Thesis - Recreational Spaces : Order, Aesthetics, and Values by Manali Patel

Recrea tional Spaces: Order, Aesthetics, and Values An Inquiry into Integrated Socio-cultural Values in Design of Recreational Spaces

By: Manali Patel Guided by: Prof. Amal Shah Faculty of Design, CEPT University An Undergraduate Interior Design thesis | 2021

FACULTY OF DESIGN FACULTY OF DESIGN

Student Name & Code

Manali Patel UI5216

Student Name & Code Thesis Title

Manali Patel UI5216 Recreational Spaces: Order, Aesthetics, and Values

Thesis Title

An Inquiry into Integrated Socio-cultural Values in Design Recreational Spaces: Order, Aesthetics, and of Recreational Spaces

Values

An Inquiry into Integrated Socio-cultural Values in Design of Recreational Spaces

APPROVAL The following study is hereby approved as a creditable work on the APPROVAL approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of The following study is hereby approved assubmitted. a creditable work on the Bachelor of Interior Design for which it has been approved subject carried out and presented in the manner, sufficiently satisfactory warrant itsthat acceptance as a pre-requisite to the degree of It is to be to understood by this approval, the undersigned does not Bachelor of Interior Design for which it has been submitted. endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has It is tosubmitted be understood that by this to approval, the undersigned does been and satisfies him/her the requirements laid down in not the endorse or approve the statements made, opinions expressed or conclusion academic programme. drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

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Dean, Faculty of Design

Name & Signature of the Guide

Dean, Faculty of Design

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No:

Date:

Manali Patel | UI5216

30th April, 2021

Signature of student:

I dedicate my work to my mother and will be always indebted of her learnings throughout my life.

ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my guide, Prof. Amal Shah, without whom this study would not have been possible. His interests, dedication towards the topic and support throughout the thesis has been incomparable. His critiques, intense discussions and encouragement have shaped the thesis. I am fortunate to have had this opportunity to work under his guidance and I thank him for his unconditional motivation throughout the journey. I would thank all my professors for contributing in one or other way towards enriching my knowledge towards the field. With all due respect, I would like to express my gratitude to KP Sir for his inspiring discussions and invaluable teachings from first year to thesis discussions, which has fostered my critical thinking towards the field. I would also like to thank Seema Ma’am, for her humble discussion during the research. To KD sir and Chandra Ma’am, for always being there. I am grateful to Faculty of Design for providing me an opportunity for an international exchange semester at HFT, Stuttgart which exposed me to various new things in life. I would like to thank all my peers of 2016 batch for their support and being part of this amazing memorable journey. To Parina, Viraj, Jahanvi, Drashti, and Aditi who have been constants through out this journey and for all adventures, fun, and night outs. Shailee for always being there for all long conversations and discussions of anything and everything. Rakshita for her patience in proof reading. Viraj for giving her insights in graphics and formatting. Vyas for his motivations through quick discussions in the last stage of the thesis. Parina for being a passenger in the same boat by encouraging and inspiring me to work over food, coffee and calls and always being there for hearing me out. Lastly, Kush whose constant belief, presence, critiques, and support has helped me grow as a person and a designer. And his inputs and discussions for my work have been immeasurable of which I will be always grateful. I would like to take a moment to thank my parents, Manan, and Bhabhi for their immense support and constant love throughout the journey. And Anu for being my innocent stress-buster. Lastly, I thank God for giving me everything in life and giving me power for working hard to fulfil my passion.

If bread is the first necessity of life, ‘recreation’ is a second close. Edward Bellamy

CONTENTS 00

Proposal i. Abstract ii. Introduction

iii.

Aim and Objectives, Intent of the research

iv.

Relevance to the field

Research questions

vi.

Scope and Limitations

vii.

Literature Review

viii.

Research Framework

Defining terms- Comprehending Re-creation 1.1

Re-Creation and Leisure as a typology

1.2

Recreational Culture

1.3

Manifestation of Cultures

1.4

Categories of Recreational Activities

1.5

Concepts of Recreational place

1.6

Significance of Recreational places as a typology

in Interior design

Method of Inquiry into Recreational Spaces 2.1

Values in designed built environment

2.2

Ordering and sequencing of spaces

2.3

Knowledge as aesthetics?

