students of fine arts. These artists majorly work in a couple of ways • Either they explore new material • Or they work with the raw material ( more commonly noticed in alembic artist studios) And this is what becomes the bridge between the industrial concept and the artist’s work. INDUSTRIAL INTERIOR DESIGN: This is inspired by the old factories, industries, and warehouses where the materials are exposed. Designing an interior using the industrial elements/material like metal, wood, concrete, objects used in industries, exposed pipes duct system, lighting is what brings the industrial look to space. This type of design is all about combining modern sleekness with old objects and how they can be utilized in different ways.

Fig 6.1.3 Kitchen interior with industrial concept

Fig 6.1.2 Interior design using industrial elements

Fig 6.1.4 Living room designed on industrial concept

Fig 6.1.1 Graphical representation of design idea

Fig 6.1.6 Furniture made up of wood and metal

Fig 6.1.5 Chair designed with industrial pipe

Fig 6.1.7 Centre table designed from industrial waste

Fig 6.1.8 Rack designed with metal and wood

6.2. APPLICATIONS OF INDUSTRIAL MATERIAL

Fig 6.2.1 Tank can be used in form of stand alone.

Fig 6.2.6 Construction spade converted into sitting.

Fig 6.2.9 Pipes can be used to make bench

Fig 6.2.2 Tank can be used in form of book shelf.

Fig 6.2.3 Tank can be used in form of individual reading space.

Fig 6.2.4 Tank can be used in form of sitting.

Fig 6.2.7 Trolly converted into bookshelf.

Fig 6.2.10 Pipes can be used to make partition in space.

Fig 6.2.5 Tank can be used in form of desk.

Fig 6.2.8 Industrial pipes can be used to make book shelf.

Fig 6.2.11 Pipes can be used to make individual carrel room

6.3. DESIGN PROGRAMME

After a detailed analysis of the site and its surrounding, Alembic city is a cultural hub having a space of a museum holding the history of the Alembic Industry. It also has several studios for artists to work, along with an exhibition space to showcase their upshots and an Amphitheatre for all the cultural and music concerts. Due to its cultural environment, I am determined to design a Fine arts library, a place where one can read and write along with the museum followed by an exhibition gallery for the visitors. SITE AREA – 770 SQ. M • RECEPTION AREA -12 sq. m • BOOK STACK - 350 sq. m Reference books Magazines & newspaper Achieves Fixed stacks Moveable stacks Bound journals • OFFICE SPACE - 50 sq. m Head librarian ( 3 people with other 1 head ) 3x2 m Other cabins ( 2 cabins ) 6x3 m New arrival labeling and segregation 4x2.5 m Photocopy & cloakroom 3.5x2 m • READING (100-120 people) - 180 sq. m Common reading zone (50 people) 65 sq. m Free reading space (10 people) 20 sq. m Individual working & study carrel room (5 cabins) 45 sq. m Study carrel desk (40 people) 20 sq. m Couches (6 people) 7 sq. m • OTHER ACTIVITY - 70 sq. m Refreshment area -10 sq. m Tech loan (10 pc for online research) - 20 sq. m Projector room (5-6 people) - 40 sq. m • SERVICE AREA ( Washroom and storeroom ) - 35 sq. m AREA USED – 690 SQ. M

NOTE: Remaining space can be used in circulation or stack area 46

SERVICES 10%

OFFICE + OTHER AREA 20% OFFICE + OTHER AREA 20%

BOOKS AREA 40%

READING AREA 30% READING AREA 30%

Fig 6.3.1 Graphical representation of area divison

6.4. CONCEPTUAL IDEAS

Reading space

Book stacks

Fig 6.4.1 • Load of books makes shelf heavy. • Reading need more light and as level increases the intensity of light during day time increases and therefore it’s the best light. • Less light on book as they need to be preserved

Fig 6.4.2 • Pipes can be used to create the partition as well as support to the structure and connects to the industrial interior

Fig 6.4.3 • Reading spaces should be close to book stack • Mezzanine is placed along the wall it bring more of good reading light for readers • Book stack is placed at certain distance to protect the books from moisture and other natural clamitiy

Fig 6.4.4 • Mezzanine in centre divide the space in two parts and make it more intresting. • Office space is placed below the mezzanine to avoid the direct sun which create the glare on computure screen.

