Kirat Kaur Pandher Thesis Documentation, 2020 Bachelor of Architecture School of Architecture + Design College of Architecture & Urban Studies Virginia Tech
Dedicated to the idea of punjab existing in collective memory.
Contents Place Punjab, India
07
Narrative Place
19
I Theater for Oral Narratives Referent: Harimandir Sahib Stepwells Teentaal
23 26 28 29
II Gallery for Visual Narratives Referent: Phulkari Vaulting III Library for Written Narratives Referent: Haveli
31 38 39
References
51
Acknowledgments
55
09
41 46
Place Aristotle, through Zeno’s paradox of place, mentions that a place exists in a place, which in turn exists in a place, and so on and so on. So, how does one begin to understand both the concept of place, as well as a given place? Place is not simply a boundary, location, or site. Philosophers, architects, and historians of architecture across time have given insight and direction to how places are physical embodiments of cultural value systems and thus a meaningful and significant matter relative to the design of built environments. This thesis attempts to understand and build upon a notion of “place”. Christian Norberg-Schulz (1926 - 2000)
Place is more than an abstract location. It is the totality of material substance, shape, texture, and color which contribute to the “environmental character”.
Vittorio Gregotti (1927 - 2020)
“... man put stone on the ground in order to recognize place in the midst of the unknown universe and thereby measure and modify it.”
Kenneth Frampton (1930 - present)
Critical Regionalism proposes a bridge between rooted culture and universal civilization.
Jeff Malpas (1958 - present)
“To be is to be in place, and to be a phenomenon, in appearing, is similarly to be placed, or, as one might say, to take place.”
Place: Definitions | 7
Punjab, India Punjab, an Indian state, is situated in North-Western India. Etymologically, the word Punjab is derived from Persian panj meaning “five”—and âb, meaning “water”. This land of five rivers has been dubbed the “cradle of Indian civilization” due to the territory’s capacity to nourish the country through its agricultural production. Over the centuries, the region has been politically controlled by the Mauryas, the Scythians, the Guptas, the Rajputs, the Mughals, the Afghans, the Sikh Empire, and the British, among others. Consequently, its architecture reflects a palimpsest of Hindu, Islamic, and Colonial influences. In 1947, the culmination of the British Raj resulted in the partition of Punjab as well as the creation of Pakistan. Today, being on a permanent frontier, the spirit of the place and its people continues to be marked by resistance and resilience. Left: Historic Punjab from the cover of Rajmohan Gandhi’s Punjab: a History from Aurangzeb to Mountbatten.
Place: Punjab | 9
Doraha, Punjab Doraha literally means crossroads. The city was founded at the intersection of the Grand Trunk Road with the Asian Highway 1, a critical trade route. Two Islamic serais, inns for traveling caravans, marked the original crossroads: the Mughal Caravan Serai and the Serai Lashkari. Traveling traders and their animals sheltered in their rooms, alcoves, and courtyards. The arched and vaulted gateways were decorated with floral designs. Today, due to evolving means of trade and trading routes, these lodgings are unused and in ruins. The current economy is local and at the commercial area, or the Doraha “mandi�, self-employed traders support agricultural activity. Doraha continues to be a critical intersection. In addition to roads and highways, the Sidhwan canal trifurcates into three sub-canals, the Abohar,
10 | Doraha, Punjab
Bathinda, and Patiala branches. The proposed thesis project site sits just off the highway from Chandigarh/Delhi and alongside the Patiala branch. This locale is noted for its serene beauty owing to rows of tall and lush eucalyptus trees juxtaposed to the adjacent flat agricultural landscape and the quietly channeled water. As well, the site links the surrounding villages with the cities of Ludhiana, Khanna, Ahmedgarh, and Malerkotla, The area is known for a literacy rate of 76%, higher than the national average. Likely this is due to the prevalence of educational institutions, from senior secondary schools to colleges for higher education. Relative to the thesis, the local history and landscape provide a fertile context for the embodiment and exchange of narratives.