2.4

Detailed examples of recreational spaces

2.5

Methodology for case studies: Criteria for case

studies

Empirical research on Recreational spaces 3.1

Case Studies

3.1.1 Jawahar Kala Kendra

-Inferences: Inquiring the values in raising a

consciousness through space

3.1.2 Methodology for second case study 3.1.3 Bangalore International Center -Inferences

Conclusions - Future of interior designers in designing recreational spaces in India 4.1

Public Interiority: New Domains of Recreational

Spaces 4.2

Recognizing role of interior designer in designing

public recreational spaces

4.3 Values in Interior Design 4.4

Future Scope

Bibliography i

Glossary of terms

Appendix

iii

Bibliography

List of figures

Review Feedback

PROPOSAL

00 i. Abstract ii. Introduction iii. Aim and Objectives, Intent of the research iv. Relevance to the field v. Research questions vi. Scope and Limitations vii. Literature Review viii. Research Framework

Proposal

ABSTRACT The research is an inquiry into socio-cultural and design values integrated into and conveyed by recreational spaces. Recreation is an ever-evolving field, where there is always an urge to find new forms of recreation. Recreational places have gained a significant role in people’s life as it become the places that are visited in leisure time. Often, recreational places go beyond their primary functions and have a higher impact on society by raising cultural consciousness within the users. The design of such places caters to the cultural identity of the place and impart certain values through the space. This research thesis is an attempt to unravel various aspects of recreational spaces from the domain of interior architecture. The first part of the study is to analyse recreational places and then identify the values imbibed in the spaces. Then, establishing inter dependencies of values and its implementation. The last part is of synthesis, where an effort to understand how these values raise consciousness through space as a medium is made. The socio-cultural values these places hold is of prime importance as they inform the design and decision making. Hence, deciphering values through the design principles helps in unravelling its higher impact on society through its built form. The thesis is concluded by defining role of interior designers in designing such public places. Also, inferring from case studies, conclusion includes values in interior design and understand their relations with ordering, sequencing of spaces and aesthetics. The research lastly forms a framework for analysing recreational spaces that raise cultural consciousness to the society. This can be used further by students, researchers and practitioners, to design, study, and build recreational spaces. Keywords: recreational spaces, values, design 15

INTRODUCTION In today’s globalization and urbanisation world there seems to be an emergence of personalized, individual and subjective spaces. Every day we experience the space being unaware of its physical, mental and emotional impact. Often, it is discussed that space is experienced by spatial manipulation and the articulation of spaces that forms the relationship between the users and the design. In today’s industrialized and technical era there is a need of certain social gathering places which can also be entitled as ‘home away from home’ and it becomes the platform where people from various backgrounds come, relax and socialize. There are certain different places where one can spend his free time and can be involved in different leisure and recreational activities. Urban planners, architects and interior designers generally work at different levels and scale for the society. “Although there is some overlap, an interior designer most often operates at the level of an individual or a group, the architect at the level of the organization or corporation, and the planner at the level of society as a whole.’”(Hasell, & Benham, 1988). The overlaps in the fields offer a varied possibility for drawing inspiration and designing the spaces. Recreational spaces hold a strong importance in planning of cities and in development of societies and culture. The idea of recreation as an inclusive activity has existed across many civilizations and it has evolved as an intentional and more promising practice through advancements in cultures,

Proposal

technology and lifestyle over the years. In recent times it has become a crucial part of people’s lives, therefore designers at all three levels have started investing their priorities for designing public recreational spaces. Mokras-Grabowska (2018) through her research in urban recreational spaces states that, cities must provide recreational infrastructure which can be used by its users in their leisure time. The need for a recreational environment can be considered to be started with the industrial revolution which marked a significant shift in the lifestyle of the people. Industrial age brought mobility to the society where people started moving from one place to another to seek new opportunities and improve the quality of life. The new working style was time dependent where working hours were fixed and after a certain time of the day, the person was free to choose his/ her activity. Thus, immerged the idea of free time, rather leisure time which further led to such places where a person can spend his leisure time. It had to be a place which was neither their home or working place. Hence different regions of the world started developing such places where the community can spend their leisure time and can involve in different recreational activities. It led to defining the cultures of different cities. As these places have strong societal importance it was in the hands of urban designers and architects to not disregard the emerging typology of the space and its impact on society. Apart from just giving the importance to recreational spaces, one should also realize its impact as an environment, which will be layered in the study ahead. Hence comes the role of an interior designer to cater to such needs of the society. Designers strive for comfort, efficiency, pleasure, 7

