N.I.F.T. 'A Biophilic Approach to Building Design'

National Institute Of Fashion Technology, Ludhiana A BIOPHILIC APPROACH TO BUILDING DESIGN

DESIGN REPORT

Karanpreet Singh | Design Thesis | 2015ARA059

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CONTENTS 1

INTRODUCTION ........................................................................................ 14

2

ABOUT THE INSTITUTE ................................................................................ 16

3

VALIDITY ................................................................................................... 21

4

AIM OF THE PROJECT ............................................................................... 22

5

OBJECTIVES.............................................................................................. 22

6

METHODOLOGY ...................................................................................... 23

7

SCOPE AND LIMITATIONS......................................................................... 24

8

SITE SELECTION ......................................................................................... 25

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INTRODUCTION TO SITE ............................................................................ 27

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APPROACH TO THE SITE ........................................................................... 28

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SITE ANALYSIS ........................................................................................... 29

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LIBRARY STUDY ......................................................................................... 32

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SPATIAL ANALYSIS (N.I.F.T. DELHI)............................................................. 40

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ARCHITECTURE AND DESIGN PEDAGOGY .............................................. 47

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BIOPHILIC DESIGN .................................................................................... 48

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CASE STUDIES AND INTERNET STUDIES ...................................................... 50

16.1 16.2 16.3

N.I.D. AHMEDABAD .............................................................................................................. 50 PEARL ACADEMY, JAIPUR ......................................................................................................... 66 COMPARATIVE ANALYSIS ......................................................................................................... 74

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DESIGN REQUIREMENTS ........................................................................... 76

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AREA REQUIREMENTS............................................................................... 77

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THE DESIGN .............................................................................................. 81

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REFERENCES ........................................................................................... 103

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List of figures Figure 1: Total export in clothing sector. ................................................................. 14 Figure 2: Response of Lok Sabha by the press information bureau. ............................ 21 Figure 3: Google map image of Ludhiana City. ....................................................... 25 Figure 4: Master Plan of Ludhiana 2031. ................................................................ 26 Figure 5: Ludhiana map and Master Plan superimposed. .......................................... 27 Figure 6: Approach to site from Railway Station. ...................................................... 28 Figure 7: Approach to site from Bus Terminal. ......................................................... 28 Figure 8: Average temperature and precipitation. .................................................... 29 Figure 9: Maximum temperatures reached on certain no. of days in a month. ............. 29 Figure 10: Maximum wind speeds recorded on certain no. of days in a month. ........... 30 Figure 11: Maximum rainfall recorded on certain no. of days in a month. .................. 30 Figure 12: Wind rose diagram. .............................................................................. 30 Figure 13: Site contour plan. ................................................................................. 31 Figure 14: Site contour 3D. ................................................................................... 31 Figure 15: Standard table arrangement taken from Architect’s data by Neufert. ........... 32 Figure 16: Images taken from Architect’s data by Neufert. ........................................ 32 Figure 17: By author. ........................................................................................... 33 Figure 18: seating arrangement for 35 and 40 students. .......................................... 33 Figure 19: Optimum viewing angle. ....................................................................... 33 Figure 20: Optimum viewing angle from the closest seat. ......................................... 34 Figure 21: Optimum spacing between the board, the first and last seat. ..................... 34 Figure 22: Images taken from Architect’s data by Neufert. ........................................ 35 Figure 23: Images taken from Architect’s data by Neufert. ........................................ 36 Figure 24: Image showing the spacing and easements between elements of a library. .. 37 Figure 25: Open stage plan. ................................................................................. 38 Figure 26: Seating angle....................................................................................... 38 Figure 27: Seating angle from center. .................................................................... 39 Figure 28: Floor slope for an auditorium. ............................................................... 39 Figure 29: Pattern making tables. .......................................................................... 40 Figure 30: Fashion design lab with pattern making tables and mannequins, placed all over the lab. ........................................................................................................ 40 Figure 31: Pattern tacker machine.......................................................................... 41 Figure 32: Image of a fashion design studio............................................................ 41 Figure 33: Arrangement in fashion technology lab. .................................................. 42 Figure 34: Image of a fashion technology studio. .................................................... 42

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Figure 35: Image of cutting lab. ............................................................................ 43 Figure 36: Image of cutting lab. ............................................................................ 43 Figure 37: cutting tables. ...................................................................................... 43 Figure 38: Dimensions of Frame loom and Table loom. ........................................... 44 Figure 39: Components of storage room. ............................................................... 44 Figure 40: Student working on table loom. ............................................................. 44 Figure 41: Dimensions of warp loom...................................................................... 44 Figure 42: Cupboard with sliding doors, having glass panels meant for displaying contemporary designs........................................................................................... 45 Figure 43: Box type cardboard with glass sliding doors, for keeping and displaying regional costumes. ............................................................................................... 45 Figure 44: Findings cupboard for keeping box files, glass boxes and other bound files for magazine cuttings. ............................................................................................... 45 Figure 45: Display rack/panel for display of latest textile samples for the prevailing and coming season. ................................................................................................... 46 Figure 46: Panels for displaying of the best design of the season along with the textiles used and other details of the garment. ................................................................... 46 Figure 47: Dimensions of accessory display table. ................................................... 46 Figure 48: Satellite view of National Institute of Design, Ahmedabad. ........................ 50 Figure 49: Location of N.I.D. Ahmedabad with context to city. .................................. 51 Figure 50: Site plan of N.I.D. Ahmedabad. ............................................................. 52 Figure 51: Site zoning plan. .................................................................................. 54 Figure 52: Site built to open ratio. ......................................................................... 54 Figure 53: Ground floor of N.I.D. Ahmedabad. ...................................................... 55 Figure 54: First floor of N.I.D. Ahmedabad. ............................................................ 56 Figure 55: Second floor of N.I.D. Ahmedabad. ....................................................... 57 Figure 56: N.I.D. section through east-west axis. ..................................................... 58 Figure 57: N.I.D. as seen from Sansakar kendra. .................................................... 58 Figure 58: N.I.D. as seen from main gate. .............................................................. 58 Figure 59: Main entrance of the exhibition area. ..................................................... 59 Figure 60: Informal seating outside the exhibition area. ............................................ 59 Figure 61: The natural lighting and ventilation in the building. .................................. 60 Figure 62: Narrow corridors can be seen in plan marked in yellow. ........................... 60 Figure 63: Staircase well. ...................................................................................... 60 Figure 64: ground floor grid and expansion joints.................................................... 61 Figure 65: Square grid followed throughout. ........................................................... 61 Figure 66: Section through a workshop. ................................................................. 61 Figure 67: Image of the Design Street. ................................................................... 63

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Figure 68: Cut-outs in the building......................................................................... 63 Figure 69: Image of the fountain in administration area. .......................................... 63 Figure 70: First floor plan. .................................................................................... 64 Figure 71: Image of the spiral staircase found in the institute. .................................... 64 Figure 72: Stone bed in the exhibition area. ............................................................ 65 Figure 73: Studio space on the second floor. .......................................................... 65 Figure 74: Satellite view of Pearl Academy, Jaipur.................................................... 66 Figure 75: Location of Pearl Academy on Jaipur map............................................... 67 Figure 76: Ground floor plan Pearl Academy, Jaipur................................................ 68 Figure 77: the Underbelly floor plan Pearl Academy, Jaipur. ..................................... 69 Figure 78: The multifunction area. ......................................................................... 69 Figure 79: Informal interaction. ............................................................................. 69 Figure 80: Exhibition area. .................................................................................... 69 Figure 81: Jalis on building exterior........................................................................ 71 Figure 82: Jalis on building exterior........................................................................ 71 Figure 83: Section showing positioning of the jali with respect to the internal habitable space. ................................................................................................................ 71 Figure 84: Section showing the effect of passive evaporative cooling through the courtyard over the water body................................................................................ 72 Figure 85: Solar analysis of the building. ................................................................ 72 Figure 86: Naturally shaded exhibition area. ........................................................... 73 Figure 87: Image showing the use of matkas in the roof slab during the actual construction. ........................................................................................................ 73 Figure 88: Wall section. ........................................................................................ 73 Figure 89 : Site zoning.......................................................................................... 82 Figure 90 : Solar analysis. ..................................................................................... 82 Figure 91: Site zones interrelationship .................................................................... 83 Figure 92 : Major site movement. .......................................................................... 83 Figure 93: Building forms...................................................................................... 83 Figure 94 : Site plan. ............................................................................................ 84 Figure 95 : Final building forms. ............................................................................ 85 Figure 96 : Academic block. ................................................................................. 85 Figure 97: Student network and concentration zones. ............................................... 86 Figure 98 : Academic block central node. ............................................................... 86 Figure 99 : pathways extending from secondary nodes. ............................................ 87 Figure 100 : pathways fron central node. ................................................................ 87 Figure 101 : Pathway to entrance node. ................................................................. 87

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Figure 102 : Final building form with potential entrances. ......................................... 88 Figure 103 : academic building axonometric drawing. ............................................. 88 Figure 104 : Academic block ground floor plan. ..................................................... 89 Figure 105 : Section of display area. ...................................................................... 89 Figure 106 : Academic block first floor plan. ........................................................... 90 Figure 107 : Section through ramp. ....................................................................... 90 Figure 108 : Administrative block........................................................................... 93 Figure 109: entrance of Administrative block. .......................................................... 93 Figure 110 : Admin ground floor plan .................................................................... 93 Figure 111 : Admin first floor plan. ........................................................................ 94 Figure 112 : View of academic block from the security office. ................................... 94 Figure 113 : Residences. ...................................................................................... 95 Figure 114 : residential biophilic connections. ......................................................... 95 Figure 115 : thermal and airflow variability. ............................................................ 96 Figure 116 : Refuge in residence. .......................................................................... 96 Figure 117 : Residence 1 ground floor plan. ........................................................... 96 Figure 118 : Residence 1 stacked plan. .................................................................. 97 Figure 119 : Residence 1 first floor plan. ................................................................ 97 Figure 120 : Residence 2 ground floor plan. ........................................................... 98 Figure 121 : Residence 2 first floor plan. ................................................................ 98 Figure 122 : Residence 2 stacked plan. .................................................................. 99 Figure 123 : Apartments ground floor plan. .......................................................... 100 Figure 124 : Apartments first and second floor plan. .............................................. 100 Figure 125 : Apartments view from entrance. ........................................................ 100 Figure 126 : Hostel ground floor plan. ................................................................. 101 Figure 127 : Hostel second floor plan. ................................................................. 101 Figure 128 : Hostel first floor plan. ...................................................................... 101 Figure 129 : Hostel stacked plan. ........................................................................ 102 Figure 130 : Section through staircase.................................................................. 102 Figure 131 : Section through staircase.................................................................. 102

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1 Introduction Textile Industry of India The textile industry in India traditionally, after agriculture, is the only industry that has generated huge employment for both skilled and unskilled labor in textiles. The textile industry continues to be the second-largest employment generating sector in India. It offers direct employment to over 35 million in the country. India is first in global jute production and shares 63% of the global textile and garment market. India is second in global textile manufacturing and also second in silk and cotton production. [3] India has already completed more than 50 years of its independence.