Ra
ilw
ay
Educational Instituitions Religious Places Doraha mandi Caravan Serai Site
Mughal Sarai Rajgarh
h
Gurdwara
/D h ar ig nd
Ch a
Shiv Mandir
To Ludh ia
na
Wine/ Beer Shop Tea Stall
Canal: Bathinda Branch
ha
Pa
L
d an
tia Can la al: Br an ch
Jaipura
To
Landha
To
Sir hi 18 nd C 82 an CE al
To
M
h
ar
ug ha
jg
lS
Ra
ar ai
To
Abo Canal har : Bra nc
elh
i
Doraha
Mosque N Gurthali
Just off the highway from Chandigarh/Delhi, the site sits along the south-east bank of the Patiala branch of the Sidhwan canal. Site Forces | 11
Caravan Serai The Serais were built to support the traveling traders and their animals during the Mughal Period of Jahangir, circa 16th century. Mughal Caravan Serai and the Serai Lashkari were positioned on the Grand Trunk Road, a critical trade route. Serais are fortified settlements around a courtyard and include rooms, corridors, wells, a hammam (or bathing area), and a mosque. Their arched and vaulted gateways were often decorated with geometricized floral designs.
1
2
1. Main gateway flanked by walls with alcoves 2. Well with stepped floor geometry in front of the mosque 3. 168 m² square enclosure with a central courtyard with two gateways on the north and south, arcades and rooms on the four edges, mosque in the middle, wells, and hammam (or bathing area) in one corner 4. The plan indicates the relationship of solid to void in the masonry foundations of the hammam (or bathing area)
3
6
5. The gateway is axially symmetrical on both the 1st and 2nd Levels 6. A view of an imposing central gateway with arched openings and recessions framed by bastions rising from the corners 7. Geometric, floral glazed tile pattern on the facade of the gateway 12 | Caravan Serai
4
5
7
Doraha’s Climate
Jan.
Doraha experiences 4 seasons: summer from mid-February to June, monsoon from July to mid-September, postmonsoon (or the transitional) period from late September to mid-November, and winter from late November to midFebruary. It is coldest in January, with lows of 29 °F and north-westerly winds. It is hottest in June, reaching 116 °F, and swept by both western and southeastern winds. Between summer and winter, monsoons bring torrential rains.
66 °F 44 °F °F 69 °F 45
69 47 °F °F
.8” .8”
1.5
N
”
.5”
79 52 °F °F
°F 78 °F 55
2-
4m
4-
6
8
>8 /s
m
m
/s
m
/s
/s
” 3.4
.8”
40°
78 55 °F °F
°F 92 °F 74
30° 20° 10°
”
F 3° 10 °F 79
S
2.4
9”
Diagram of site’s climatic data: seasons, temperature, rainfall, solar radiation, and wind roses with respect to various months and the cardinal directions.
94 °F 79 °F
Jul.
”
7.4
91 76 °F °F
89 °F 63 °F
.2”
50°
6-
60°
Apr.
70°
94 °F 65 °F
80°
.8”
Oct.
2-
4
m
/s
4-
6
m
/s
”
1.2
E
W
Architecturally, one-room structures utilize passive cooling techniques, including high floor to ceiling heights, as well as cross ventilation through opposing low-high apertures. Shaded transitional zones provide both comfort and a buffer zone between the inside and outside.
Site: Climate | 13
Surrounding Pre-existences The site is what Ernesto Rogers, on the topic of architectural context, calls the “preesistenze ambientali,” or the surrounding pre-existences. Rogers writes that, “to consider l’ambiente means to consider history...To understand history is essential for the formation of the architect, since he must be able to insert his own work into the preesistenze ambientali and to take it dialectically into account.” Doraha, Punjab sets the stage and gives context for an architecture that speaks to its history but is also of its locale: agricultural rows extending to the extensive horizon, a transportation canal bisecting the land, arched ruins of brown mud bricks and earthen mortar, slender eucalyptus trees offering shifting patterns of shade, the geometric rhythms of the handwoven phulkari worn by women traversing the land on foot, and even the tempo of the motorized three-wheelers.