convenience, privacy and so on while designing the spaces. The client is the user in designing private spaces, so designers understand the likes, dislikes, wants and needs of the client and design accordingly in a manner which suits the user best. But, in designing public places, most of the time the client is not the user. Designers have to convey the design to the client who is usually the builder, contractor or the owner of the space and they have to design for a definite group of people who will become the occupants and dwellers of the space (Bassan, 2016). The direct link between the designer and the user goes through a series of other recipients in the process. So, it becomes essential for designers to keep certain things in mind when it comes to designing public spaces. Further when it comes to the multiplicity of uses, one has to consider various principles which improves the experience of the space. The designer needs to identify the issues and problems, research about the requirements, find a solution to the problems and implement them altogether in design, which will enhance the space. Recreational spaces not only fulfill the need for recreational activity but it converts to a stage for holding various other functions and it is perceived as a medium for many other expressions. The educated and intellectual workforce, including artists, scientists, engineers, professionals, designers and poets, etc. who are involved in a varied range of knowledge-based occupations, desire for creative, experiential, stimulating, and diverse environments which brings some consciousness of arts, culture, society, or history to them. Hence, multiplicity of place appeals more to individuals and is gaining its importance in the society. The Proposal

designer needs to have a deeper understanding of such concepts which goes beyond just solving one purpose of the activity or function but has to offer multiple factors to nurture the knowledge of the users. Many recreational spaces have diverse underlying impacts which are vital to recognize and study which in turn will help designers realize and understand the essence of such places. And help them to enhance the lives of the community and make better places for the society. The recreational activities apart from eating, drinking, and socializing, also include art and cultural events, exhibitions, visual and performing arts events, theatre, music, dance, literature, science centres, etc which impart some knowledge to the users while providing various means of entertainment and have greater impact on the society. Hence, recreational spaces help in keeping the cultures alive through increased public engagement and adds liveliness to architecture.

• AIM The research aims to comprehend and analyse ordering of spaces, aesthetics, and socio-cultural and design values imparted by recreational spaces, that raise a consciousness of culture to the society.

• OBJECTIVES - To study the functions of a recreational space beside its popularly perceived function and the impact it has on the society. Further, to recognize the alternative purpose it has to offer to the users so as to enhance their lifestyle - Critically analyze designed built environments of recreational spaces to find out the imparted values and impact these spaces have on the society. - Deciphering various forms and functions of recreational environments through the field of interior architecture and to unravel whether the intention of the space is met by its actual use. Ordering, sequencing and aesthetics of space can be studied to understand the tangible aspects of the space and intangible aspects can be studied by manifested values of such places.

Proposal

•

INTENT OF THE RESEARCH

- The research aims to study designed recreational spaces to find out what values the space offers to enrich society and add values to its users. The research also aims to identify various forms and culture of recreation through the field of interior architecture where often recreational activities become an ancillary function while designing any space. - To find out that the design values and perceptions which are commonly discussed in the architectural profession, are they actually perceived by the public. The experience and perception of the users has always been at the core of design values, so assessing them is crucial.

•

RELEVANCE TO THE FIELD

- Many times, recreational places are considered to be in urban spaces and studied by urban designers or sociologists. However, there are certain built environments that serve the purpose of recreational culture and activity. The perspective of a designer towards such spaces will bring an insight into various factors that influence these environments. - Often, these places go beyond the recreational purpose and have a much higher impact on the users. The interior environment affects the perception and experience of the space, it can weave and narrate a completely different or complementary story from the given shell. An insight from an interior designer will also make their contribution towards the design of recreational spaces significant in the process. - The research will try to open up certain aspects which an interior designer needs to consider while designing any recreational spaces.

•

RESEARCH QUESTIONS Aesthetics Define characteristics of recreational space

Manifested Values Ordering and sequencing of spaces

Supplementary impact on society

- How are the characteristics of the leisure or recreational space defined in the domain of interior architecture? - What are the manifested values integrated in recreational spaces that affect the aesthetics and ordering of spaces? - What supplementary impact does the recreational space have on its users? Can recreational or leisure space be a platform for ‘art and cultural consciousness’ through the idea of space?