6.5. ORGANISATION

Option 1: In this option the space is majorly divided into two major part i.e. public and private so the right side is public domain and left is semi private than private . Semi private domain Legends: Private domain Public domain

FIG 6.2.3 SECTION AA’

FIG 6.5.1 MEZZANINE FLOOR PLAN FIG 6.2.4 SECTION BB’

FIG 6.5.2 GROUND FLOOR PLAN GROUND FLOOR PLAN

FIG 6.2.5 SECTION CC’

Option 2: In this option the entry is from left corner i.e from west north and than the rest of the space is design. With additional skylight as shown in the section.

FIG 6.2.6 MEZZANINE FLOOR PLAN

FIG 6.2.9 SECTION AA’

FIG 6.2.7 GROUND FLOOR PLAN

FIG 6.2.10 SECTION BB’

Option 3: In this option the services and cabins are organised on the north east and south west and the rest of the space is double heighted which bring the experience of volume in the space..

FIG 6.2.8 GROUND FLOOR PLAN

FIG 6.2.11 SECTION AA’

FIG 6.2.12 MEZZANINE FLOOR PLAN

FIG 6.2.15 SECTION BB’

Option 4: In this option the mezzanine are placed in the east and west along the shorter side of the site and services below the west side while office space is below east mezzanine . In this option the plan is open office plan where there is no solid partition and more of free flowing space.

FIG 6.2.13 MEZZANINE FLOOR PLAN

FIG 6.2.16 SECTION AA’

FIG 6.2.14 GROUND FLOOR PLAN

FIG 6.2.17 SECTION BB’

