NOTEBOOK PROJECT
ANALYSING RAJASTHAN SCHOOL AND RABINDRA BHAVAN
2021-2022 ARCHITECTURAL THEORY
TEAM
1. Tasneem Vali 2. Tejas Shinde 3. Suyash Dhadiwal 4.Yug Dudhara 5. Devyani Parale 6. Rucha Pagare 7. Rohit Barve 8. Urja Arte 9. Hitashi Ambwani 10. Sandesh Jadhav TUTORS Neha Panchal Yagnik Bathija
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BASED on the readings of simon unwin's analysing architecture
Semester 3 2021-2022 architectural theory rachna sansad's academy of architecture 3
THE RAJASTHAN SCHOOL Ar. Sanjay Puri Completed in 2020 5
site and context Defined Area of Township
Perimeter Road Housing along the perimeter Empty space Playground Rajasthan School
RAS VILLAGE
Allows accessibility to children from village and township
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The school derives its character from organic old cities of Rajasthan
Secondary classrooms
Activity room
Primary classrooms Auditorium
PLAN In plan we can see organic placement of classrooms which corresponds to a cottage like structure as described in Unwin's book.
SECTION
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Entrance
The school was designed on a flat landscape resulting in a arbitrary design (partly) which paved the path for other functions to be placed.
Transitional space connection to the focal area zones
The structure is divided into three zonesPrimary school, auditorium, admin offices central courtyard Secondary school, cafeteria
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walls
SCALE The three storied structure with huge walls gives an impression of boundless space.
HUMAN SCALE
The extended walls acts as sun-breakers to provide shade and also reduce the overall heat gain of the building. The sun-breakers can be considered as something which is inorganic or something which is going against the nature which explains it is a temple..
transitional space
The shadows by walls to the open grounds forms a transitional way creating INBETWEENESS.
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The different orientation of parallel walls create identical spaces which can be recognized accordingly.
EXTERIOR FACADE
There is a maximized use of trapezium on exterior facades as well as on interiors to maintain a similar style. These trapeziums are mirrored or even inversed.. Moreover, each classroom gets a different perspective due to the difference in sizes of trapeziums.
The placement of walls create psychological partitions hence ..having INHABITED WALLS. 11
entrance MANIPULATION OF SPACES Wider entrance makes the space more welcoming and directs a person to the auditorium
The entrance from the east is framed by wide opening.
Space for guard, provides a GUARDING factor from where we could view the flow of human being through the structure.
ENTRANCE 12
Corridors Proximity to courtyard keeps the corridor well ventilated
The corridor has fair natural and artificial light with a jali wall towards the end thus works well as a space connecting completely enclosed space with minimal light to the outside courtyard. TRANSITION AND MOVEMENT A semi-enclosed walkway with a view of the trapezoidal frames of the courtyard connects the entrance way, admin office and primary school.. The repetition of columns of the at regular intervals makes us perceive them as parallel walls creating a sense of movement 13
STAIRCASE A celebrated staircase, the landing gives the view of public talk and opens us to corridors ..creates a space to wait breathe and relax.
vertical transition
Wall added between stairs and free standing space acts as a INHABITED WALL. It plays a role of visual and vocal partial barriier between people on either sides of it.
space to chat 'static'
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movement ' dynamic''
The staircase acts as a vertical transition space. The dining rooms at the ground floor are a noisy crowded space while the classrooms, staffrooms at the top are a in a silent ambiance. The staircase being sparsely crowded acts as a transition
Walls frame perforated patterns which further frame the purpose of ventilation.
When you peep outside window you get involve into a public activity of watching on ground or. But, when we turn inside it’s either become private space or surrounded by a few.
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COURTYARD The pergola other than being a aesthetic element not only acts as a connector that binds the whole school together but also as a separator that distinguishes the different functions.
The courtyard itself looks like an extension of classrooms due to the same language of trapezoidal shapes that it follows. From the entrance to the courtyard is a series of dynamic spaces with transitions that take you to the courtyard., the `HEART` of the structure. TEXTURE
Sense of touch helps differentiate between grass and pavement. The pavement provides a harder wearing surface than grass Grass Pavement
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The courtyard is shaded with oversized pergola casting interesting shadows and keeping the area cool. NATURAL LIGHT AND SHADOW
The shadows create an interesting zigzag pattern on the ground making the courtyard a medium of interaction between the structure and the human Traditional Layout of street, houses close and tall, Providing shadow to the streets keeping it cool.. Similar concept applied, tall columns provide shade at different pt of time.