Proposal

Art and cultural consciousness

•

SCOPE AND LIMITATIONS

Various stages of Recreation in society Family Level Recreation

Community Level Recreation

Neighborhood Level Recreation

Civic places

Homes, Societies, apartments

Community halls, centers, parks

Restaurants, bars, pubs, night clubs, cafes

Formal clubs, commercial clubs

- The research aims to study recreational public places and not private residential recreational places. Public recreational places of cultural and societal importance are studied. - Places like fun fairs, malls, trade shows concerned with time, hotels, urban parks, streets, temporary spaces, and festivals are not considered for the study. It covers only primary recreational spaces in its domain, and not ancillary recreational places. - The research aims to unravel various layers like society, entertainment, knowledge, art and cultural consciousness in designed recreational spaces along with studying its impact on its user.

•

LITERATURE REVIEW

-Significance of Third places Oldenburg, R. (2013). The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community. Laurence King Publishing Ltd. -Understanding Interior aspects of leisure spaces Brooker, G. (2013). Key Interiors since 1900. Laurence King Publishing. -Theory for Interior Design discipline Research paper: Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design, 14(2), 13–22. These three literatures form the base and helps in understanding different aspects of recreational and leisure spaces. First literature explains the importance of the third places and points out different factors that are vital for public gathering places in community living while the other book looks upon the designed leisure spaces and explains different projects by keeping leisure in main focus. The last literature provides understanding and application of theories in the discipline of interior design. It gives the theoretical base for researching into recreational spaces from interior designer domain. • The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community, by Ray Oldenburg, 2013 This book starts with explaining what role does the thirdplace play in forming a good life for the citizens of a city and how important it is for a community living. The author states that these ‘happy gathering places’ are ‘homes away Proposal

from home’, where people of different intellectual levels meet and have a conversation or perform certain activities. As the author is an active sociologist, he emphasizes on the societal values and societal effects. So, In the first part he explains that third places become a ‘stage’ for political discussion, intellectuals meeting point and sometimes it also becomes a part of their work places. Initial chapters focus on deficiency of informal public life and evokes the urge for including more of such places. Then further, the literature is divided into three sections, respectively, explaining ethos of third places, then giving examples and making the point stronger and lastly it discusses the issues and concerns for this forgotten typology of place. ‘Great civilizations, like great cities, share a common feature. Evolving within them and crucial to their growth and refinement are distinctive informal public gathering places.’ (Oldenburg, 2013). As much as these places built the identity of the city it also gains its value in living a good daily life by its citizens. Here, he talks about different cultures of public gathering places of different cities of the world as an example. The evolving culture of these places and its part in life of the community living is explained by Viennese coffeehouse culture, sidewalk café culture of Paris, pubs of London, piazzas of Florence, Japanese teahouse, German beer gardens and grocery stores turning into pubs for Irish families. The author spells out that America lacks informal public life and how its citizens find their entertainment and relaxation within their own homes and their own premises. Over the period of time, there have been several changes in how these places are used but similarities in terms of its importance and function are still observed. The author gives certain attributes to these places like, ‘third place is a leveler’ and ‘conversation is the main activity’ of third places. The use of these places depends on the time, activity and location of it. Many people pay short visits to such places or many can spend their whole afternoon sitting there. The location of such places from one’s own home or work place determines the 15

usage of the place. Many times, the activities happening here are unplanned, unscheduled, unorganized and unstructured. So, the author examines each of the earlier mentioned examples in depth in later part of the literature. Then lastly, he explains the issues with the structure of these places. As the research is conducted by a sociologist it very well defines the societal importance of third places and also raises the issues on a community level. But from the perspective of a student of interior design, this literature piece fails to explain each place from the aspect of its built form or its design. So, to dive in further and understand these places better, the second literature ‘Key interiors since 1900’ is referred which explains these places from interiors and design point of view with the base of leisure activities. • Key interiors since 1900, by Graeme Brooker, 2013 This literature piece picks up the history of modern interior architecture and design and built environment, by selecting interior spaces designed from 1900, each one of them designed within the existing architectural building. The multidisciplinary field of interior design is always acknowledged by all other fields. This book is structured by six different forms of occupation namely; home, work, shop, display, leisure and culture. Here only the part of ‘Leisure’ is referred for study and reviewed. It starts with an introductory essay which explains the context of leisure with respect to build spaces. The author explains that leisure spaces should indulge people and give them a comfortable homely feeling and they should not be bound by time in such places. Leisure spaces should encourage different activities like socializing, relaxing, eating and drinking. ‘Leisure spaces that have been created within an existing building offer a multiplicity of spatial experiences that provide an antidote to a homogenous interior.’(Brooker, 2013). The spatial experience and atmospheres of the interior spaces can differ from the perception of the outer shell which can be designed to serve some other purpose or function and this Proposal