The analysis of the growth pattern of different segment of the industry during the last five decades of postindependence era reveals that the growth of the industry during the first two decades after the independence had been gradual, though lower and growth had been considerably slower Figure 1: Total export in clothing sector. during the third decade. The growth thereafter picked up significantly during the fourth decade in each and every segment of the industry. The peak level of its growth has however been reached during the fifth decade i.e., the last ten years and more particularly in the 90s. The Textile Policy of 1985 and Economic Policy of 1991 focusing in the direction of liberalization of economy and trade had in fact accelerated the growth in 1990s. The spinning spearheaded the growth during this period and man-made fiber industry in the organized sector and decentralized weaving sector. [3] This huge industry of textile urged the need to develop institutes of textile and institutes of fashion technology throughout the country. Hence the National Institute of Fashion Technology were developed by the Ministry of Textile and Industry.

Institutes of higher education are an asset for a country and the engines for taking the nation forward. The architecture affects the educational processes of an institute. The aim, thus, would be to create a sum of spaces that aid to creative thinking and interaction.

Moreover, fashion and Architecture have always shared a reciprocal relationship based on common visual and intellectual principles. Both produce environments defined through spatial awareness and create structure based on volumes, function, proportion and material. As a student of architecture, one wants to understand and create a design model that explores the connections between fashion and architecture. Additionally, NIFT is an institute that takes up the tasks of craft revival and in turn culture revival. Similar analogy exists in architecture field as well.

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National Institute of Fashion Technology National Institute of Fashion Technology (NIFT) is the public institute of fashion design, management and technology education in India. It was established in 1986 in New Delhi under the aegis of the Ministry of Textiles, Government of India, with curriculum and faculty support from the Fashion Institute of Technology (FIT), in Manhattan, New York City. NIFT has since grown into 16 campuses nationwide. [4] The Institute is a pioneer in envisioning and evolving fashion business education in the country through network of several professionally managed centers at New Delhi, Bangalore, Chennai, Gandhinagar, Hyderabad, Kolkata and Mumbai.

NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The institute provides a common platform for fashion education, research and training.

NIFT is today a center of excellence, which can count among its alumni leaders in the growing fashion business, having become a symbol of India’s professional education.

Accreditation NIFT Act 2006 published in the Gazette of India on 14th July, 2006 confers Statutory Status on the institute. The Act came into effect from 1st April, 2007. The President of India is the 'Visitor' of the institute under the Act. The Act empowers the institute to award Degrees and other distinctions. NIFT is the first premier institute in India to award its own Degrees in the field of fashion education. The Degrees awarded by the institute are recognized by the academia worldwide. The institute confers Degrees to the graduates in the Convocation Ceremony marking the occasion when the students leave the realms of the institute to take up key leadership positions in the industry. [4]

Board of governors In accordance with NIFT Act 2006, the Institute has a Board of Governors comprising key officials and experts from different areas. Members of Parliament, Representatives of the Ministry or Departments. [4] In the Government of India, eminent industry experts and educationists broadly comprise the Board of NIFT. NIFT Board is responsible for the general superintendence of the institute and for steering the institute & providing direction in related matters. [4]

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2 About the Institute Objectives of N.I.F.T. 

Provide a transformative educational environment for talented young men and women to nurture their inventive potential and to acquire distinctive skills valuable to self, industry and society.



Offer a stimulating, modernistic and evolving curriculum that spans the vast spectrum of India’s artistic heritage yet remains firmly contemporary, incorporating disruptive technologies.



Value and celebrate cultural and individual diversity in their students, faculty and alumni, always emphasizing the power of fellowship.

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Be a global leader in the dissemination of innovative and project based pedagogies in design, management and technology for all facets of the textile, apparel, retail and accessories industries, through the promotion of rigorous and cutting edge research.

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Enable their faculty and students to have intensive interaction with educational institutions, fashion houses, start-up hubs and corporations relevant to our programs.

N.I.F.T. offers a varied range of academic programmes: Bachelors

Masters

      

  

Accessory Design Fashion Communication Knitwear Design Leather Design Textile Design Fashion Design Fashion Technology

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Master of Design Master of Fashion Management Master of Fashion Technology

Accessory Design Accessory design program prepares design professionals with embedded fashion knowledge, to offer innovations across myriad platforms spanning jewellery, crafts, personal accessories, soft goods and work gear. Accessory Design program is a career based education that is relevant today and has the ability to address the changing future scenario. [11] Accessory Design Majors provides extensive design knowledge in a socially relevant fashion scenario.

Knowledge is enhanced with conceptual understand of design as a process, material as a medium and ability to synthesize outcomes enabling them to address the contemporary needs. The program offers the millennial students to perfect the design process through a balance of latest chic trends and a passion for hand crafted artisanal products and process. [11] Students are creatively engaged in developing visualization skills with greater degree of digital fluency.

They stand empowered with material manipulation skills with an indigenous edge of traditional techniques.

Fashion Communication This programme encompasses cohesive course studies, introducing the FC graduate as a Visual Design Strategist capable of providing integrated solutions, in the following major pathways: Graphic Design, Advertising Space Design, Visual Merchandising, Fashion Creative, Fashion Photography, Fashion Journalism, Fashion Styling and Fashion Thinking, Interaction Design and New Media Design, specific to the fashion and lifestyle industry.

Graphic Design aims to prepare its graduates to have strong skills in visual design, an adeptness of visual design elements such as typography, grid systems, color, and composition. Space Design aims to produce professionals with the ability to innovate in the vast field of space design and equip them to an exciting job of transforming physical spaces into functional, comfortable retail experiences.

Fashion Creative offers sensitization towards the development of a visual language incorporating the sense of photography, fashion writing and styling. Fashion Thinking explores the dimensions of a culture that stimulates fashion thinking and innovation, developing innate abilities to articulate assumptions and blind spots, value diversity, engage in conflict and collaboration. [11]

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Knitwear Design The Knitwear Design Department addresses the need of specialized design professionals for the Knitwear domain of Fashion Apparel & Accessories industry. The department provides students a comprehensive exposure towards designing and execution of Knitwear Fashion garments and products. The scope of curriculum encompasses multiple segments, from foundation garments to outerwear. Students are given inputs on the latest technological knowhow and detailed design methodologies to remain abreast with latest trends and forecast in fashion. The department enables students to grow as professionals who can handle all aspects of Knitwear Fashion, right from designing of fabric to product realization. [11] Through four years of amalgamated exposure in knowledge and skill, a Knitwear Designer seeks to emerge with a blend of creative thinking, strong technical skills and a dynamic market orientation with respect to Flat Knits, Circular Knits and Computerized Knitting. The students acquire capabilities to work for all categories of Knitwear Apparels viz. menswear, women’s wear, kids wear, active or sportswear, leisure wear, winter wear, lingerie and intimate apparels. [11]

Leather Design The Leather Design degree programme of NIFT is a unique programme that intends to create prepared Design Professionals and Design Entrepreneurs for Fashion Leather products, Luxury goods and allied product sectors in National and International Business.

With the intent to help Nation building through the Design Professionals & Entrepreneurs, the curriculum of Leather Design programme of NIFT, with Design and Product Development as the core, caters to the different industry segments of Fashion Product sector, viz. Garments, Leather Goods, Footwear, Luxury goods and hand crafted products.

[11]

The professional expertise is developed by imparting the required knowledge, skills, creative exploration and practices built within the curriculum through four subject categories, viz.

Majors, Deepening Specializations, Interdisciplinary Minors and General Studies. [11]

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Textile Design The Textile Design Major equips students with knowledge and hones their creativity and understanding of design application for the industry. Weaving, print design and surface embellishment are the core textile subjects, using both hand and digital skills, to impart an extensive and versatile training for the students. The Major builds upon the integration of creative forces of design with textile technology, and also keeps in mind the historical, social and cultural contexts in which the designers work today.

Textile innovation and emerging textile technologies are an integral part of the Major. [11] The Major offers ample opportunity to students to create, experiment and innovate with materials. Alongside there is also emphasis on learning specialized software in order to explore digital and non-traditional approach to design, fabric structures and surfaces. The objective is to provide hands-on experience through practical set-ups and stateof-the-art technology. The department boasts of an array of studios including weaving, textile testing, surface design and CAD. [11]

Fashion Technology Apparel Production Technology major will prepare Techno managers with expertise in the core areas of mass manufacturing of apparel viz. Apparel Technology, Production Planning, Industrial Engineering, Sustainable Production, etc. [11] The Apparel Production Management pathway is aimed towards imparting knowledge on the various managerial aspects and application of Information technology in apparel manufacturing business. [11] Apparel Product Development, starts with Engineering drawing and conversion of 3D object into 2D shape through draping techniques and goes up to development of complex product. This pathway emphasizes on developing the hands on skill of the students in the area of Pattern making and Garment construction employing the best industrial practices.

[11]

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Fashion Design A flagship program of NIFT, the Fashion Design program has played an influential role in the growth of the Indian fashion industry. In the 3 decades of its existence the graduates of the department have made remarkable presence in the Indian as well as global fashion scenario. The four-year program in Fashion Design aims to produce dynamic design professionals who can face the challenges of the ever-changing fashion industry. It also equips them with strong creative and technical skills related to the field of fashion, which empower them to adapt to an evolving fashion biosphere. The curriculum incorporates combination of experiential learning and hands-on training that enables integrated development. [11] The department closely works with fashion professionals to create a sensational series of design professionals to evolve a unique fashion identity universally relevant and acceptable, for a global audience. Holistic inputs on generic design with focused approach towards apparel inculcates the ability to develop and channelize creativity. The curriculum hones design sensitization, which balances global fashion aesthetics with an Indian soul. It addresses the needs of the export market as well as both couture and pret-aporter in India, expanding and categorizing apparel design into niche segment. [11] The core domain areas of the department have been identified as Design & illustration, Fundamentals of apparel development, Value addition for apparel and History & contemporary fashion. Various subjects such as fashion design and illustration, pattern making, draping, garment construction, fabric fundamentals, sustainability crafts & fashion, history of Indian textiles, history of clothing, value addition- exports, retail, couture & pret etc., are offered under these broad areas. The subjects of study within each semester lead towards progressive learning from basic to advance levels of design and their interpretations over the 3 years of study in the department. [11]

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3 Validity The design policies for the setting up of a new campus have been shared with the State Government of Punjab by the Board of Governors of NIFT.