14 | Site: Surrounding Pre-existences
Barrel vaulted bridge crosses the gabion-walled canal and meets the site near the eucalyptus trees on the western bank
Shifting patterns of shade reflect in the canal over its gabion-walled boundary
Nature taking back its territory with the Peepal trees encroaching the ruins
Hand-pump evokes human presence as it mediates between the land and water
A wrought iron assembly remains from a former bridge-dam
Site: Surrounding Vistas | 15
Agricultural land extends to the horizon
16 | Site: Landscape
Tall, slender eucalyptus trees are a farmed commodity
Ruins reveal the underlying tectonics of the arched structure in the flat terrain
Peeling stucco reveals brick construction
A retaining wall and stair mark a elevation change in the topography
Site: Ruins | 17
Narrative Place The Narrative Place is a complex of buildings with discrete spaces tuned toward hosting, supporting, and engaging three discrete forms of narrative: An amphitheater and theater of and for the physical performance of stories, song, and dance; A gallery of and for fixed and changing visual and sculptural form-based expression; and A library of and for holding and displaying written transmissions, from histories to poetry. The architecture aims to not only provide a place for narratives, but be the embodiment of the place’s narrative.
Narrative Place | 19
Juxtaposing Narrative Spaces Three distinct building volumes for three different forms of narrative are juxtaposed, forming a settlement dedicated to narrative. All three buildings have their own spatial logic and tectonic ordering system, yet unite to form a singular complex, just like the characters in a good novel. These spaces are connected via a circumambulating outer walkway along the water’s edge, linking the library on one side to the art gallery on the other.
Extreme Right: Traveling down the highway from Delhi and along Sidhwan canal, one skirts the bridge turning to Ludhiana and sees a structure nestled within the eucalyptus trees. Approaching closer, it becomes evident that a collection of building volumes mediate horizontally between the agricultural forest and the canal, engaging the land, water, and sky, and creating an inviting place for repose. 20 | Juxtaposition of Narrative Spaces
Encountering
2 3
8 5
1
1 Parking 2 Entrance Walkway 3 Library 4 Water Pavilion 5 Amphitheater 6 Cafe 7 Lecture Space 8 Art Gallery
4
7
To Highway
6
Canal: Patiala Branch | 21
I. Theater for Oral Narratives An amphitheater for oral narratives provides a gathering space for the sharing of stories, music, dance, legends, and oral histories. The stepped encircling seats nurture the performance from Vaar, heroic ballads to Punjabi Qisse, oral stories, as well as contemporary spoken word poetry recitals. Historically, oral narratives in Punjab were shared in roofless conditions. Hence, the amphitheater is a pivotal environment for continuing the timehonored communal tradition tied to performance and memory. In addition to the amphitheater, an indoor lecture room and a cafe cater to the diverse and evolving means of sharing stories, ranging from intimate one-on-one communication to small or large formal gatherings. The indoor theater provides audiovisual technology and so is suitable for the delivery of formal lectures. These spaces are connected via a circumambulating outer walkway along the water’s edge linking the library on one side to the art gallery on the other. The proximity of the water allows for evaporative cooling and creates a pleasant environment for outside seating and transition spaces. Theater: Oral Narratives | 23
Amphitheater Auditorium
Water Pavilion
Cafe
Left: The white risers punctuate the mosaic pattern on the floor to accentuate the temporal cadence of the amphitheater.
24 | Theater
Above: The sunken amphitheater is bound by a volume containing a lecture room and cafe. The outer walkway slopes down as a walled path into the canal and provides a change in perspective-- seeing water at a distance then experiencing it parallel to a child’s eye-view.
Embodying a Narrative The amphitheater plan is structured on the rhythm of the three tempos (or laya) in the teental, a musical structure with sixteen beats in four equal divisions common to Hindustani music. Temporal cadences regulate three architectural components: stairs, seating, and performance space. The geometric terrazzo floor shifts one’s attention to the floor with its ever-changing, but consistent, rhythmic pattern. The lecture space and cafe radiate out from the same ordering system. The closeness to water takes advantage of evaporative cooling to create pleasant outdoor seating and transition spaces.