provides different opportunities for the designer to explore and design. This part also gives an overview of the different themed environments for such places and also mentions how tourism influences the destinations for such places. It is further followed by multiple different examples of interior spaces with varying culture, typology, time and activities happening in the space. The spaces are analyzed in depth by studying their immediate surroundings; Context, Concept of the space, spatial Organization, themes, Detail and furniture. The author has only looked upon the places where activities like eating, drinking or dancing takes place. But other leisure activities and spaces are left untouched so there needs to be further research into classifying different leisure spaces and activities apart from this study. • Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design, 14(2), 13–22. This research paper explores academic and professional aspects of interior design which expands beyond function, aesthetics, style and finishes. The paper very well explains and gives the theoretical approach to the paradigm of interior design. The first part explains the present state of interior design practice and education, the later talks about a need for theory for interior design and also defines it. Further, the idea of theory as a cultural idea is also explained with holistic approach to the field. The article is published by Interior design educators in Journal of interior Design education and research. The authors have mentioned a systematic method for the field by introducing a vocabulary of Organic and Inorganic criteria for theoretical approach to address the field of interior design. The paper gives very detailed and structured framework and systematic knowledge to the practitioners, educators, researchers and students to improve theory for the field of interior design. This theory can help in studying any place through the lens of an interior designer and built environments.

• Defining Typology of Recreation

-Orig -Urban C -Indian C -Built Envi

Define Recreation Difference and Co-relation between Leisure time and Recreation

Define Leisure

Culture of R

Recreational Activity • Permanent • Temporal

Identif

• Open • Semi- open • Closed

Function

Recreational spaces

Built environment Activity

Reference : Oldenburg, R. (2013). The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community.

Multip

gin Context Context ironment

Typology of space Recreation

Manifestation of Cultures

Recreation

fying Underlying Factors

plicity of uses

Science

Entertainment

Socializing Knowledge

Culture

Art

Society

• Stage I Order and Values in Design

SYSTEMS VIEW OF INTER

Order

Value

- information gathering - identify requirements - adjacency studies - specific requirements

Progamming

User needs

Relationships between functions

Hierarchy of activity

- Repetition - Balance - Emphasis - Rhythm - Unity - Variety - Harmony

- Form - Shape - Color - Texture - Light - Proportion - Scale - Circulation patterns

Reference : Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design

Design principles

- safety - security - identity - sociability - pleasure - growth

Designer

Aesthetics

Spatial Organization

W OF THE DISCIPLINE RIOR DESIGN

Context

Precedent

Social

Behavioral study

Economic

Anthropometrics

Historic

Typology

Culture

- privacy - territoriality - community

Concept

Themed environments

Environment

- Language - Materiality - Expression

Building

Site

Climate/ topography

Primary criteria for study

Primary focus

Secondary criteria for study

Secondary focus

• Stage II Framework to Study Values in Design

Designer VALUES

integrated in designing and ordering spaces

Reference : Garg, R. (2017). Adding VALUES in Architectural Design of Built Environment.

- preceding individual values - architectural integrity

that can be studied how us perceives those 'values'

VALUES

Designer/ Architect

User

Built environment

Reference: Mazumdar, S., & Mazumdar, S. (1994). Societal Values And Architecture: A Socio-Physical Model Of The Interrelationships.

VALUES in Architecture

Referential

Normative

Descriptive

- Context - Cultural - Historic - Local - Vernacular

- Human needs - User needs - Functions - Programming

- phyiscal representation - conceptualization - social symbolism

Can be decision maker for exploring the forms of the space

Aids in programming and post occupancy evaluation

Aids in organizing the thoughts and representing it creatively

- safety - security - identity - sociability - pleasure - growth

ser '

Architectural

Architectural values

Societal

Architectural artifacts TANGIBLE

Cultural - Societal values

Societal Norms

INTANGIBLE Reference: Mazumdar, S., & Mazumdar, S. (1994). Societal Values And Architecture: A Socio-Physical Model Of The Interrelationships.