As per National Institute of Fashion Technology (NIFT) Policy for establishment of new campuses, the proposal is required to be submitted along with following commitments: 1) 20-30 acres of land.

2) â‚š150-200 crore for construction of Campus.

3) â‚š30 crore for provision of equipment, machines and furniture.

4) Annual revenue grants to adjust revenue deficit, till the Campus becomes financially viable.

Figure 2: Response of Lok Sabha by the press information bureau.

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4 Aim of the Project The aim is to propose a design for the National Institute of Fashion Technology which reconnects the inhabitants with nature, creating a cognitive learning environment.

5 Objectives 

Generating a vocabulary and design temperament of the project by understanding and implementing the patterns of Biophilic design.



By mimicking the local built form studying the materials used in the neighboring institutional buildings, creating architectural expression that will reflect the urban character of Ludhiana.

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Generating a design that not just reconnects the inhabitants with nature but also understands the psychological needs of the inhabitants.

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Designing for maximum interaction among students and teachers, conducive to the creativity concerned with the development of students’ personality.

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6 Methodology

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7 Scope and limitations Scope of the work



The project will provide the user with spaces for academic learning, residing and also include auditorium and exhibition halls for the promotion of student works, following the education philosophy of existing NIFTs.



A consultancy office will be there to work and produce designs for the various firms.

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Hostel blocks for the students will be provided but there detailing will be kept outside the scope.

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A teacher’s residences and other residential accommodations will be provided.

Limitations



Due to limitation of the work till design process, the physical evidence of the benefits of biophilic design will be attributed from the already done research papers, with due acknowledgement given to the sources.



The thesis will not explain the way these design principles work in physical environment, but provide reasons to utilize them.



It is not a comprehensive guideline for application of the design principles.

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8 Site selection Ludhiana City

Railway Station

Figure 3: Google map image of Ludhiana City.

The site for the institute will be allotted in near future at Ludhiana, as the city is a textile hub and an emerging fashion center with many large firms establishing here.

Since, at the time, no site has been earmarked, so it would be a hypothetical site.

The criteria for the selection of site will be as follows:  

The land zoning of Ludhiana will be studied from the ‘Ludhiana Master Plan’.

Appropriate pocket of land will be chosen from the existing educational zoning.

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‘Master Plan of Ludhiana 2031’

Figure 4: Master Plan of Ludhiana 2031.

The site lies on the eastern side of Ludhiana. The master plan reads the site and its context area as ‘Educational and Research Centre including University and Specialized Educational Institutes’. [8] The site falls under the municipal corporation boundary.

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9 Introduction to site By studying the ‘Master plan Ludhiana 2031’ and overlapping it on the Ludhiana map a suitable site for the institution has been selected. The proposed site is situated on the western edge of the Punjab Agricultural University.

Figure 5: Ludhiana map and Master Plan superimposed.

The area marked in red is reserved for the development of “Educational and Research Centre including University and Specialized Educational Institutes.” [8] Area marked with dashed line is the proposed site.

Site area: 20.1 acres 81,594.49 Sq.m Site perimeter: 1296.15 m Site access: Access to the site is through the highway on Sidhwan canal.

Distance from Railway station: Distance from Bus Stand:

8.4 km 9.7 km

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10 Approach to the Site

Figure 6: Approach to site from Railway Station.

The site can be easily approached from the ‘Ludhiana Railway Junction’ and takes only 17 minutes to reach the site.

The nearest bus stand is the ‘Amar Sheed Sukhdev Interstate Bus Terminal’ and takes only 18 minutes to reach the site through public transport.

Figure 7: Approach to site from Bus Terminal.

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11 Site analysis Ludhiana climate data The Ludhiana lies on 253m above sea level Ludhiana is influenced by the local steppe climate. There is not much rainfall in Ludhiana all year long. The climate here is classified as BSh by the Köppen-Geiger system. The average annual temperature is 24.3°C in Ludhiana. In a year, the rainfall is 726 mm. [9]

Figure 8: Average temperature and precipitation.

The maximum temperature reached in Ludhiana is more than 45°C and is in the month of June, whereas the lowest temperature reached is less than 4°C in the month of January. [9]

Figure 9: Maximum temperatures reached on certain no. of days in a month.

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Figure 11: Maximum rainfall recorded on certain no. of days in a month.

Figure 10: Maximum wind speeds recorded on certain no. of days in a month.

The wind rose for Ludhiana shows how many hours per year the wind blows from the indicated direction.

Maximum wind in Ludhiana is recorded coming from the north eastern direction towards the south western direction. [9]

Figure 12: Wind rose diagram.

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Contour mapping

Figure 13: Site contour plan.

The site terrain is not flat, there are minor contours present on the site. A total of 2 metre fall can be seen on the site towards the northern edge of the site starting from the southern edge of the site.

Figure 14: Site contour 3D.

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12 Library study Art room Art room is to be used by students of nearly every stream for the purpose of making sketches, artworks, patternmaking and rendering of garments. The rooms are to be provided with individual tables, stools and storage areas with screens for pin ups.

Figure 15: Standard table arrangement taken from Architect’s data by Neufert.

 Tables in art rooms are to be provided free from all sides for ease of movement while working. The size of the tables or board to be such that it allows for drawing on standard imperial sized paper sheets. Tables are to be high enough for working standing or sitting on high stools.

Drawing table standard sizes: 1000 x 1500 1250 x 2000; Height: 2050

Figure 16: Images taken from Architect’s data by Neufert.

 A small storage cabinet may be attached to the table itself. A small side pull-out of the table for keeping art material, while working, would prove to be great help.  The sketches and artworks may be stored in steel/ wooden chests for large sized sheets or paintings.  Pin boards should be provided for reference and display, attached to the drawing tables or hung to the walls.  In an art room good lighting is essential-both daylight and artificial lighting.

For daylighting, windows should have North or east aspect, windows should be fitted with blinds to screen direct sun and prevent glare.

Also ample of artificial lighting is to be provided with fluorescent lights.

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Lecture room Lectures and demonstrations are to take place in the lecture rooms.it is to be provided for seating and writing surface for the students, lecturer’s table, and screen for sliding or overhead projection, place for a T.V., video storage and viewing. Also to be provided with a chalkboard/ soft board/ white board and some storage space.

Major factors to be considered in designing a classroom:     

Seating and writing surface.

Space and furnishings for lecture.

Wall space including chalkboards, screen, etc.

Facilities for slide projection, video and overhead projection.

Lighting and ventilation.

Seating The seating feature is the most important feature in determining the size and shape of a classroom. A wider lecture room is preferred to a deeper one because the students are closer to teacher, control is easier and provides for better visibility and better interaction with instructors.

Figure 17: By author.

Figure 18: seating arrangement for 35 and 40 students.

Area per student is 2.3 sq.m, therefore for 35 students we have 35X2.3 equal to 80.5 sq.m Projection system A projection system is highly desirable in class rooms as well as seminar rooms as teaching is aided with visuals. An overhead projector requires an electrical outlet near the lecturer's table; placed so that the lecturer will not trip over the cord, and also, a screen properly mounted to assure that the entire class has good visibility with minimum distortion.

Figure 19: Optimum viewing angle.

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Visibility Good visibility depends not only on the arrangement of the chalk boards and of projection screens and equipment, but also to a large degree upon seating arrangements.

Factors to be considered are:  Avoidance of obstruction.  Height of instructor’s platform.  The extreme horizontal and vertical angles.

Figure 20: Optimum viewing angle from the closest seat.

Studies of distances and angles for satisfactory viewing indicate that seats should be placed at a distance from a screen not less than twice nor more than six times the width of the screen image to be viewed.

Screen mounting point

Figure 21: Optimum spacing between the board, the first and last seat.

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Library Library is to be provided for enquiry, issue, catalogue facilities, stacks, reference section, periodicals section, audio visuals section, viewing facilities, discussion area, reading/ study areas, photocopying facilities, etc.

Enquiring, issue and catalogue facilities are to be provided close to the entrance for ease of operation and control.

Figure 22: Images taken from Architect’s data by Neufert.

Entrance Libraries should clearly declare building function and be welcoming. Lobby should reduce entry of noise. Provide visual stimulation. Adequate control needed to prevent high losses of books, etc. through exit.

Control area Close to or within sight of building entrance, and with space to absorb congestion at peak hours, but located to allow maximum visibility for supervision.

Guide area Card index/ book sheaves/ computer printout books, located near control or enquiry, also close to catalogue work area.

Enquiry desk Near catalogue guide and bibliographies. Can help to share supervision with control.

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Shape of the issue-return counter should satisfy the functional requirements of the librarian.

Figure 23: Images taken from Architect’s data by Neufert.

Reading and studying is to occur in quitter carrels where reader id cutoff from any neighbor, giving enough privacy.

(a)

(a) Carrels along the wall all facing the same way (recommended). (b) Carrels along a wall in pairs. (c) Carrels facing a wall. (d) Carrel elevation to show desirable height of partitions to prevent visual distraction.

(b)

(d)

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(c)

Figure 24: Image showing the spacing and easements between elements of a library.

Book stacks Optimum length of shelving 6 units (5400mm) to maximum 8 units (7200mm) but 4 units (3600mm) where accessible only from one end.

Centre of isle where, open stacks are: 1280-1520 mm where closed stacks: 1060-1280 mm. choice between these limits depends on selection of shelf depths and aisle widths.

Optimum column sizes to be contained within 450 x 450 mm, clear ceiling height approximately 2400mm.

Maximum horizontal distance from bookshelf to exit or book elevator approximately 33m Discussions are to be taken place in the discussion areas where discussion/ group tables are provided. Stacks are to be provided in order as per library manual and numbered coded decoding. Magazines displayed on magazine racks, reports and charts to be stacked separately for ease of retrieval. New arrivals to be displayed on new arrival stand, etc.

Ideally:     

A maximum of four readers per table is best.

The fewer the readers per table the fewer the supervision problems.

Best orientation to window is when no reader has to face light.

The longer the table the less isle space is required.

Work table of 900 x 600/ reader should be provided with 2.32 m2 area (including circulation) per student, and 3 m2 for research student.