Theater: Spatial Division | 25
Referent: Religious Architecture As a religiously pluralistic country, religion plays an important, yet varied role in India’s spiritual and social systems. Religious and sacred architecture is distinct and often identified by grandeur, symmetry, pure geometric forms, hierarchy, prevalence of water, and intricate ornamentation. Sikhism is the predominant faith practiced in Punjab and its most important temple is the Harimandir Sahib, in Amritsar.
Upper: Sequence of spaces in the Harimandir Sahib, or the Golden Temple. From left to right: the temple framed through the portal; spatial threshold before the sacred axial path; intricate gold-gilded interior; human-scale alcoves frame an outside view; frescoes wrap the walls and marble mosaics line the floor-differentiating the two surfaces. Lower: Collage study of the architecture of “sacred� spaces. The theme of symmetry, repetition, volumetric and spatial hierarchies, and symbolism is brought forth. 26 | Theater: Referent
The Referent: Harimandir Sahib The first Sikh Gurdwara, or worship assembly hall, was used to study the aspects of Sikh architecture. Symmetry, centrality, compression, and expansion mediated through thresholds are some key features. The main temple lies in the geometric center of four quadrants. Each quadrant comprises of 6 equal divisions on a 12.35m x 12.35m grid. The processional path leading to the main shrine is composed of 38 vaults in sequence and correspond to the 38 sections, or pauris, of the Japji Sahib, the inaugural text in the Guru Granth Sahib, the main religious scripture. The architecture is ornamented with mosaics on the marble floor and frescoes on the walls.
Analytical Study of the Golden temple. The written narrative of the scripture is abstracted to manifest elements of the architecture. Religious | Sikh Architecture | Golden Temple The first sikh gurudwara is used to study the aspects of sikh architecture. Symmetry, centrality, compression and expansion mediated through thresholds are some features that stand out. The main temple is centrally located in
Theater: Referent | 27
The Referent: Step Wells In arid and semi-arid regions of Western India, from Rajasthan to Punjab, centric shafts of stairs fold down below the ground plane to reach the water table. The water gathered by these step wells was used for drinking, washing, bathing, and the irrigation of crops, along with acting as cool sanctuaries from the hot environment above. Architecturally and spatially monumental, step wells often integrate shade pavilions, elaborate stone carvings, and temples.
Top Left: Layers of steps at the Chand Baori (step-well), Rajasthan, India Bottom Left: Repetition and symmetry while stepping down and funneling space to reach the groundwater table Top Right: Triple height void for the steps leading down to the main bathing area and well Bottom Right: Circular stepping at the Baoli Sahib 28 | Theater: Referent
Left: The taal orders the amphitheater through its rhythmic, circular structure Upper Right: Notes on the rhythm, repetition, and cyclical nature of the Teental Lower Right: Collage of Punjabi oral narratives shared through music
The Referent: Teental The amphitheater’s design is based on the structure of Indian classical music, the Teental. As the most commonly used taal (or rhythm) in North India, its structure is based on 16-time units divided into 4 groups. The cycle repeats after every 16 units. The tempo is based on 1x, 2x, and 4x units, ie: ekgun, dugun and chaugun. The circular plan and the corresponding steps are proportionately divided based on this rhythm.
Theater: Referent | 29
II. Gallery for Visual Narratives The gallery of visual narratives displays fixed and changing visual and sculptural expressions. The gallery will exhibit work ranging from the portraiture by the hereditary artist family of Kehar Singh and Kishan Singh to the avant guard work of Amrita Shergil, from the distinguishable colored canvases of Manjit Bawa and Sidharth to the works of contemporary artists, Salman Toor and Jatinder Durhaily. The gallery is accessed through a cross vaulted corridor, the first bay of the library. Seeing through the patina of Punjabi culture, the geometric pattern of the phulkari, the folk embroidery of Punjab, is reflected in the roof of the gallery space. An outer stained glass roof surface and an inner transparent glass ceiling are held within a barrel vaulted steel space frame. The colored light illuminates the sculpture gallery below. In the art gallery on Level 1, there are no walls, rather paintings hang from the beams of the vaulted ceiling at various heights to articulate spatial boundaries. By layering art pieces and not offering the luxury of the quintessential white blank museum wall, one sees a space articulated by each art work through the context of another.