Ordering of spaces

Design principles

- Repetition - Balance - Emphasis - Rhythm - Unity - Variety - Harmony

Spatial Organization

- Form - Shape - Color - Texture - Light - Proportion - Scale - Circulation patterns

Aesthetic

Themed environments

Elements of space

- Language - Materiality - Expression

Sequencing of spaces Reference : Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design

COMPREHENDING RECREATION

Chapter

1 1.1 Re-Creation and Leisure as a typology 1.1.1 Define Re-Creation and Leisure 1.1.2 Re-Creational Activity 1.1.3 Re-Creational Space 1.2 Recreational culture 1.3 Manifestation of Cultures 1.3.1 Culture as a language and expression 1.3.2 Culture and Materiality 1.3.3 Culture as a Concept 1.4 Categories of Recreational Activities 1.5 Characteristics of recreational spaces- Sense Making 1.5.1 Concepts of Recreational place 1.6 Significance of Recreational places as a typology in Interior design

1.1Re-Creation and Leisure as a typology Spaces can be categorized into different types by considering similar functions of it. Type can be defined in multiple ways with relation to various fields. A simple definition of ‘type’ as given in Oxford dictionary is ‘category of things with common characteristics’. While considering it within the field of interior architecture, one can directly relate it to the function of space. But function is not the only aspect for categorization because, same type of spaces having similar function may vary in its aesthetics. There are various aspects, like characteristics, form, design strategies, and spatial elements, that can affect in defining the type for a space. The qualities of space can give different experiences and perception to users. The type of the space informs us about its use and functions. Here one such typology of space, recreation is studied in depth. The research helps to identify unexplored and underlying characteristics that can help interior designer to make conscious decisions while designing, which helps to enhance the space. It also opens doors to multiple opportunities which can be adapted while understanding the space. An emerging vital factor in development of cities is providing facilities associated to leisure time, that is creation of recreational spaces. Recreation is gaining diverse unique forms and making it experimental as a typology. Recreation is getting defined in an improved manner with regards to its activities, functions, aesthetics and values possessed by the spaces.

Recreation

The changing socio-cultural values and ethos and economy of globalized world becomes the background for the recreational activities. Recreation improves the quality of life and adds a meaning and purpose to one’s leisure time. Hence, enhancing the living standards of the community. Recreation as a typology is associated with the activity and space in leisure time, so the need to understand the core relationships between them is important. Recreation as a type, is ever evolving and has witnessed various forms which gets affected by development of civilizations and societies. Few of the examples are elaborated in the chapters ahead. Thus, understanding of recreation and leisure has never been settled upon one definition by the researchers and scholars because it gets affected by individual’s perception. Based on the readings of different theories, a base for the research is set by defining recreation and leisure. To focus the further discussions in a particular manner, overlapping concepts of leisure and recreation has been defined briefly by dissecting each term.

1.1.1 Defining Leisure and Re-Creation Leisure as defined in Merriam Webster means ‘freedom provided by the cessation of activities, especially: time free from work or duties’ (MerriamWebster February 28, 2021). • Leisure: Time Leisure is associated with a particular time of the day where a person can choose the activity he wants to do except work. There has not been any singular meaning and definition of leisure time, explained by the researchers. Simply defining, Leisure time is the time remaining post working, where a person can select how one wants to spend his free time after being released from the worries, duties, and obligations (Mojarrad, & Bahramani, 2015). Leisure time depends on individual’s choice of spending the free time so it has various forms which are influenced by personal and intellectual interests. There is more freedom of activity and emphasis on decision making in leisure time. The emphasis of leisure time can be seen in evolution of personal and individual growth as it helps in creative nurturing of mind, personality and intellectual development. Individuals can use their free time as “time for emancipation, compensation, social integration, regeneration, contemplation, etc”. (Huth, & Weishaupt, 2009).

Recreation

Fig. 1.1.1.1 People started to find different ways of spending their leisure time. This is one example where people gather outside cinema house.

Fig. 1.1.1.2 After the fixed working hours, large chunk of people were free for the second half of the day

Fig. 1.1.1.3 Pleasure gardens of 17th- 18th century provided entertainment during leisure times across different cities.

Fig. 1.1.1.4 Place for entertainment of all age group people in 17th-18th century

Leisure time was not detached from working time before the industrial age. The work pattern was quite continuous and monotonous in earlier times where there was hardly any spare time left.