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Auditorium and O.A.T. Auditorium or open air theatre in N.I.F.T. is meant to hold fashion shows presentation of project reports in the form of a show, seminars, lectures, plays, concerts, etc.

Open stage plan serves the purpose.

Open plan: audience literally surrounding the performance.

This arrangement places the performer in the same place envelope as the audience. This is said to produce a unity of experience between performers and audience. It Places more spectators closer to the performance than the proscenium arrangement and in Figure 25: Open stage plan. this way contributes to good seeing. But it places a burden of different orientation upon Directors and performers and makes impossible. The achievement of total uniform effect. Since very informal atmosphere exists in National Institute of Fashion Technology, this side effect can be over looked.

Seating - curved rows with staggered seats.

Occupants of all seats are visually related to the performance when the seats are oriented towards the stage. THIS NECESSITATES THE CURVING OF THE ROWS OF THE SEATS. To provide best visibility from any seats, no patron should sit exactly in front of any other patron, unless more than one row distant apart. THIS REQUIREMENT MAKES IT NECESSARY TO STAGGER SEATS. Staggering is accomplished by non-uniform placement of seats of varying widths in succeeding rows.

Sight lines During performance on stage, the audience must see satisfactorily. For that, plan and section, must conform to certain limitations.

In plan the angle of the wall should not be beyond 100° from the center line as shown in the figure, because seats beyond 100° at the side of the proscenium are undesirable.

Figure 26: Seating angle.

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The horizontal angle to the center The angle at which objects on stage, upstage on the curtain line should not be more than 60° in order that, relationship between various activities on stage are clear to the viewer. Details of facial expression are not clearly recognizable beyond 15 m which is ideal but depth depends on capacity and hence compromise is required.

Aisles Aisles should be as few as possible since they cause visual disturbance. But as per law, no seat should be more than 14 seats away from an aisle.

Figure 27: Seating angle from center.

Central aisle should be avoided as it wastes the most desirable area.

Figure 28: Floor slope for an auditorium.

Acoustics Acoustically, there should be adequate loudness, uniformly distributed in every part of the auditorium, without any echo, flutter, long delayed reflections or sound distortions. Rear wall should be acoustically treated. Sound source should be close to the audience.

Lighting There should be enough slope spaces for lights to be beamed from. The center of attraction is to be high-lighted, whereas the audience is to be uniformly lit.

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13 Spatial Analysis (N.I.F.T. Delhi) Fashion design laboratory Fashion design laboratory is used by the students of fashion design while practically designing, detailing and producing a complete garment from an inspiration.

It is to be provided for individual seating space and table for drawing, batter making, cutting and stitching. In instructor's table to also to be provided. Blackboard/ soft board / steel board and individual storage spaces are also to be provided.

Pattern making table (1200x 1300 x 750 mm):

Figure 29: Pattern making tables.

A common table is provided for each student for drawing, pattern making and cutting of garments. To save space, these tables may be in units of two WIDTHWISE, so that two students work from two ends face to face. Further, they may be joined LENGTH WISE also to have a long continuous work surface.

Space provided between the tables should be enough for working on mannequins and comfortable space for circulation should be also available.

Figure 30: Fashion design lab with pattern making tables and mannequins, placed all over the lab.

Reference: Senior case studies.

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Sewing machines (1100x 500x 750 mm): Design laboratory is to provide one sewing machine per two students and some special function machines in one or two numbers each. Special function machine like Tacker Machine is to be provided.

Steam iron tables with boiler unit: Figure 31: Pattern tacker machine.

It is necessary to press the material at various interval during sewing process, therefore, a set of two steam iron tables with a common boiler unit should be located close to the sewing machines. A small, screened fitting area with at least two full length mirrors is also a necessary component.

Figure 32: Image of a fashion design studio.

Store room: A store room is also to be provided with Fashion Design Lab, where samples of garments are stored and necessary preparation to be done for a demonstration to the class.

Fashion Design Lab is to have good general lighting with fluorescent light over all patternmaking tables and sewing machines, in addition to natural light through windows.

Reference: Senior case studies.

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Fashion technology laboratory Fashion technology laboratory is where students are trained in appropriate technologies and techniques involved in fabrication and complete manufacturing of garments.

It is to be provided for patternmaking tables & sewing machines. A demonstration table, blackboard, soft board / steel board and storage space is also to be provided for storing necessary teaching aids etc.

Maintenance of machines and other instruments is also a subject taught to the students.

Activities in fashion technology lab:  This laboratory would need pattern making tables with rubberized cork tops for a fraction of the total number of students, but would need a sewing machine for each student. Special purpose machines are also to be provided in singular numbers.  Pattern making tables may be provided in the same way as in Fashion design laboratory.  A twin steam iron with boiler unit is also to be provided with necessary steam generators.  Individual lockers in addition to the store room are to be provided. A store room for the storage and maintenance of machines should be provided.

Preparation for lectures and demonstrations may be done in this area.  A good general lighting is to be achieved with fluorescent tights overall the work areas.

Figure 33: Arrangement in fashion technology lab.

Figure 34: Image of a fashion technology studio.

Reference: Senior case studies.

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Cutting laboratory A cutting table with electric cutters is what makes this laboratory.

Cutting of small patterns may be done on the individual pattern making tables which have rubberized cork tops for the ease of cutting. But for cutting on large scale electric cutters have to be provided in a separate laboratory, and that is a CUTTING LAB. Long cutting tables are to be provideed which are padded with cork for ease of cutting.

These tables have cables running in top for electric cutters.

Figure 35: Image of cutting lab.

A clear aisle will have to be provided on both sides of the cutting tables for free of obstruction movement of the worker or the students working with the cutters.

Figure 36: Image of cutting lab.

Some maintenance area is to be provided with the cutting laboratory for the storage of cutting machines and maintenance of the machines, also a subject taught to the students.

Figure 37: cutting tables.

Reference: Senior case studies.

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Loom room Loom room is to impart basic training to Fashion Design, Fashion technology and Textile Design students about the weaves making techniques and their limitations and possibilities.

Figure 38: Dimensions of Frame loom and Table loom.

Loom Room is to provide for – frame looms, table looms and other accessories. Hank holder, bobbin winder, warp winders are also to be provided along with the storage space.

Space around the loom should be free for ease of movement. Table looms are meant for making design samples before finalization of the pattern of the rug or a ‘durrie’. Then the product is manufacture on the frame loom.

A small discussion area is to be provided and an instructor or shop incharge’s room also to be provided with storage space for raw material as well as the finished products.

Storage space Storage space to be provided for storage of yarns, bobbins, and different samples, etc. Ceiling height box type cabinets for storage of yarn, made of wood or steel maybe used.

Figure 41: Dimensions of warp loom.

Figure 40: Student working on table loom.

Figure 39: Components of storage room.

Reference: Senior case studies.

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Resource Centre Resource centre is an associate body of library, as library contains textual resources, a resource centre contains material resources mostly for reference purposes. It will be used by students as well as by professionals and people from industry. Resource centre is to provide for space for display of textiles, costumes and findings. Also to provide for cataloguing and information about the samples inspection tables, curator cabins and a display area.

Display/storage cupboard units The display/storage cupboard units of the resource centre are to be tabulated for ease of retrieval and access. For example, traditional garments are tabulated as per country, area, and zone: contemporary garments as per designer land textiles as per company weaves, kinds, quality etc.

Figure 43: Box type cardboard with glass sliding doors, for keeping and displaying regional costumes.

Figure 42: Cupboard with sliding doors, having glass panels meant for displaying contemporary designs.

Inspection tables For studying the garments of resource centre, inspection tables are provided, with soft polyester making Top. A findings shelf is to be provided for storage and display of Trims, buttons Laces, bands, linings etc. Also samples of N.I. garment collection are to be stored in files to be kept in the cupboards.

Figure 44: Findings cupboard for keeping box files, glass boxes and other bound files for magazine cuttings.

Reference: Senior case studies.

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Pin-up space

Figure 45: Display rack/panel for display of latest textile samples for the prevailing and coming season.

Figure 46: Panels for displaying of the best design of the season along with the textiles used and other details of the garment.

Pin up space is to be provided for display of information, panel for display of fashion forecast for the coming season are also put up in resource Centre. There is also need for space to be provided for display of half a dozen garments on body forms.

Curators These are cabins where garment and textiles are to be accessioned, before putting in for display or storage. Enquiry and control, as in the library is also needed for the case of operation and security. Lighting is to be looked after in this area well enough.

Lighting.

Spot lighting is to be provided above the forms with regional or contemporary costumes displayed on them. Even the cub- boards with garments displayed or hanged inside, should be fitted in with small spot lights. General lighting for the area to be provided for with fluorescent lighting fixtures.

The Resource Centre is to be kept moisture free and free from any kind of eatables. No eatables should be allowed in. Timely anti- termite sprays and naphthalene balls to be test in the storing and display units. Sun exposure for the costumes and garments periodically is a necessary precaution to be taken care of.

ACCESSORY SHELVES Accessory shelves with the provision to be drawn out of the whole unit are to be provided for storage of latest available accessories and ethnic jewellery.

Figure 47: Dimensions of accessory display table.

Reference: Senior case studies.

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14 Architecture and design pedagogy Biophilia Biophilia, a concept first popularized by Edward O. Wilson in 1984, describes the innate relationship between humans and nature, and concerns the need we have to be continually connected to nature. Plenty of research confirms this human preference for the natural, rather than built environment. [3] The term "biophilia" means "love of life or living systems." It was first used by Erich Fromm to describe a psychological orientation of being attracted to all that is alive and vital. [4]

Biophilic Design In architecture, biophilic design is a sustainable design strategy that incorporates reconnecting people with the natural environment. It may be seen as a necessary complement to green architecture, which decreases the environmental impact of the built world but does not address human reconnection with the natural world. [5]

Why biophilic design?

The architecture of modern universities has lessened students’ multisensory focus and engagement with nature. 

The biophilic design concept has continued to develop over the past decade to employ the conditions and elements of nature, and has been implemented to promote physical, social, intellectual and psychological wellbeing.



It significantly informs the design of today’s academic buildings to leverage the potential of creativity, productivity, self-esteem and wellbeing for knowledge seekers.



It also helps lower the negative ecological impact and increases the operational efficiency of an institutional campus regarding energy, resource consumption and waste control.

The mission of architects and urban planners has become more complex as disciplines such as psychology, physiology, sociology and anthropology provide vital information about how people perceive space, behave within that space and develop preferences.