Gallery: Visual Narratives | 31
Visual Palimpsest Far Left: The colored light of the barrel vaulted space frame contrasts with the natural sky Left: Sculpture gallery draped by phulkari glass-truss roof Below: Roof Plan: Rhythm and pattern generated from the diagrid of the barrel vaulted space frame Level 2 Plan: Sculpture gallery under the monumental vaulted roof
32 | Gallery: Visual Palimpsest
Visual Palimpsest The perspective drawing shows paintings hung from the beams of the vaulted ceiling at various heights. By layering art pieces and not offering the luxury of the quintessential white blank museum wall, it forces one to regard each piece in the context of another. The recessed arches, as a continuation of the ceiling, offer a place for quiet contemplation. The relationship between the plan and section show the juxtaposition of two galleries: the upper level is capped by a singular barrel vaulted sculpture gallery, the lower level art gallery is topped with parallel catalan vaults. Each beam of each vault is defined by a planar screen of suspended paintings. Lines of artificial lights also run the length of each beam. Arched ceiling cut outs, where the beams meet the walls, transmit natural light to this floor level.
“India has a long history, and there is a host of historical influences- regional, colonial, Islamic, Hindu, Christian. The effect is like that of blotting paper which over centuries has absorbed various inks. India has adopted new concepts, new cultures, new ideologies, and even diverse religious beliefs. Eventually, the virgin paper is not seen in its original color; each cultural absorption has imparted its own patina, which has become part of the overall cultural scene. Each is different, yet equally valid. This is the reality in which we live.” - BV Doshi
“an ancient palimpsest on which layer upon layer of thought and reverie had been inscribed, and yet no succeeding layer had completely hidden or erased what had been written previously.” - Jawaharlal Nehru
Gallery: Visual Palimpsest | 33
Process: Modelling the Atmospheric Qualities The architecture of the gallery was developed with the aid of a study model that bridged analog and digital means. The qualities of light in the space required a more tactile and responsive understanding to the real variety of natural light: the way it moves around, reflects, and transmits.
Upper: Parallel usage of digital and analog means for the modeling of the vaulted space-frame roof structure Right: Patina of colored light washes the floor and wall surfaces Lower: The sharp shadows cast by the diagrid of the vaulted space-frame roof under direct light. The roof structure covering the building is analogous to the geometric pattern of the phulkari shawl one wraps around their body
34 | Gallery: Study Model
Above: A study model captures the idea of a patina of colored light washing the floor surface Left: Study of colored light transmitted down a staircase
Gallery: Study Model | 35
Sectional perspective reveals the relationship of the vaulted roof to the serially vaulted ceiling to the recessed wall. 36 | Gallery: Visual Palimpsest
Tectonic Narrative Left, from top to bottom: Roof Plan: Rhythm and pattern generated from the diagrid of the barrel vaulted space frame; Level 2: Sculpture gallery draped by the phulkari vault. The floor arches meet the space frame; Level 1: Rows of art pieces hang from beams. Arched ceiling cut outs, as the beams meet the walls, transmit natural light to this floor.
1
4
Below: Process of modeling the vaulted space frame roof: 1. Cutting linear members for the barrel vault | 2. Bending members and securing them with tape. This was done after soaking the sticks in water for a couple of hours | 3. Laying and connecting members over a scaffolding | 4. Cutting smaller connecting members | 5. Joining the two vaults with small triangular members | 6. Removing the scaffold, and testing the shadows through frosted vs transparent glass
2
3
5
6 Gallery: Tectonic Narrative | 37
The Referent: Phulkari Phulkari, literally meaning “flower work”, is a traditional textile hand crafted by the women of Punjab region. A part of the local life and a girl’s wedding trousseau, the fabric was loomed from regional cotton and embroidered with silk thread. The techniques and patterns spread from family to family and town to town, thus different regions exhibit distinct characteristics. Today, the textile is produced industrially and sold commercially.
Right: Montage of various phulkari patterns overlaid on the outline of Punjab. Below: Making of a phulkari by Punjabi women: one hand-spins the fabric, while the other embroiders on it.
38 | Gallery: Referent
The Referent: Vaulting Brick being the most prevalent building material in Punjab, vaulting was a common technology for spanning space from human-scale rooms to large infrastructure projects.