Industrial revolution started defining work hours and differentiating the free time. As more and more people started migrating to cities for better job opportunities the shift in their lifestyles was also evident. The work hours of industries were definite and then people were free to do their own tasks. The utilization of free time required consideration at the larger scale of communities. So various parts of the world started investing their leisure time in several leisure activities.

• Leisure: Activity The way in which person chooses to spend his leisure time can be identified through leisure activity. Hence, it can be “observed as set of activities that people are involved in during their leisure time”. The choice of a leisure activity is not only based on socio- demographic structure such as income, education, or age but also depends on individual’s personality, interests and inspiration (Huth, & Weishaupt, 2009). What could be a leisure activity for an individual, need not be for another, and so it becomes difficult to bring commonality in its definition. Leisure activity provides the choice of freedom because one can subjectively choose how to spend the leisure time on the basis of their personal interests. But to generalize the idea of leisure activity few examples are shown here. With advent of time, the identification of leisure time requirements with place developed, which led to urban and architectural artifacts providing the facilities for leisure activities.

Recreation

• Re-creation Recreation can be defined as ‘activity done for enjoyment when one is not working’ (Cambridge Dictionary, 2021, February 24). The word re-creation comes from Latin language, which means “act of restoring”, “to make new, revive and restore”. (Merriam-Webster). A philosophical lens to recreation is, ‘Re-creation’ is the act of ‘Re’ creating something. It can be rejuvenating, re-creating experiences, re-creating memories, re-creating entertainment, re-creating fun and joy, re-creating cultures, re-creating art and many more. Recreation has multiple forms which are inclined by personal choice, interests, and surrounding social environment, and is a crucial part in development of an individual (Mokras-Grabowska, 2018). “Recreation is a significant part of society and its community and has diverse forms which get shaped by the neighbourhood and individual interests” (Oldenburg, 2013). Recreation is looked upon as a social factor which has socio-cultural values. As it has cultural importance, it becomes the primary source of socializing and entertainment amongst the community. But to have a better understanding of recreation, one has to dwell deeper to find out the higher impacts of recreation on the community and society.

Recreation is a phenomenon, which takes place at different levels. The definition and activity of recreation varies at personal level, family level, neighborhood level, and community level. At personal level it is a private thing and varies from person to person. At family level it is limited to private and few public gathering places. In neighborhood, recreation is shared amongst a particular group of people seeking for similar comforts. At community level, recreation has a significant role which benefits larger public. Here, in this research the primary focus is on public recreation and recreational spaces at neighborhood and community level. As this type of recreation has great importance in society, and involve application of different strategies to be employed, to serve the actual purpose of recreation, it is essential to identify the role of a designer in such typology.

Community level

Neighborhood level Family level

Personal level

Fig. 1.1.1.5 Relationship of different levels of Recreation

Recreation

• Difference between Leisure and Recreation A simple relation between recreation and leisure is explained as; Recreation is centered on different activities while leisure is looked upon as a component of time. Leisure time is that time of the day when one can choose what activity he wants to do but recreation defines certain activities with respect to the space. One may say that a person visits the recreational space in his/her leisure time (Mehta, 1980). Today, there are profound economic, social, and cultural transformations witnessed in recreation. The obvious association people have with recreation is with a physical activity but with advancement of time, society, and culture, recreation has started gaining its new creative role and significance amidst the community (Mokras-Grabowska 2018). Where recreation not only serves the purpose of entertainment or socializing but fulfill higher needs of raising cultural consciousness to the users.

Concept

Definition

Leisure as time

Leisure is a time free from work and can do various leisure and recreational activities.

Leisure as activity

Leisure is set of activities that people get involved in their free time except work

Recreational activity

Productive use of leisure time by doing different activities for enjoyment, with having some social values are recreational activities

Fig. 1.1.1.6 Definitions of Leisure time, activity, and Recreation (Retrieved from: An excerpt from “Park & recreation professional’s handbook” by Amy Hurd & Denise Anderson, https://us.humankinetics.com/blogs/excerpt/definitions-of-leisure-play-and-recreation)