Multidisciplinary studies have demonstrated the links between exposure to nature and improved performance of academic, intellectual and cognitive tasks in the workplace and other educational spaces. [6]

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15 Biophilic Design Biophilic design is the designing for people as a biological organism, respecting the mindbody systems as indicators of health and well-being in the context of what is locally appropriate and responsive. Good biophilic design draws from influential perspectiveshealth conditions, socio-cultural norms, expectations and duration of the user experience, the many speeds at which it may be encountered, and user perception and processing of the experience to create spaces that are inspirational, restorative, healthy, as well as integrative with the functionality of the place to which it is applied. Above all, biophilic design must nurture a love of place. [7] Biophilic design can be organized into three categories – Nature in the Space, Natural Analogues, and Nature of the Space – providing a framework for understanding and enabling thoughtful incorporation of a rich diversity of strategies into the built environment.

Nature in the Space encompasses seven biophilic design patterns: 1)

Visual Connection with Nature: A view to elements of nature, living systems and natural processes.

2)

Non-Visual Connection with Nature: Auditory, haptic, olfactory, or gustatory stimuli that engender a deliberate and positive reference to nature, living systems or natural processes.

3)

Non-Rhythmic Sensory Stimuli: Stochastic and ephemeral connections with nature that may be analyzed statistically but may not be predicted precisely.

4)

Thermal & Airflow Variability: Subtle changes in air temperature, relative humidity, airflow across the skin, and surface temperatures that mimic natural environments.

5)

Presence of Water: A condition that enhances the experience of a place through seeing, hearing or touching water.

6)

Dynamic & Diffuse Light: Leverages varying intensities of light and shadow that change over time to create conditions that occur in nature.

7)

Connection with Natural Systems: Awareness of natural processes, especially seasonal and temporal changes characteristic of a healthy ecosystem.

Common examples include potted plants, flowerbeds, bird feeders, butterfly gardens, water features, fountains, aquariums, courtyard gardens and green walls or vegetated roofs.

The strongest Nature in the Space experiences are achieved through the creation of meaningful, direct connections with these natural elements, particularly through diversity, movement and multi-sensory interactions.

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Natural Analogues encompasses three patterns of biophilic design: 8)

Biomorphic Forms & Patterns: Symbolic references to contoured, patterned, textured or numerical arrangements that persist in nature.

9)

Material Connection with Nature: Materials and elements from nature that, through minimal processing, reflect the local ecology or geology and create a distinct sense of place.

10) Complexity & Order: Rich sensory information that adheres to a spatial hierarchy similar to those encountered in nature.

Mimicry of shells and leaves, furniture with organic shapes, and natural materials that have been processed or extensively altered each provide an indirect connection with nature: while they are real, they are only analogous of the items in their ‘natural’ state.

The strongest Natural Analogue experiences are achieved by providing information richness in an organized and sometimes evolving manner.

Nature of the Space encompasses four biophilic design patterns: 11) Prospect: An unimpeded view over a distance, for surveillance and planning.

12) Refuge: A place for withdrawal from environmental conditions or the main flow of activity, in which the individual is protected from behind and overhead.

13) Mystery: The promise of more information, achieved through partially obscured views or other sensory devices that entice the individual to travel deeper into the environment.

14) Risk/Peril: An identifiable threat coupled with a reliable safeguard.

This includes our innate and learned desire to be able to see beyond our immediate surroundings, our fascination with the slightly dangerous or unknown; obscured views and revelatory moments; and sometimes even phobia inducing properties when they include a trusted element of safety.

The strongest Nature of the Space experiences are achieved through the creation of deliberate and engaging spatial configurations commingled with patterns of Nature in the Space and Natural Analogues.

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16 Case studies and Internet studies 16.1 N.I.D. AHMEDABAD

Figure 48: Satellite view of National Institute of Design, Ahmedabad.

Introduction Project name:

National Institute of Design

Location:

Ahmedabad, Gujarat

Client:

Government of India

Principle architect:

Charles Eames and Giraben Sarabhai

Site area:

66,368.45 sq.m

Total built-up area:

27,488 sq.m

The National Institute of Design (NID) is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. The Business Week, USA has listed NID as one of the top 25 European & Asian programmes in the world. NID has been a pioneer in industrial design education after Bauhaus and Ulm in Germany and is known for its pursuit of design excellence to make 'Designed in India, Made for the World' a reality. [12]

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Location The institute is located at Paldi, on the West bank of river Sabarmati, in Ahmedabad. The extent of the land is 16.2 acres. The campus is divided into two parts: 



The administrative plus academic areas, consisting of all the workshops, laboratories, classrooms/ studios/ showrooms, library/ resource center and the administrative offices.

The residential areas, comprising residences for faculty, students’ hostels with other infrastructural facilities, etc.

Old city Sabarmati River N.I.D. Ahmedabad Figure 49: Location of N.I.D. Ahmedabad with context to city.

NID offers professional education programmes at Undergraduate and Post Graduate level with five faculty streams and 17 diverse design domains. It has established exchange programmes and ongoing pedagogic relationships with over 50 overseas institutions. It has also been playing a significant role in promoting design.

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 One for the academic block.  Other for the residential zone which is approached from the side road. The vehicular movement is restricted to the main gate with parking lots for students and faculty.

There are two main access to the site:-

Site plan

Figure 50: Site plan of N.I.D. Ahmedabad.

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Site plan SR.NO.

NAME OF THE BUILDING

01

N.I.D. main building

02 03 04

Main gate cabin Car parking Amul parlour, atm, etc

05 06

Scooter parking National design business incubator

07 08 09

International design, furniture and interior, corporate communication Old monument Director’s residence

10 11 12

Faculty residence type c-d Senior faculty housing type e Overhead tank

13 14

Hostel block - a Kitchen dining block

15 16 17 18 19 20 21 22 23 24 25 26 27 28

Hostel block - b Hostel block - c Hostel block - c Staff quarters Senior faculty housing New bore well Old bore well Basketball ground Tennis court Cricket ground Open Amphitheatre Int. Centre for Indian crafts Canteen VIP. guest house

The access road to the site lies on the western side of the institute, hence the site is EastWest oriented. Whereas the main academic building is North-South oriented.

The main entrance to the academic building (north facing) is pedestrian for students and visitors but vehicular access to the staff is provided.

Visitor car parking for 4 cars is provided in front of the exhibition area which is barely visible due to the dense landscaping done.

Internally the two zones of the institute i.e. the residential zone and academic zone are connected through pedestrian walkways which are naturally shaded and vehicular access for the resident staff is provided.

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Site zoning plan

Figure 51: Site zoning plan.

The whole campus is divided into two parts: One part consists of all major academic and administrative activities and the other part consists of all accommodation blocks for faculties, students and supporting staff personnel.

The open lawn in between acts as a transition space between the two zones.

Built mass to open ratio Built to open ratio 19%

81% Built mass

Open space

Figure 52: Site built to open ratio.

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Ground floor

(a)

(e)

Visitor parking

(b)

(c) (d)

Figure 53: Ground floor of N.I.D. Ahmedabad.

Horizontal circulation Academic (student) Academic (Staff) Administration Exhibition

Exhibition

7%

Academic (staff) Academic (student) Administration

42%

23%

28%

Key plan

The ground level at site is 2.51m below the high flood level recorded in 1875.

Hence the entire building was built on stilts, the main floor standing is at 3.24m above the ground level.

The space on the ground floor was used largely for public areas, common rooms for staff and students, canteen and storage of raw materials. Later, administration department and office cabins were created by partitioning the space as the need for more space arose.

Even now, large areas of the ground floor are open public spaces used for exhibitions, displays, leisure and circulation. Large spaces like the design street (a), faculty tea area (b) and the old canteen (c) are present in addition to two large courtyards through which light filters into the mass of the building.

A long continuous shaded walkway runs along the huge ground on the east side of the building (d). A huge triple height foyer forms the center of the northern faรงade which has a double staircase in the middle providing access to upper floors (e).

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First floor

Figure 54: First floor of N.I.D. Ahmedabad.

Horizontal circulation Vertical circulation

14%

Circulation

Open to air Services

Vertical circulation

Academic (Staff) 86%

Academic (Student)

Horizontal circulation

Workshops

The first floor mainly consists of workshops, laboratories and rooms to accommodate faculty members.

Apart from these, it also has the knowledge management center (KMC) and the information technology center.

The raised earth platform on the eastern side gives direct access to workshops on the first floor. This is done to facilitate direct access of service vehicles with workshops.

All the workshops and other departments are accessed through a continuous corridor that runs through the center of the building. The workshops receive light through two large open to sky courtyards which penetrate the built mass.

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Second floor

Figure 55: Second floor of N.I.D. Ahmedabad.

Horizontal circulation 10%

Vertical circulation

Circulation

Open to air Auditorium

Vertical circulation

Academic (Staff) 90%

Academic (Student)

Horizontal circulation

Laboratories

The second floor consists of studios and faculty cabins. It was earlier called the mezzanine because the studios were situated on this floor overlooking the workshops.

Double glazing between the studios and workshops enabled the students to observe what activities were happening on the production floor without being disturbed by the noise from the machines. Spiral staircases from the studios provided direct access to the workshops.

At most places workshops are no more double height as they have been built over. All workshops and drafting studios have a north-South orientation in order to avoid direct sun in work areas. They are all directly ventilated.

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Figure 56: N.I.D. section through east-west axis.

Workshops Studios (mezzanine floor) Laboratories

Section line

Cutout

Approach

Key plan

From the gate, standing there one cannot see the building as it is hidden behind thick foliage.

One keeps on wondering how the building would look like.

The formation of organic paths shaded by vegetation gives a welcoming effect to the building.

The institute is setback from the main road by about 24m with some hidden parking and thick vegetation segregating the building from the noisy traffic outside.

Figure 57: N.I.D. as seen from Sansakar kendra.

Architectural expression The structure is a three storied block, horizontal in character with a play of blocking in the horizontal direction.

Brick walls and concrete bands in the exposed form, give true expression of the material, and thus create an informal atmosphere which is necessary for a design institute.

Using exposed materials give an organic character to the building blending it into its natural surroundings.

Figure 58: N.I.D. as seen from main gate.

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Informal atmosphere Seating provided near the exhibition area and faculty rooms creates an informal and intimate atmosphere. Faculty members come to sit in the area while relaxing, actually meant to be a waiting lounge outside the P.R.O’s office or for people to relax after or before seeing the exhibition.

Semi enclosed landscaped and sunken square add to the Figure 60: Informal seating outside the exhibition area. physical environment of the space by providing openings in the building mass in a unorthodoxical manner.

Figure 59: Main entrance of the exhibition area.