Upper: Segmented barrel vaulted masonry bridge: one of the earliest structures spanning the Sirhind canal. Lower: Barrel vaulted steel roof covers the Floating Restaurant on the Sirhind Canal, built in the early ‘70s.
Gallery: Referent | 39
III. Library for Written Narratives The library for written narratives collects books by Punjabi authors, from past to contemporary, from novelists to poets, from Shah Hussain to Rupi Kaur, and from Nanak Singh to Khushwant Singh. The long sloped sunken passage into the Narrative Place culminates with the library. The first view offered upon entering the vaulted entrance bay is a wall of books, however one only sees their fore-edges as the spines are oriented toward the following bay. Thin and efficient Catalan barrel vaults, comprised of laminated layers of terra cotta tiles, span a series of parallel walls to form four linear bays. The parallel linear boundaries are variably articulated, from a perforated brick partition to a wall of books, but also an arcade infilled with stretched tapestries. This layering of space is derived from the traditional haveli, where the courtyard house creates soft thresholds and transition spaces through the layering of spaces, thus mediating the inside to outside as well as relating to layers of privacy.
Library: Written Narratives | 41
Spatial Narrative
42 | Library: Spatial Narrative
Left: The barrel vault of the entry bay is held up by the walls of books, creating a varying interior environment as books are removed and then returned--building a spatial narrative tied to the reading of narratives. This is layered with the dynamic light conditions created by the perforated brick wall.
Right: Plan and Section of the four vaulted bays of the library.
Below: Structural system formed by the juxtaposition of walls, arcades, barrel vaults, and cross vaults.
Library: Spatial Division | 43
Layered Thresholds A series of parallel walls form four linear bays. The parallel linear boundaries are variably articulated, from a perforated brick partition to a wall of books, but also an arcade infilled with stretched tapestries. The tapestries are derived from the authorless Sanskrit manuscripts of the Vedas. The earliest known volume, the Rigveda, includes hundreds of hymns composed in the Punjab region. Perpendicular arched openings create a row of cross vaults which transition one from the barrel vaulted bays of the reading area to the cross vaulted inside-outside corridor. The corridor leads to the gallery on one side and the amphitheater on the other.
A layered spatial experience is created by different kinds of walls: perforated brick admits light and changes across the day, the wall of books fluctuates with the removal and return of volumes, and an arcade wall is screened by a layer of stretched tapestries. 44 | Library: Layered thresholds
Playful character of a perforated brick wall
The wall of books creates a varying interior environment as books are removed and then returned--building a spatial narrative tied to the reading of narratives
The fore edges of the wall of books entices the visitor into the library
Four tapestries devoted to the four Vedas line the reading alcove
Library: Inhabiting the threshold | 45
The Referent: Haveli Traditional haveli utilizes the courtyard as a light well to introduce indirect light as well as reduce solar radiation, or heat, and provide thermal comfort. In addition, double-height spaces are naturally cooled using the stack effect and cross ventilation. The house creates soft thresholds and transition spaces through the layering of spaces, thus mediating the inside to outside as well as relating to layers of privacy. Above, from left to right: Approach to the complex, arched portal with cantilevered balcony, front elevation showing hierarchy of arched openings, arched corridor around the courtyard, courtyard surrounded by arched corridors, stucco walls with frescoes
layered thresholds
Below: Perspectival sequence of the experience of spatial layers
street
46 | Library: Referent
street
baithak baithak
courtyard courtyard
verandah verandah
living area living area
Above: Layered Thresholds in plan Left: Analytical Study of the Haveli
Residential | Courtyard House | Haveli Traditional residential architecture is studied through the haveli in Bathinda, Punjab. The house utilizes the courtyard as a light well to bring indirect light along with reducing solar radiation or heat thus helping in thermal comfort. In addition, the double height spaces are naturally cooled using stack effect and cross ventilation. The house creates soft thresholds and transition spaces by layering of space thus mediating the inside to outside relationship along with privacy.