7. DESIGN AND VIEWS 51

3700

JOIST

METAL I BEAM

METAL PLATE

100 x 100 MM BOX SHAPE STEEL SECTION WELDED WITH RAFTERS

3370 1840

METAL I BEAM

1230 100 100

150 x 200 MM METAL BEAM SCREW TO WALL

RAFTER

1380

I BEAM TO WALL DETAIL SCALE 1:10

150 x 150 MM HOLLOW BOX COLUMN SUPPORTING GIRDER 3370

948

FROSTED GLASS

METAL I BEAM

150 x 200 MM METAL BEAM SCREW TO WALL

3100 x 2850 x 25 MM FROSTED GLASS FIXED ON JOIST WITH SILICON ADHESIVE

STRINGER BEAM

150 x 200 MM STRINGER BEAM

WEST MEZZANINE FLOOR PLAN @2500MM SCALE 1:100

150

25 200

180

METAL PLATE

STRINGER BEAM TO I BEAM DETAIL

SLAB

SCALE 1:100

400 x 60 x 60 MM METAL MEMBER EACH PLACE AT 3000MM FIXED WITH TRUSSES

1000

ALUMINIUM PLATE

5 MM THK ALUMINIUM PLATE RUNNUNG ALONG THE ROOF SUPPORTED WITH VERTICAL MEMBER EACH PLACED AT 3000MM

AS PER SITE

SCALE 1:20

5 MM THK METAL PLATE SCREW TO THE GROUND JOINING STRINGER BEAM

10 MM THK L SHAPE METAL PLATE JOINING STRINGER BEAM AND I BEAM

I BEAM TO WALL SECTIONAL DETAIL

VERTIACL MEMBER

STRINGER BEAM

230

REFLECTOR SHEET

400

METAL I BEAM

METAL PLATE

20 MM THK METAL PLATE SCREW TO WALL WITH I BEAM WELD TO IT

1000 MM WIDE BY 20 MM THK REFLECTING SHEET RUNNING ALONG THE ROOF

20MM THK CHEQUERED ALUMINIUM SHEET TREAD

25 MM THICK FROSTED GLASS

TREAD

FROSTED GLASS

150

150 x 200 MM STRINGER BEAM

EAST MEZZANINE FLOOR PLAN @2500MM SCALE 1:100

150 x 200 MM METAL BEAM SCREW TO WALL

BRICK WALL

COLUMN

150 x 200 MM METAL BEAM WELDED TO PRIMARY BEAM

230

STRINGER BEAM

150 x 200 MM METAL BEAM SCREW TO WALL 530 THK BRICK WALL

150 x 200 MM I SHAPE STEEL SCETION WELDED TO GIRDER

METAL I BEAM

1027

250

190

4740 DIVIDED INTO 2 EQUAL PARTS

20 MM THK METAL PLATE SCREW TO WALL WITH I BEAM WELD TO IT

150 x 200 MM I SHAPE STEEL GIRDER SCREW TO WALL

2850

230

968

1027

4684 DIVIDED INTO 2 EQUAL PARTS 230 4684 DIVIDED INTO 2 EQUAL PARTS

LAMINATE

10MM THK WOODEN TEXTURE LAMINATE FIX WITH 12 MM CEMENT BOARD

530

METAL PLATE

1350

4300

1000

GIRDER

20 MM THK METAL PLATE SCREW TO WALL WITH I BEAM WELD TO IT

1000

1350

15500 IS DIVIVDED INTO 5 EQUAL PARTS 530

1510 165 1510

150

530

150

3470

4300

463

STRINGER BEAM TO GROUND DETAIL SCALE 1:20

REFLECTOR DETAIL SCALE 1:20

100

GASKET

GASKET TO HOLD GLASS

GLASS

6 MM THK TOUGHENED GLASS FOR SKYLIGHT

TRUSS

140

METAL TRUSS

SKYLIGHT DETAIL SCALE 1:20

ANGLE PLATE

4 MM ANGLE PLATE WELD WITH TRUSS

AXONOMETRIC VIEW OF REFLECTORS SCALE 1:20

VIEWS

FIG 7.22 RECEPTION AREA

FIG 7.23 GROUP READING AREA BEHIND THE RECEPTION

FIG 7.24 RECEPTION AND CLOCK ROOM

FIG 7.25 CENTRAL READING AREA ALONG INDIVIDUAL CARREL ROOMS BEHIND

FIG 7.26. ISSUED BOOK SECTION ON WEST SIDE TOWARDS ENTRY

FIG 7.27 VIEW FROM CARREL ROOM

FIG 7.28 ISSUED BOOK SECTION ON WEST SIDE TOWARDS MEZZANINE

FIG 7.29 VIEW OF EAST MEZZANINE AND SPACE BELOW

FIG 7.30 VIEW FROM STAIRS OF EAST MEAZZANINE

FIG 7.31 VIEW OF BOUND JOURNAL SECTION BELOW MEZZANINE

31 30

FIG 7.32 VIEW OF WEST MEZZANINE ON WEST

FIG 7.33 VIEW OF GROUP READING SPACE ON EAST MEZZANINE

LIST OF FIGURE Chapter 1 Introduction Fig 1.1 https://www.thenational.ae/lifestyle/home/biophilia-buzz-how-to-inject-morenature-into-your-home-interiors-1.845065 Fig 1.2 https://lightjourney.com.sg/wp-content/uploads/2019/10/eur-7003-rep980x490.jpg Chapter 3 Coverpage Fig 3.1 Fig 3.2

Daylight and its significance https://i.pinimg.com/564x/a4/47/b3/a447b312321acd836162aa306bce063a.jpg https://www.wikiwand.com/en/Jatiya_Sangsad_Bhaban https://i.ytimg.com/vi/7ZtfYOD5I8M/maxresdefault.jpg

Chapter 4 Case study Fig 4.1.1 https://www.google.com/maps/place/Central+Library+Mandvi+Bar oda/@22.301157,73.2083362,654m/data=!3m1!1e3!4m5!3m4!1s0x395fc58a11f 9dedf:0x2feb999d1fde84a2!8m2!3d22.301157!4d73.2105249 Fig 4.2.1 https://www.google.com/maps/place/Smt+Hansa+Mehta+Library/@22.310686 4,73.1830644,672m/data=!3m1!1e3!4m5!3m4!1s0x395fcf527f998da9:0x9f9e6d b9713c542!8m2!3d22.3106864!4d73.1852531