Parking Parking area is segregated from the institute with thick plantation acting as a buffer. As one enters one is directed towards the check post itself, since the parking is not visible because of the plants ahead.

Parking for scooters, cycles, cars, etc. is provided right at the entrance gate.

Open parking for the outsiders or visitors is provided in a linear manner, but is inadequate.

Covered parking meant for the institute’s employees, staff members, etc. covered parking is hidden by plantation and the thick foliage of big trees shading it.

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Orientation

Figure 61: The natural lighting and ventilation in the building.

The building is oriented in the N-S direction to allow maximum of daylight and ventilation.

This way, direct sunlight is avoided and diffused north light is allowed in the work areas.

Since most of the studios at the second floor level have large glazed areas, it heats up working areas in summer, making it unbearable. So, at places originally ‘khus’ screens were used in spite of double layer of curtains, but now installation of air conditioners have been done in all the possible places.

Circulation Main circulation in the building is through the long and narrow passages on each floor. These passages link all the faculty cabins and studios on the first and second floor. The studios and faculty cabins are staggered to east and west, keeping the passage at the center.

The passage is a single height, narrow and linear space that is created by the glass panels of faculty cabins and placement of low height partition panels defining the boundaries of the studios.

Figure 62: Narrow corridors can be seen in plan marked in yellow.

The staircase hall is main circulation spine for vertical circulation. It is open and covered. It serves not only as a circulation, but is a good interaction area. It is a triple height space.

On second floor the staircase leads to the auditorium lobby on one side, which is a center of attraction for everyone in the institute. The auditorium lobby is the major interaction area as it overlooks the triple height of staircase hall and offers a commanding view of the surroundings. From a casual hello to long discussions can take place here.

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Figure 63: Staircase well.

Analysis of planning module/ structure

The core of the building is structurally separated from the workshops with the help of expansion joints, so as to eliminate vibration and material-borne noise being carried from the workshops to the studios.

Figure 64: ground floor grid and expansion joints.

The plan has been worked on a square grid of 13 x 13 metre and the grid has been followed throughout the building. On the ground floor and the mezzanine floor, column spacing is 6.15m center to center. At the junction of the zone it is approximately 2m.

The square grid has been adopted to get a column free internal area, which is useful in workshops where large machines are to be placed.

The roof consists of a series of 12.3 x 12.3 m shells of the same shape making the roof of workshops, whereas in the floor of these workshops the square unit is divided into 6 series shells of same shape.

Figure 65: Square grid followed throughout.

Further, a module of 1.025m has been adopted throughout, a measure determined precisely to enable the use of a standard width 1m of plywood, glass and other materials in windows, internally partitions can be done without any wastage of material.

Figure 66: Section through a workshop.

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Biophilic patterns observed 1) Visual connection with nature 2) Non-visual connection with nature 3) Thermal and air-flow variability 4) Presence of water 5) Dynamic and diffused light 6) Biomorphic forms and patterns 7) Material connection with nature 8) Prospect 9) Refuge

3

4 1 1

1

1

Visual connection with nature

1) Visual connection with nature The designers integrated the naturally present landscaping inside the building by providing open corridors on the eastern side of the building which provide an unimpeded view of the eastern lawns from inside the building. The corridor is open on one side and provides with diffused sunlight throughout the day, reducing need for artificial lighting.

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1

2) Non-visual connection with nature The various routes from the eastern corridor lead to the residential zoning, the space created in between the two zones acts as both visual and non-visual connection with nature as one can hear the birds chirping. This zone is informally named by the inhabitants the pigeon garden, as one can always hear the pigeons while passing through. During windy weather the crashing of leaves with each other creates a sound that sooths our senses.

Research shows that exposure to nature sounds, when compared to urban or office noise, accelerates physiological and psychological restoration up to 37% faster and reduces cognitive fatigue and helps motivation. [7] 3) Thermal and air-flow variability As one moves in the design street one can feel the cold winds flowing in south to north direction through the tunnels formed below the building. The cut-out in between create pockets of sunlight thus forming a space with variable thermal conditions. One can feel the cold wind when in the shaded region but can also feel the warmth in between due the cutouts that allow sunlight to protrude into the building. This creates a phenomenon of thermal and air-flow variability. In rainy season this also produces a sense of risk/peril as one can see the rain coming in through the cut-outs but is protected by the shaded region created.

The cut-outs also house trees in them creating a visual connection with nature.

According to Attention Restoration Theory, elements of “soft fascination” such as light breezes or other natural movements can improve concentration (Heerwagen & Gregory, 2008; S. Kaplan, 1995). [7]

Figure 67: Image of the Design Street.

Figure 68: Cut-outs in the building.

4) Presence of water The designers incorporated a fountain inside the building, the fountain is housed in between the director’s office and the teacher’s room, giving direct views from inside the building. The fountain is designed to maintain the micro-climate of the building. Figure 69: Image of the fountain in administration area.

Research has also shown that landscapes with water elicit a higher restorative response and generally have a greater preference among populations in comparison to landscapes without water, auditory access and perceived or potential tactile access to water also reportedly reduces stress. [7]

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5) Dynamic and diffused light A play of dynamic lighting in spaces of learning and academics induce more positive moods and cognitive thinking among students. The studios and laboratories in N.I.D. are all designed so that they can get as much natural light as possible. All the laboratories get natural daylight throughout the day as they are north south oriented.

Open to sky

Open to sky

NORTH Figure 70: First floor plan.

6) Biomorphic forms and patterns In the building design one cannot find much relation to the nature but biomorphic forms have been incorporated in the spiral staircase designed in the institute, originally used to go directly into the laboratories on first floor from the studios on the mezzanine floor. One can clearly observe the organic patterns followed to design the staircase railing, and stringer course around the staircase.

While our brain knows that biomorphic forms and patterns are not living things, we may describe them as symbolic representations of life.

We have a visual preference for organic and biomorphic forms but the science behind why this is the case is not yet formulated. [7]

Figure 71: Image of the spiral staircase found in the institute.

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7) Material connection with nature The elevated circulation in exhibition area is surrounded by stone bed. These stones resemble the ones found on the river banks.

The presence of stones also creates an organic surrounding with exhibits being displayed in an informal arrangement. The architect also created punctures in the building mass to let in natural sunlight. These pockets of natural light illuminate the exhibits in the ground floor, decreasing the use of artificial light in daytime also creating a dynamic play of sunlight throughout the day.

Figure 72: Stone bed in the exhibition area.

The stone bed, utilization of large stones in the pathway created in the exhibition area and utilization of earthen color palette feels rich, warm and authentic, and sometimes stimulating to the touch.

8) Prospect Prospect is an unimpeded view over a distance for surveillance and planning.

The second floor (mezzanine floor) consists of studio space, the teacher’s cabins have an impeded view over the studios for surveillance as the partitions between the teacher’s cabins and the studios are low height.

The studios are connected to balconies on the eastern side, with large full height windows which give views of the eastern lawns and in distance the Sabarmati River.

Figure 73: Studio space on the second floor.

The Prospect pattern has evolved from research on visual preference and spatial habitat responses, as well as psychology and architectural analysis. Health benefits are suggested to include reductions in stress, boredom, irritation, fatigue and perceived vulnerability; as well as improved comfort. [7] 9) Refuge There are refuge zones found throughout the institute, be it the terrace space outside the auditorium, the shaded space on the ground floor, the open corridor in exhibition area with low lying roof, all give a essence of protection, rest or healing.

Refuge conditions are important for restoration experiences and stress reduction, which can be realized through lowered blood pressure and heart rate. [7]

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16.2 PEARL ACADEMY, JAIPUR

Figure 74: Satellite view of Pearl Academy, Jaipur.

Introduction Project name:

Pearl Academy of Fashion

Location:

Jaipur, Rajasthan

Client:

Pearl Group

Principle architect:

Morphogenesis

Site area:

12,150 sq.m

Total built-up area:

20,000 sq.m

The Pearl Academy of Fashion, Jaipur is a campus which by virtue of its design is geared towards creating an environmentally responsive passive habitat. The institute creates interactive spaces for a highly creative student body to work in multifunctional zones which blend the indoors with the outdoors seamlessly. The radical architecture of the institute emerges from a fusion of the rich traditional building knowledge bank and cutting edge contemporary architecture.

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Location

Figure 76: Location of Institute with context to the main city.

Pearl Academy, Jaipur Figure 75: Location of Pearl Academy on Jaipur map.

The institute is located in a typical hot, dry, desert type climate on the outskirts of Jaipur in the soulless Kukas industrial area, about 20 kilometers from the famous walled city. Its design needed to represent the seriousness of its academic orientation through its formal geometry. Given the nature of an institution, budgetary constraints on the project necessitated the use of cost effective design solutions to keep within the price points set by the client and yet be able to achieve the desired functionality and effect.

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Ground floor

Main entrance Reception Lecture theatre Studios Library Resource center Class rooms Labs Admin. Offices Staircase Parking

Circulation 45

380 Vertical Circulation Horizontal Circulation Figure 76: Ground floor plan Pearl Academy, Jaipur.

The adverse climate makes it a challenge to control the micro climate within the project thus incorporating various passive climate control methods becomes a necessity and also reduces the dependence on mechanical environmental control measures which are resource hungry. The architecture of the academy needed to be a confluence of modern adaptations of traditional Indo-Islamic architectural elements and passive cooling strategies prevalent in the hot-dry desert climate of Rajasthan such as open courtyards, water body, a step-well or baoli and jaalis. [13]

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The Underbelly Multi-functional program zone

Figure 77: the Underbelly floor plan Pearl Academy, Jaipur.

The underbelly provides functional spaces that operate in a passive environment, eliminating the need for additional built volume in the form of a floor without jeopardizing the program. Steps on the perimeter of the underbelly double up as seats, making this an ad-hoc performance venue for students to spill out of their classes to socialize and interact.

Figure 78: The multifunction area.

Activity increases significantly during evening and lunch hours. The ramp is multi-functional as a runway during fashion shows. The spatial flexibility allows ample room for growth. An additional floor will be built in the future to accommodate students' residences, thereby becoming a mixture of residence and workspace that will take the building even closer to the archetypal haveli.

Figure 79: Informal interaction.

The multi-functional programming allows for the elimination of a complete storey which would otherwise use artificial techniques of cooling hence making the building extremely efficient in its energy consumption.

Figure 80: Exhibition area.

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Ground floor area chart

Rooms

Areas (sq.m)

Main entrance

147.7

Reception

20.9

Lecture theatre

103.3

Class rooms (total)

115.4

Studios (total)

85

Labs (total)

159.5

Library

144.5

Resource center

72.1

Admin. Area

262.4

Exhibition area

206.5

Services, store rooms,

33

Cut out

586.3 Total area

1317.3

Circulation Horizontal circulation

380

Vertical circulation

45

70

Passive cooling techniques

Figure 82: Jalis on building exterior.