Courtyard
EAST SECTION 17
Classrooms
The trapezoidal frames in the courtyard are large in size making the human feel small in its presence and gives feeling of being small under something that has wise presence Large walls make person feel short
The central courtyard is surrounded by structures from all four sides. There are multiple pathways to go to from central courtyard which brings in line of passage plan showing central courtyard surrounded by structures on all sides
When a person is standing in central courtyard, they are surrounded by structures on all four sides, there is grass below them own which they are standing and a pergola structure above which gives them sense of six-direction 18
person experiencing sense of six-direction
The pergola between the 2 buildings of school doesn’t acts as a whole different space but it compliments each other.. hence creating INBETWEENESS corridor
Person standing under the structure feels safe and perceives PROSPECTS view by himself standing in REFUGE area.
refugal area
prospect arena
TRANSACTIONAL SPACE 1. Has frame work 2. Public interactional space 3. No private space. The trapezoidal frames formed in the courtyard frame the changing shadow patterns throughout the day.
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COMPARISON WITH TRADITIONAL SPACE
CLASSROOM Classroom facing North west direction preventS direct sunlight to enter
Earlier times people used to sit in shade of tree to learn
Because of the shape of the walls, the heat glare gets blocked and ample natural light is available to the classroms.
A similar trapezium style is not maintained in classrooms. Instead the basic plan of classrooms is a rectangle to make space more accessible and feasible. 20
CLASSROOM MODULE
Putting divisions in a window made it block the overpowering exterior view, which is controlled by concept of borrowing elements.
The extended parallel walls define the north façade of the structure. Person sitting inside acts as refugee while people on ground acts as prospects
EXTENDED REPETITION The structure prominently uses parallel wall strategy through repetition of individual classroom blocks which are bound by parallel walls.
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series of inbetweeness '
The abutting rooms creates a series of inbetweeness due to walls. Also, the section it self acts as architect’s point of view where we can see both refuge and prospect.
Room
Classroom
Bench framing book
We can consider the school to be a main frame, which frames number of rooms, each contain a number of smaller frames.
In activity room, students are made to sit in circular format representping equality which creates social geometry amongst them Activity room
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LIBRARY
Window facing east for direct sunlight
It has a small terrace for proper ventilation and also it gives the view of the central courtyard.
Here the sanctity of the space is maintained by separating the spectator place and the skene by means of a stage. The entrance is placed close to the parking lot for easy access.
AUDITORIUM 01 02
02
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COMPARISON WITH TRADITIONAL SPACE Kathputli Art form is an ancient type of performance space. 23
There are various circles of presence which can be identified within the space
One such circle of presence can be seen in the auditorium of the Rajasthan school which is in the ground floor
When the speaker standing on stage speaks, the circle of presence with respect to sound is defined by the distance till which the sound is audible. Circle of presence need not always be a circle, when a body is put into an enclosure or cell its circle of presence is also contained and perhaps moulded
Auditorium
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CONCLUSION First Floor Ground Floor More silent ambience with less crowd, restricted and bounded feel
More distractions with easy access to outside, crowded and noisy
libra
ry
din
ing
ssr
cla
oom om staff ro
roo
ss cla
m
auditorium
STRATUFICTAION IN THE STRUCTURE
The lower levels are in a shaded area compared to the upper levels hence feel cooler because of the pergola and trees around the structure. The structure is a 3 storeyed building to blend in with the surrounding development. 25
First Floor
Ground Floor
As the following sketch of the Rajasthan school is structural which is an example of a temple. So according to this and by analysis the Rajasthan school with respect to temple and cottage it is more of a temple then a cottage. . But as the architect Sanjay Puri wanted something organic he played with the form which eventually becomes an example of cottage. COLOUR Used for recognition and giving character.
REDUsed to give a unique identity to the exterior, making the school stand out. YELLOW AND BLUEInteriors giving joy and brightness as well as soothing and relaxing feeling.
GREENCan be seen in the vegetation around, 26
Landscaped play spaces for children
1 . Frag,mented layout
2 Fragmentation of layout gives space for more open landscaped areas
3.
4. Carefully planned semiopen circulation spaces enveloping the central courtyard enable in natural ventilation.
Organic layout + Orientation of each space Each space having different views
The comprehensive understanding of these four points leads to the conclusion that this structure is spatially dominant 27
FORM The fragmented layout imbibes the organic character of Indian villages thereby not standing out in a foreign environment but instead becoming a part of it. The towering walls and the oversized pergola have been designed as a response to the harsh climate of Rajasthan. The form strongly reflects Sanjay Puri's ideologies of sustainability
Thus we can conclude in Rajasthan School, form is shaped by both Environmental Factors and Symbolism.