Fig 5.2.14 Fig 5.2.15 Fig 5.2.16 Fig 5.2.17 Fig 5.2.19 Fig 5.2.20 Fig 5.2.21

https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Clicked by Ayushi Lahothy https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Clicked by Ayushi Lahothy

CHAPTER 6 DESIGN PROCESS Fig 6.1.2 https://i.pinimg.com/564x/b5/6b/1d/b56b1da0d4eae01b9e65e99584d49052. jpg Fig 6.1.3 https://sebringdesignbuild.com/wp-content/uploads/2019/11/Metal-KitchenCabinets-1-Sebring-Design-Build-400x318.jpg Fig 6.1.4 https://cdn.decoist.com/wp-content/uploads/2014/01/Industrial-din ing-room-in-a-warehouse-apartment.jpg Fig 6.1.5 https://i.pinimg.com/736x/35/cf/b2/35cfb23ea0b029839f18255f8ea7470d.jpg Fig 6.1.6 https://4.imimg.com/data4/XP/TM/MY-8577493/wrought-500x500.jpg Fig 6.1.7 https://i.ytimg.com/vi/0QZf8Ub380w/maxresdefault.jpg Fig 6.1.8 https://m.media-amazon.com/images/I/71ROZlYSTAL._SR500,500_.jpg

Chapter 5 Site analysis Fig 5.1.1 https://www.google.com/maps/search/alembic+city+art+district+va odara/@22.3259487,73.169231,17z/data=!3m1!4b1 Fig 5.1.2 Ar. Girdhar Loomba and team Fig 5.1.3 Ar. Girdhar Loomba and team Fig 5.1.4 Alembic real estate, Alembic city Fig 5.2.6 https://www.google.com/maps/search/alembic+city+art+district+va dodara/@22.3259487,73.169231,17z/data=!3m1!4b1 Fig 5.2.8 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.9 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.10 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.11 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.12 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.13 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates Fig 5.2.14 https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-devel opment-karan-grover-and-associates

BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • • •

https://www.wbdg.org/resources/daylighting http://www.energy-design-tools.aud.ucla.edu/ http://www.ciralight.com/blog/how-to-maximize-the-natural-lighting-in-your-building-designs http://www.findglocal.com/IN/Vadodara/494256540587929/Space-Studio https://www10.aeccafe.com/blogs/arch-showcase/2019/09/04/alembic-industrial-heritage-and-re-development-in-gujarat-india-by-karan-grover-and-associates/ https://www.archro.com/products/expanded/partition-wall.html https://www.thespruce.com/increase-natural-light-in-your-home-4050531 https://www.wbdg.org/resources/sun-control-and-shading-devices https://www.thehindu.com/features/homes-and-gardens/get-light-not-the-glare/article5664548.ece http://hqdesigns.de/en/interior-guide/industrial-furniture-style/ http://www.librisdesign.org/docs/index.html https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-development-karan-grover-and-associates https://timesofindia.indiatimes.com/city/vadodara/distillery-a-new-art-destination/articleshow/68455933.cms https://architecturelive.in/industrial-heritage-karan-grover-associates/ https://historyofvadodara.in/baroda-central-library/ https://www.archdaily.com/915270/when-sunlight-meets-tadao-andos-concrete https://www.archdaily.com/tag/light-matters https://www.architectureartdesigns.com/the-benefits-of-natural-light-in-your-homesinterior/ https://homeguides.sfgate.com/importance-lighting-interior-design-56751.html https://www.mk-illumination.com/article/lighting-up-our-lives-why-light-is-so-important-to-humans/ http://www.ca2l.com/the-importance-of-light-i-in-life/ https://www.tcpi.com/importance-architectural-lighting/ https://www.disd.edu/blog/daylighting-interior-design/