Figure 81: Jalis on building exterior.

The building is protected from the environment by a double skin which is derived from a traditional building element called the ‘Jaali’ which is prevalent in the local architecture.

The double skin acts as a thermal buffer between the building and the surroundings. The density of the perforated outer skin has been derived using computational shadow analysis based on orientation of the façades. The outer skin sits 4 feet away from the building and reduces the direct heat gain through fenestrations. Drip channels running along the inner face of the Jaali allow for passive downdraft evaporative cooling, thus reducing the incident wind temperature.

Figure 83: Section showing positioning of the jali with respect to the internal habitable space.

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Passive cooling techniques

Figure 84: Section showing the effect of passive evaporative cooling through the courtyard over the water body.

The scheme relies on self-shading sliver courts to control the temperatures of internal spaces and open stepped wells while allowing for sufficient day lighting inside studios and class rooms. The entire building is raised above the ground and a scooped out under belly forms a natural thermal sink which is cooled by water bodies through evaporative cooling. This under belly which is thermally banked on all sides serves as a large student recreation and exhibition zone and forms the anchor for the entire project. During the night when the desert temperature drops this floor slowly dissipates the heat to the surroundings keeping the area thermally comfortable. This time lag suits the staggered functioning of the institute.

Figure 85: Solar analysis of the building.

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Materials

The pallet of materials includes stone, glass and concrete, all of which are locally sourced. Jaisalmer stone, kota stone, granite and slate are quarried from within rajasthan. All materials used are available within a 300km radius.aluminium, concrete used come from Jaipur city limits. Concrete jalis are cast on-site by employing the local craftsmen. The process of casting a voided biaxial slab requires voided spheres or boxes, instead matkas were used which were bought from the local markets.

Figure 86: Naturally shaded exhibition area.

Hundreds of 35cm wide matkas were placed 2.5 cm apart, the gap was filled with sand and broken bricks, and then cast over with binding layer of concrete. The sandwich of trapped air is applied to horizontal surfaces that are exposed to the sun, becoming a barrier that limits solar heat transmission.

Figure 87: Image showing the use of matkas in the roof slab during the actual construction.

The fill and the air within the mutkas provide insulation.

Matka’s (earthen pots) as shown in figure were inverted and placed along the terrace creating an air cavity that thermally insulates the roof.

Figure 88: Wall section.

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16.3 COMPARATIVE ANALYSIS

Parameters

N.I.D. Ahmedabad

Pearl Academy

Location Climate Site area Built up area Topography

Ahmedabad, Gujarat Warm and humid 16.2 acre 6.79 acre The site is contoured sloping west to east.

Cuboidal form emphasizing horizontal built mass.

0.41 Low F.A.R. campus with visible zoning of spaces. Plentiful of green between functions.

Jaipur, Rajasthan Hot and dry 3.04 acre 4.94 acre Sloping but merely visible or felt.

Built form F.A.R. Site planning

Circulation

Vehicular circulation restricted till the front of institute, interdepartmental and site circulation is all pedestrian.

Corridors on upper floors are interlinked to workshops through spiral staircases leading directly into workshops from studios.

Recreational spaces

Recreational areas are well organized all around the building, incorporated in between the transition from one formal studying space to another. Main institute building is surrounded by canteen on one side, exhibition area on the other and O.A.T. and open lawns on the third.

Formation of courtyards with large trees creates a connection with nature, these trees help shading and create a cool environment, indoor fountain is also provided to maintain the micro climate. The surrounding of the institute is heavily landscaped with plantation of dense foliage.

Landscaping

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Purely cuboidal form, with fluidic central cut-outs.

1.62 Inward looking campus with partition free underbelly.

Orthogonal built focused on periphery around fluid central spaces.

Vehicular circulation circles around the whole site, but restricted inside the institute building, a courtyard form of circulation is formed inside the building due to the fluidic cutouts formed.

Staircases provided in all the sides of the institute.

Recreational spaces are confined to the underbelly only, providing space for formal exhibitions, canteen spill-out, and library spill-out and even providing a ramp walk, this induces an informal space for discussions.

The underbelly consists of two parts landscaped with trees and water body, courtyards are created in the institute by carefully studying the solar pattern around the building, utilization of still water body has been done to maintain the micro climate by the process of evaporation.

Parking

Parking for students and faculty provided, including parking for exhibition visitors. The parking is merely visible due to dense plantation.

Public space Separate entrances for network distinguished users (residential and academic) separating the zones.

Academic space Individually dedicated spacing network and circulation for different disciplines, with common corridors and lobbies to create incidental interactions, Cross department Facilitated interaction Residential facilities Residential facility for students and faculty provided.

Parking for students and faculty provided, spread all around the site, which is easily accessible.

Architectural expression

 Colour: Red and grey produced by natural building material  Texture: Exposed brick and concrete bands.  Material: Brick and concrete for structure, brick for roof shells, glass and steel frames for windows.  Façade: Horizontal bands of concrete with exposed brick infill and steel framed glazing.

Design

 Principle of design: open spaces creating lobbies for incidental discussion.  Separating noisy areas (workshops) from study areas (studios and classrooms).  Large windows for natural lighting and ventilation.  Indoor plantation creating a direct connection with nature.

 Colour: White and orange to facilitate earthen colours.  Texture: White concrete jalis and white and orange plastered walls.  Materials: Concrete for floor slabs, jali, etc. and plastered brick walls, use of matkas to create biaxial floor slabs, locally available stones.  Façade: Horizontal concrete jali wrapping the building, creating a double screened surrounding wall. With bands of orange colour separating the floors.  Principle of design: Creating an environmentally responsive passive habitat.  The design blends the indoor and the outdoor seamlessly.  Utilization of traditional methods of maintaining micro climate, like the courtyards, water bodies, Jalis, step wells, etc.  Creating of fluidic cut-outs reduce the bore of straight lines which produce directional circulation.

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Building consists of only academic zoning needful of only one entrance.

A circular courtyard circulation to reach the workshops or studios of different disciplines, forming a linear form of placement of rooms.

Encouraged Residential facility is not provided but proposed in future.

17 Design requirements The yearly intake has been considered to calculate student requirements and later area requirements have been formulated from spatial analysis and library study.

1. Administrative Block 2. Academic Block 2.1. Department of Fashion Design 2.2. Department of Fashion Technology 2.3. Department of Fashion Communication 2.4. Department of Accessory Design 2.5. Department of Leather Design 2.6. Department of Textile Design 2.7. Department of Knitwear Design 3. Resource Centre 3.1. Library 3.2. Computer Centre 3.3. Material Library 4. Residential 4.1. Hostel 4.2. Staff Residential Complex 5. Auditorium 6. Miscellaneous 6.1. Canteen 6.2. Common Area 6.3. Sports 6.4. Utilities

Reference: N.I.F.T. Prospectus Senior thesis reports.

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18 Area requirements S.no.

NAME

NO.

AREA / P

AREA

TOTAL AREA

ADMINISTRATION BLOCK 1

RECEPTION

60

2

WAITING AREA

60

3

TOILETS

20

4

ADMINISTRATION OFFICE

44

5

ACCOUNTS OFFICE

40

6

P.R.O.

75

7

DIRECTOR'S ROOM

77

8

JOINT DIRECTOR'S ROOM

64

9

DEAN ACADEMIC AFFAIRS

64

10

CONFERENCE ROOM

51

11

SECURITY ROOM

65

12

LUNCH ROOM + KITCHEN

43

13

STORAGE

9 TOTAL AREA

672

ACADEMIC BLOCK BACHELOR OF FASHION DESIGN 1

LECTURE ROOMS

4

2.25

90

360

2

PATTERN MAKING LAB

2

2

160

320

3

SPECIAL MACHINE LAB

1

2.375

190

190

4

ART ROOM

1

90

90

5

STORAGE ROOM

1

30

30

77

6

TOILETS

4

57.5

230

7

MANNEQUIN GALLERY

1

183.

6

183.6

BACHELOR OF LEATHER DESIGN 1

LECTURE ROOM

2

2.25

90

180

2

ART CUM LECTURE ROOM

2

2.25

90

180

3

GARMENT MANU. LAB

2

2

160

320

4

SPECIAL MACHINE LAB

F.D.

190

5

CUTTING LAB

T.D.

210

6

STORAGE

1

30

30

7

MANNEQUIN GALLERY

1

183.

6

183.6

BACHELOR OF TEXTILE DESIGN 1

LECTURE ROOM

4

90

360

2

TEXTILE DESIGN LAB

1

160

160

3

WEAVING MACHINE LAB

1

160

160

4

PRINTING LAB

1

210

210

5

CUTTING LAB

1

210

210

6

LOOM ROOM

1

210

210

7

STORAGE

1

30

30

BACHELOR OF KNITWEAR DESIGN 1

LECTURE ROOM

2

90

180

2

KNITWEAR LAB

2

160

320

3

SPECIAL MACHINE LAB

1

190

190

4

STORAGE

1

30

30

5

MANNEQUIN GALLERY

1

183.

6

183.6

BACHELOR OF ACCESSORY DESIGN 1

LECTURE ROOM

2

90

180

2

PATTERN MAKING LAB

1

160

160

3

ACCESSORY MAKING LAB

1

160

160

4

SPECIAL MACHINE LAB

K.D.

190

78

5

DISPLAY ROOM

2

90

180

6

MODELING AND PHOTOGRAPHY

1

183.

6

183.6

BACHELOR OF FASHION TECHNOLOGY 1

LECTURE ROOM

2

90

180

2

APPERAL LAB

2

160

320

3

PATTERN MAKING LAB

1

160

160

4

COMPUTER LAB

1

210

210

TOTAL AREA

6274.4

RESIDENTIAL 1

RESIDENCE 1

1

312

312

2

RESIDENCE 2

2

290

580

3

FACULTY APARTMENTS

14

107

1498

TOTAL AREA

2390

HOSTELS 1

RECEPTION

2

56

112

2

ROOMS

88

13

1144

3

TOILETS

18

25

450

4

COMMON ROOM

2

207

414

5

MESS + CANTEEN

2

207

414

6

KITCHEN

1

144

144

TOTAL AREA

79

2678

Left blank intentionally

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19 The Design

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Site zoning

Public zone (offices, etc.)

Semi private zone (academic) Recreational Private zone (residential)

Figure 89 : Site zoning.