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RABINDRA BHAVAN Ar. Habib Rahman Completed in 1961 31
SITE AND CONTEXT A
MANDI HOUSE CIRCLE
OAD HR A H S OZ FIR
LYTTON ROAD
Located in the vicinity of lots of buildings of national importance which gives character to the space.
A'
PLAN
SECTION AA' 33
1.
2. 3
4
5
Rabindra Bhavan radiates big circle of presence through city of Delhi. Every structure radiates circle of presence and due to the lack of available area and the buildings constructed at close proximity, These circles of presence can also overlap each other. 1.Exhibition gallery 2.Sahitya academy 3.Lalit kala academy wing 4.Sangeet natak academy wing 5.Theatre
over-lapping of circle of presence
The orientation of yblock creates pockets which are further used for the exhibition gallery and theatre along with landscape and associated pathways. 34
Rabindra bhavan has a structured look to it with symmetrical shapes in plan end elevation. The above sketches show the symmetricalness of the structure which eventually makes it a temple.
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Pentagonal shape acts as a fill to the void created by the 'Y' shape of the admin building. The three rectangles form a core center space. Thus, the rectangles provide the area for functional activities.
Bilateral Symmetry along axes. Moreover, rectangles help in proper utility of rooms as they provide justice to practical corners.
Its clearly evident that the architect primarily designed the 'Y' shape of admin building and later the rest 2 buildings followed its geometry. Thus, playing the role of mass and void. 36
TIME TAKEN TO EXPERIENCE THE STRUCTURE1.
DISCOVERY Rabindra Bhavan can be seen from the Mandi Circle as one approaches Firoz Shah Road.
2.
VIEW OF OUTER APPEARANCE From the road, one can only see the main gate as the bhavan hides behind the greenery.
3.
APPROACH To enter the administrative block, one walks along the length of the building which defines a path.
4.
5.
ENTRANCE The entrance porch is flanked by two columns and is semicircular giving it a light appearance.
EXPLORATION OF INTERIOR SPACES The Interiors of the bhavan is vast and it takes considerable time to explore the structure.
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WALLS AND FACADE JAALI WALLS Jaali Walls are used in all three blocks to maintain continuity. This was done to give the buildings, a traditional Indian feel. These cast interesting shadows in the admin. block whereas they are purely for aesthetics in the other two buildings
RANDOM RUBBLE MASONRY Random Rubble masonry at the end wall of the administrative lock gives a natural look to the structure.
GLASS FACADE The glass façade of the exhibition gallery allows plenty of natural light to illuminate the interiors. 38
ENTRANCES AND PATHWAYS
C.
EXHIBITION GALLERY
A. ADMINISTRATION BLOCK
THEATRE
B.
PLAN
DIFFERENT USER GROUPS
OFFICE WORKERS ENTANCE A & C
PERFORMERS AND ARTISTSENTRANCE B 39
SPECTATORS AND AUDIENCE ENTRANCE- A & B
The extended slab marks the entrance to the administrative block as well as creates a buffer zone between the interior and the exterior. Along with that it acts as a protective covering.
The orthogonal geometry of the whole whole structure and a proper entrance to it makes the structure more of a temple than a cottage.
Entrance is framed by long porch creating focus on entrance
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ADMIN BLOCK 1. Sahitya Academy 2. Sangeet Natak Academy 3. Lalit Kala Academy
1.
3. 2.
PLAN
The double chajja windows allow ample breeze to flow in. The cantilevered second row blocks the harsh morning and afternoon sun.
SECTION THROUGH ADMINISTRATION BLOCK
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Public spaces Private spaces Semi-Private spaces Transitional spaces Parallel walls divide each block into three zones. The three zones are connected via the central core
MOVEMENT Linearity of corridors (bound by parallel walls) channels movement through the blocks
The central pentagon shows character of a GUARD as it could have a view of all the three arms as wells as of the entrance
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entrance
LIBRARY
Near Entrance, for easy access
Jali Wall so that light enters the room Silent Space to study/read
1. Library 2. Scholar's Room
Individual desk;'s for reading
EAST WALL OF BOOKSTORE 43
Alternate windows are given between bookshelves in the book store which gives a soft glow to the space.
PAVILION The pavilion between the administrative block and the art gallery acts as a connector. The supports create boundaries which further defines the path and segregate the main complex area from outside
MOVEMENT The repetition of columns of the pavilion at regular intervals makes us perceive them as parallel walls creating a sense of movement from the administrative block to the exhibition center.