Residential | Courtyard House | Haveli Traditional residential architecture is studied through the haveli in Bathinda, Punjab. The house utilizes the courtyard as a light well to bring indirect light along with reducing solar radiation or heat thus helping in thermal comfort. In
Library: Referent | 47
The Referent: Pollution ct A ed at
iv C
ot
n bo ar
C n to
te
Ju el Tr l is
The thresholds and layering of space in the traditional vernacular architecture of haveli was studied and interpreted based on the contemporary issue of pollution. Sited in Ludhiana, one of the most polluted cities in the world, the four spatial layers act as a filtering mechanism: starting from the trellis followed by jute, then to the microfibers of cotton. The last layer, which reaches the courtyard, is comprised of an activated carbon membrane.
Right: The air filtering membranes are pulled apart to create differentiated and habitable spaces between them.
Micro-filter
Below: Diagram of the Pollution Levels in Ludhiana: Annual Average PM 2.5 Concentration (Îźg/m3) in 2015. The innermost red indicates 120 Îźg/m3. The average for urban Ludhiana is 90.2 Îźg/m3, nine times the WHO guidelines. Dust
48 | Library: Referent
The layers could operate as a series of facades, and here the thresholds were studied through the program of a library.
Library: Innovative Exploration | 49
References Place Aristotle. “The Internet Classics Archive: Physics by Aristotle.” Translated by R.P. Hardie and R.K. Gaye. The Internet Classics Archive | Physics by Aristotle, 1994. http:// classics.mit.edu//Aristotle/physics.html. Leach, Neil. Rethinking Architecture: a Reader in Cultural Theory, 118-118. London: Routledge, 2010.
Norberg-Schulz, Christian. Genius Loci: Towards a Phenomenology of Architecture, 5-23. London: Academy Editions, 1980. Malpas, Jeff. “Explorations in the Topology of Being.” Essay. In Heidegger and the Thinking of Place, 46–46. Massachusetts: MIT Press, 2017.
Frampton, Kenneth. “Chapter 5: Critical Regionalism: Modern Architecture and Cultural Identity.” Essay. In Modern Architecture: A Critical History. Thames & Hudson, 2016.
Punjab, India
Gregotti, Vittorio. “Territory and Architecture.” Architectural Design 55 (1985): 5–6.
Raghavan, and Tca. “Khushwant Singh on All Things Punjabi.” Telegraph India. Telegraph India,
“Punjab: A History from Aurangzeb to Mountbatten by Rajmohan Gandhi,” July 1, 2013. https://www.goodreads. com/book/show/18297794-punjab.
References | 51
References (continued) February 23, 2019. https://www. telegraphindia.com/culture/books/ khushwant-singh-on-all-things-punjabi/ cid/1685398. “Punjab, India.” Wikipedia. Wikimedia Foundation, June 8, 2020. https:// en.wikipedia.org/wiki/Punjab,_India. Doraha, Punjab “Doraha.” Wikipedia. Wikimedia Foundation, April 21, 2019. https:// en.wikipedia.org/wiki/Doraha. “Doraha, Ludhiana.” Wikipedia. Wikimedia Foundation, January 17, 2020. https://en.wikipedia.org/wiki/ Doraha,_Ludhiana. “Mughal Serai, Doraha.” Wikipedia. Wikimedia Foundation, March 31, 2019. https://en.wikipedia.org/wiki/
52 | References
Mughal_Serai,_Doraha. “Serai Lashkari Khan.” Wikipedia. Wikimedia Foundation, September 29, 2019. https://en.wikipedia.org/wiki/ Serai_Lashkari_Khan. “Google Maps.” https://www. google.com/maps/place/Doraha, +Punjab,+India/@30.8033747, 76.0150512,14.01. Parihar, Subhash. “The Mughal Sarai at Doraha — Architectural Study.” East and West 37, no. 1/4 (December 1987): 309–25. “About Doraha.” Doraha Town , Doraha Tehsil , Ludhiana District. Accessed June 12, 2020. http:// www.onefivenine.com/india/villages/ Ludhiana/Doraha/Doraha.