Site zoning was considered after thorough study of solar conditions for summer and winter sun patterns and wind directions.

Summer sun

Winter sun

Figure 90 : Solar analysis.

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Zonal relationship

Residential

The relationship of each zone is established by studying the movement of people between them, and considering the frequency of travel.

Hostels

This helps in establishing the location of the zones with respect to each other and creating the movement network of the site.

Academic

Public zone (offices, etc.)

Administration

Auditorium

Semi private zone (academic) Recreational Private zone (residential)

Figure 91: Site zones interrelationship

The frequency of pedestrian movement between the hostels and the academic block is highest suggesting to place academic block in close proximity to hostel blocks but also close to the main entrance.

The administrative block is rarely to be visited by the students, hence locating it nearest to the main entrance, the movement of employees of the admin block is from the residential zone and main entrance.

Figure 92 : Major site movement.

Same as the administrative block, the auditorium is a public access building and is located in the public zone near to the main entrance.

The residential zone consisting of houses, apartments and hostels fall under the private zone and are kept towards the interior of the site. This helps in providing privacy and security in the zone.

The pedestrian movement and wind direction on site were most considered to create building forms and their location.

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Figure 93: Building forms.

Site plan

Figure 94 : Site plan.

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Building forms The site consists of four different typologies of buildings, respectively as 

Educational building



Institutional building



Residential building



Recreational building

The academic block being the educational building; administrative office the institutional building; auditorium, and sports complex being the recreational buildings; faculty housing and hostels being the residential.

Figure 95 : Final building forms.

Academic building

The academic block is the epicenter of the project as well as the site.

The building form of academic block is generated by studying the student’s movement inside the building and determining the potential concentration nodes that will be created by the students.

Figure 96 : Academic block.

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The first stage of design worked on the placing major nodes like studios, lecture rooms, resource center along the major pedestrian movement on the site and creating the paths or movement network of the students between those nodes.

Studying human psychology one understands that students like to gather in groups and these groups are mostly created at the crossing points of two paths.

These crossways are the concentration zones between the nodes.

The pathways thus act as the skeleton for the building form.

And the nodes give an opportunity to create incidental interaction between studentteacher and student-student.

Figure 97: Student network and concentration zones.

“Education is the journey of discovering.� – B.V. Doshi

(Quote by B.V. Doshi while explaining the design of I.I.M. Bangalore.)

Student paths so created are the walk through the journey layered by the skin of studios and lecture theatres. The final design of academic block thus runs on this skeleton of student movement.

Academic building form development:-

Figure 98 : Academic block central node.

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Figure 100 : pathways fron central node.

Figure 99 : pathways extending from secondary nodes.

Figure 101 : Pathway to entrance node.

87

Figure 102 : Final building form with potential entrances.

The north-east corner of the building is designed to catch wind, hence creating the final design.

Figure 103 : academic building axonometric drawing.

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Academic block floor plans 12 3

11

13 7

10

7 12

10

14

5

Students lounge

8

5

13

9

12

5 10

2

1

6

1 1 1

12 1

4

5

5

1 3

9

Figure 104 : Academic block ground floor plan.

HOD office Meeting room Storage Print shop Lecture rooms Computer lab Weaving machine lab

Perforated wall is designed to segregate corridor and display area, this produces a virtual screen in between allowing light, wind and even people through, eliminating need of doorways.

11

10

12 1) 2) 3) 4) 5) 6) 7)

3

8) 9) 10) 11) 12) 13) 14)

Loom room Pattern making lab Display area Art room Toilets Teacher’s rooms Textile design lab

Figure 105 : Section of display area.

89

9

12 11 13

7

3 3

7

3 3 8

12

9

13

10 4 3

12

3 3 6

3 3

1 2

11

3 4 5

5

12 Figure 106 : Academic block first floor plan.

1) 2) 3) 4) 5) 6) 7)

Library/ Resource center Librarian office Lecture room Special machine lab Pattern making lab Cutting lab Garment manufacturing lab

The ramps in building have pergola as a roof, this allows for light to protrude, creating dynamic patterns throughout the day. It also allows for natural ventilation inside the building.

8) 9) 10) 11) 12) 13)

Knitwear lab Accessory making lab Printing lab Art room Toilets Teacher’s rooms

Figure 107 : Section through ramp.

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Various biophilic patterns incorporated  Visual connection with nature

All the classes and labs are arranged in a way that each get access to views of nature, be it from window or direct. Formation of courtyards and giving direct access to internal gardens gives the opportunity of natural light and ventilation reducing stress on mechanical methods.

Spaces like display areas and workshops are designed in open concept and have direct access to gardens without any obstructions.

Visual exposure to nature helps in reducing stress, increases positive emotional functioning and improved concentration.  Access to thermal and air flow variability The design consists of punctures through-out the plan which let in air and help in maintaining the local temperature.

The walls of corridors are also perforated and not created solid to let in air.

According to Attention Restoration Theory, elements of “soft fascination” such as light breezes or other natural movements can improve concentration (Heerwagen & Gregory, 2008; S. Kaplan, 1995).

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 Dynamic and diffused light

A play of dynamic lighting in spaces of learning and academics induce more positive moods and cognitive thinking among students. The studios and laboratories in the institute are all designed so that they can get as much natural light as possible.

The vertical circulation in the building all consists of perforated roof to let in natural sunlight, creating intriguing patterns through-out the day.  Prospect

The rooms are positioned outwards to give opportunity of having unimpeded views outside the building, the views of green outside, the internal roads of institute, and various other structures.

The Prospect pattern has evolved from research on visual preference and spatial habitat responses, as well as psychology and architectural analysis. Health benefits are suggested to include reductions in stress, boredom, irritation, fatigue and perceived vulnerability; as well as improved comfort.

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Administrative building The administrative block houses the office of the Director of the Institute.

The building form of the administrative block follows the idea of showcasing power. As one approaches the building one can realize that the entrance of the building is designed at monumental scale, but as one passed through the array of Figure 108 : Administrative block. staircase and enters the building it can be observed that the building is now at human scale.

Figure 109: entrance of Administrative block.

The proportions of the entrance tunnel are retained from start till end. This creates an angle in the plan, which is followed to design the building throughout.

Director’s office Board room

Entrance to first floor

Waiting cum reception

Joint Director’s office

Dean’s office Main entrance Lunch room Kitchen

Figure 110 : Admin ground floor plan

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The building is divided into public and private zone, the ground floor of the building is the private zone consisting offices of high profile officers like the Director, etc. this floor is not easily accessible to the public, whereas the first floor is the public zone with offices of public relations, security, etc.

Security office

Public relations office

Reception

Figure 111 : Admin first floor plan.

The public relations office is in easy approach to the public and is located just next to entrance, whereas the security office is located on the cantilever facing the institute.

The building character and faรงade are in response to the usage of space inside. Like the security office has full glass strip window facing the institute symbolizing the ease of surveillance.

Figure 112 : View of academic block from the security office.

The administrative building is designed to standout and form the sculptural building of the campus.

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Director’s and Joint director’s residences

The residences are designed so that their character is completely different from the rest of the institute, giving a visual and spatial break.

Both the residences are designed following principles of biophilic design to their true sense.

Figure 113 : Residences.

Biophilic patterns incorporated: 1) 2) 3) 4) 5) 6) 7)

Visual connection with nature Non visual connection with nature Presence of water Material connection with nature Prospect Refuge Thermal and airflow variability

1)

The residence has large front and back lawns with dense foliage.

This provides with great views of nature.

Non visual connection will be created as nature and natural ecosystems are attracted to dense foliage.

1 The residence consists of 5 a small pool in the personal lawn.

In figure 110 one can 3 1 observe the material connection with nature, use of natural materials, locally available with 2 minimum intervention makes it possible.

While standing in the corridor leading to Figure 114 : residential biophilic connections. bedroom area one can observe the whole living area.

2)

3) 4)

5)

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6) It can be observed that large canopies are provided outside the house which serve as refuge.

7) Thermal and airflow variability is achieved by introducing louvers in the southern side of the house. This allows hot air to penetrate and create a slight local difference of temperature

Figure 116 : Refuge in residence.

Figure 115 : thermal and airflow variability.

Residence 1 floor plans:

Figure 117 : Residence 1 ground floor plan.

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Figure 119 : Residence 1 first floor plan.

Figure 118 : Residence 1 stacked plan.

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Residence 2 floor plans:

Figure 120 : Residence 2 ground floor plan.

Figure 121 : Residence 2 first floor plan.

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Figure 122 : Residence 2 stacked plan.

99

Apartment floor plans:

Figure 123 : Apartments ground floor plan.

Figure 124 : Apartments first and second floor plan.

Figure 125 : Apartments view from entrance.

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Hostel floor plans:

Figure 126 : Hostel ground floor plan.

Figure 128 : Hostel first floor plan.

Figure 127 : Hostel second floor plan.

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Figure 131 : Section through staircase.

Figure 130 : Section through staircase.

Figure 129 : Hostel stacked plan.

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20 References 1) "A brief history of Textile Industry in India, January, 2010" (PDF). Archived from the original (PDF) on 22 May 2012.

2) https://en.m.wikipedia.org/wiki/National_Institute_of_Fashion_Technology.

3) “The Global Impact of Biophilic Design in the Workplace” (PDF). Research by Bill Browning, Founding Partner of Terrapin Bright Green and Professor Sir Cary Cooper, CBE, Professor of Organizational Psychology and Health at Lancaster University.

4) “Fromm, Erich (1964). The Heart of Man. Harper & Row”.

5) "Biophilic Design: The Architecture of Life". Www.stephenrkellert.net. Archived from the original on 6 March 2016. Retrieved 29 February 2016.

6) “History matters: The origins of biophilic design of innovative learning spaces in traditional architecture”. Article in International Journal of Architectural Research by Mohamed Shokry Abdelaal (University of South Australia) and Veronica Soebarto (University of Adelaide).

7) “14 patterns of biophilic design improving health & well-being in the built environment”. (PDF). Design guide by Terrapin Bright Green. Research by William Browning, Hon. AIA, Terrapin Bright Green Catherine Ryan, Terrapin Bright Green Joseph Clancy, Pegasus Planning Group Ltd. 8) Master plan of Ludhiana 2031.

9) https://www.meteoblue.com/en/weather/historyclimate/climatemodelled/ludhian a_india_1264728 10) N.I.F.T. Prospectus 2020.

11) https://www.nid.edu/institute/history-background.html 12) “N.I.F.T. Bhopal”. Architectural Thesis by Prateek Kumar Singh, SPA Delhi, 2018.

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