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This roof structures act as transitional space between two buildings i.e. Administration Block and Exhibition Gallery. it too defines kind of transactional area defining boundary and being public space. The smallest and the most intimate circle of presence physically is described by the distance within which once is about to touch or embrace the object.
circle of touch-ability starts when person touches the structure
This circle where the person is close enough to touch or to feeel the structure is called circle of touch-ability. 45
EXHIBITION GALLERY Services placed in centre ,providing clear passage for Exibition space
Staircase leading to upper floor.
Columns don't appear on outside
Jali wall provided just to match the site theme (no particular function)
RCC Framed Exhibition Block with filler walls
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ARTIFICIAL LIGHTING IN EXHIBITION GALLERY
The windows are given at a high level but most of the lighting is artificial in order to emphasize the artworks.
VIEW OF EXHIBITION GALLERY FROM THE FIRST FLOOR Multiple scales are in play in the exhibition gallery where the ground floor is double heighted to give a sense of vastness. As we move towards the upper floor, the ceiling height is reduced and there is feeling of compactness. 47
MOVEMENT Curving the accent wall helps create focus and guides the visitors through the space.
Line of passage
Foyer area
In foyer area, the straight passageway gets curved leading to diversion of straight line which is called line of passage
Exhibiiton gallery Line of sight
In exhibition area, the art frames are placed on the front wall as well left and right wall so when a person is standing, his vision is directed towards the frames in straight line. This is line of sight
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The refugee and prospect idea is ubiquitous (everywhere)
Prospect defines a view from which one observes the surrounding environment from the refugee area. a person seeks refuge but also wants a prospect. The person and the refuge are presented as having a mutual identity (understandably, since we all tend to see the world from our own point of view.)
The person standing between the columns gives INBETWEENESS 49
Heavy restricted illusion Jaali
Direct visual access to the outside
glass
The expression of using such transparent material not only gives direct visual connection with the administration block but it also opens out in the garden area. working staff
exhibition space circular staircase basemnt visitor AC Plant room weather maker`s room electrical substation
While false brick facade in the upper floors of the exhibition gallery giving illusion of heavy slab sitting on the fragile supports. the lower levels give a sense of freedom and openness to the visitor while thr upper floor is much restricted
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THEATRE A type of End stage A type of theatre where audiance faces the stage from only one side
Internally Sound materials
lined with absorbing
Legend 1.SpectatorSpace (Ordinary world) 2.Stage 3.Back stage ( Imaginary world)
No windows for light and Ventilation, designed purely on structural requirement
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MANIPULATION OF WALLS The slight distortion of parallel walls towards the stage area accentuates the focus on the stage. The waist slab acts as a seating area for the audience and also as a ceiling for the space created beneath.
Every structures radiates circle of presence as a whole and as well as smaller elements in it
smaller circle of presence inside structure
When person speaks on stage, it’s circle of presence is defined till the distance sound is audible throughout the auditorium. intensity of circle of presence of sound 52
CREATING FOCUS Parallel walls help focus on a particular direction. The absence of large openings on the walls prevents distraction and directs the viewers attention to the stage area
a. The one standing on stage himself is refugee while audience acts as prospect b. In this case, audience are refugee while speaker is prospect also individual in audience is involved in public activity but when he turns around it’s a private activity. c. The person at door could see both speaker and audience so it could be said being architects point of view d. 4,5,6 are experiencing inbetweeness 5. 7,8,9 are experiencing refuge and arena while standing on Terrace, at entrance and under the cycle stand 53
Positioning of the structure according to the site shape
Splitting of the structure
covered maximum volume
Exhibition Centre
Exhibition Centre
Administrative block Theatre
Creation of separate blocks for separate functions
Pockets generated due to shape of the building creates spaces for additional functions and landscape The spatial organisation is a result of form and positioning of the building according to the site shape STRUCTURAL DOMINANCE
The positioning of blocks creates clear arrivals and connections 54
FORM
Ar. Habib Rahman has used a number of traditional Indian Elements which strongly represent the Indian culture. The structure hence became a national symbol representing the free spirit of independent India.
JAALI WORK
CHAJJAS ON WINDOWS
DOME
VAULTS
The simplicity of the structure is reflective of the simplicity of the great poet Rabindranath Tagore, in commemoration of his birth centenary. The simple elegant elements perfectly represent the three national academies.
So we can conclude that form was shaped by the spirit of age. 55