“Sarai Doraha.” ANL. Accessed June 12, 2020. https://www.anlassociates. com/monuments/sarai-doraha/. “Doraha Monthly Climate Averages.” WorldWeatherOnline.com. Accessed June 12, 2020. https:// www.worldweatheronline.com/ doraha-weather-averages/punjab/ in.aspx.
The Referent: Harimandir Sahib Aulakh, Rawal Singh, and Karamjit Singh Chahal. “The SpatioGeometrical Analysis of First Sikh Shrine - Sri Harmandar Sahib, Amritsar Historicity and Hermeneutics.” Journal of Sikh Studies XXXVIII (2014).
“Ludhiana.” Wikipedia. Wikimedia Foundation, June 11, 2020. https://en.wikipedia.org/wiki/ Ludhiana#Climate.
Aulakh, Rawal Singh. Divine Dimensions of the Formless: an Architectural Evolution of Sri Harmandar Sahib, Amritsar (The Golden Temple). New Delhi: Sanbun Publishers, 2018.
Surrounding Pre-existences
The Referent: Stepwells
Smith, Korydon, and Miguel Guitart. Introducing Architectural Theory: Debating a Discipline, 324-324. New York, NY: Routledge, 2012.
Lautman, Victoria. “Current State and Future.” Encyclopædia Britannica. Encyclopædia Britannica, inc., December 4, 2019. https://www. britannica.com/technology/stepwell/
Current-state-and-future.
com/tag/punjab/.
Pochetto, Dani. “India # 2 ... Step Wells.” alightdelight, May 16, 2016. https://alightdelight.wordpress. com/2016/05/16/india-2-step-wells/.
Rond, Frederic. “PHULKARI Ancient Textile of Punjab.” Indian Heritage, March 2010. http://www. indianheritage.biz/files/PHULKARI-IH. pdf.
“Directory: All Listings.” World Gurudwaras. Accessed June 9, 2020. https://www.worldgurudwaras. com/alphabetical-index/all/ page26?sort=-link_modified. Singh, Jas Kirat. “Bowali (Baoli) Sahib.” Flickr. Yahoo!, January 14, 2010. https://www.flickr.com/photos/ jassingh/4273022252. The Referent: Phulkari Kaur, HarSimranjeet. “Punjab.” HarSimranjeet Kaur, March 26, 2013. https://eternalcadence.wordpress.
The Referent: Vaulting “Bridge over the Sirhind Canal near the Headworks at Rupar.” THE BRITISH LIBRARY. Accessed June 12, 2020. http://www.bl.uk/onlinegallery/ onlineex/apac/photocoll/b/ largeimage64466.html. Bahga, Sarbjit. “India’s First Floating Restaurant At Sirhind Will Be Celebrating Golden Jubilee Soon.” World Architecture Community. World Architecture Community, October 31, 2017. https://worldarchitecture.org/
architecture-news/cvvvh/india-s-firstfloating-restaurant-at-sirhind-will-becelebrating-golden-jubilee-soon.html. The Referent: Haveli
> Bijoy Jain, Studio Mumbai.” INDIAN BY DESIGN, April 7, 2014. https://indianbydesign. wordpress.com/2009/01/31/ archifeature-bijoy-jain-studio-mumbai/.
Dhot, Bhupinder Pal Singh, Harpreet Sandhu, and Gaurav Jindal. “Bansal Haveli at Bathinda: Sustainability Paradigm.” Understanding Built Environment Springer Transactions in Civil and Environmental Engineering, 2016, 149–58. https://doi. org/10.1007/978-981-10-2138-1_14. Innovating the Referent Guttikunda, Sarath, Puja Jawahar, and Nishadh KA. “Urban Emissions Info.” City – Ludhiana, India. Accessed June 12, 2020. http://urbanemissions.info/ india-apna/ludhiana-india/. Rayirath, Kavita. “ArchiFeature
References | 53
Acknowledgments Hilary, for helping me embed the thesis ideas into the architecture more deeply, and for critically reviewing the drafts of this book. Parents, for their unconditional support. Sanman didi, for helping me discover my thesis prompt. Colleagues in studio, for their camaraderie. Jim Bassett, for thought provoking, and for always the most mind-blowing conversations. Professors and friends of the school, for their helpful reviews.
Acknowledgments | 55