1.1.2 Recreational activity Recreational activities are considered as a set of activities done during one’s leisure time for the purpose of recreation. Recreation can involve various activities such as physical, social, dramatic, musical, cultural, service and outdoor activities. Recreational activities are majorly divided in two parts; active and passive. Active recreation means involvement in some physical activities and efforts, while there is hardly any physical or mental activity involved in passive recreation (Mokras-Grabowska, 2018). Although recreation demands physical and mental involvement beyond work, the form of recreation gets defined by the type of recreational activity taken up during leisure time. Leisure time and activity are considered to be a subjective matter while, recreational activities are defined in a generic manner, appealing to a larger audience. This is because of the fact that leisure activities are perceived in different ways by an individual based on personal needs and choices, rest, amusement, and subjectivity juxtaposed with working time (Mokras-Grabowska, 2018). While recreational activity has different meanings like social, cultural-entertainment, self-development or creative recreation. A comprehensive explanation of recreation as described by Meyer and Neizgoda, in their research is “all socially acceptable forms of human activity taking place in one’s free time; undertaken voluntarily, freely and enhance one’s capacities, enable playful, active, and diverse self-realization; and are performed individually or in groups, or occur as a global process” (Meyer, Neizgoda, 2018). Recreation

LEISURE TIME RECREATIONAL ACTIVITY

PASSIVE

ACTIVE

Social Recreation (meetings, social gatherings, parks, plazas, squares, etc.)

Entertainment Recreation (cinemas, cafe, restaurants, clubs, malls, bars, pubs, etc.)

Self-development Recreation (learning something new, awareness of art, culture or something new, etc.) Cultural Recreation (visiting museums, cultural centers, performing arts; music, dance, theatre, etc.) ACTIVE RECREATION Fig. 1.1.2.1 Types of Recreational Activities

The forms of recreational activities are affected by demographic structure, socio-economic standards and one’s own interests. They improve the social and cultural development of an individual. The notion of recreational activities is related with social aspect which adds to the functional values of such typology. The increase in participation of people in various recreational activities has been evident for many years. There is an emergence of creating architectural infrastructure to fulfill the purpose of recreational activities, which can also be termed as recreational spaces. The diversity of recreational activities leads to diverse nature and forms of such spaces. 35

1.1. 3 Recreational space Recreation progresses towards the social and physical environment, comprising of built environments and human activities holding corelations between both. It is referred as recreational environment by Toczek-Wener (2007), but due to its relation with spatial aspects, the commonly used term is recreational space (Mokras-Grabowska, 2018). The architectural artefact where recreation phenomena take place during leisure time can be recognized as recreational space. Recreational spaces are where communities meet and interaction is involved amongst people along with certain recreational activity. The phenomena of recreation have spatial characteristics which get reflected in a recreational space. Such spaces are a substantial part of built environments within the context of leisure time and space and as a part of recreational activity. At all three levels of urban, architectural and interior the spatial qualities are important to identify the role of designers in creating such built environments. In human civilization, the examples of recreational spaces have existed since long occupying various types of places. The generic examples at urban level are parks, squares, plazas, boulevards, and gardens, they form spaces of leisure and recreation in daily routine (fig 1.1.3.1). Architectural level includes museums, theatre halls, performance spaces, malls, cultural and community centers as few examples of recreational spaces (fig 1.1.3.2). At smaller scale, restaurants, cafes, bars, clubs, pubs, cinema houses, and art galleries can be

Recreation

f Fig. 1.1.3.1 Examples of open places like parks, plazas, squares, riverfront, open grounds, and amphitheater serving as recreational spaces

considered in public realm of recreational spaces (fig 1.1.3.3). Recreational spaces offer multiplicity of uses which serve physical, cultural, social and entertainment purposes of recreational phenomena (MokrasGrabowska, 2018). These spaces are built so as to mentally relax the visitors from their work and create relaxation. Recreational spaces display various forms of recreational activities that are socially, culturally and spatially substantial. Recreation spaces include various activities within the domain of entertainment, society, culture, arts, sports, and education, all of these add to the spatial value of the space. a

The unraveling of layers of recreational spaces is vital because they are setting new roles to satisfy the need of recreation. Along with serving the purpose of recreation these spaces have certain aesthetic values, concepts, cultural values and themes, which get informed by the context of the place. The use of leisure time and recreational activity affects the perception of recreational space which depends on interests and priorities of similar social groups. Recently, such spaces are gaining new forms, which not only serve the functional and aesthetic purpose, but becomes the medium to spread consciousness to the users in various forms.

e e

Fig. 1.1.3.2 Examples of built environments like museums, amphitheater, community places, arena, art and cultural places as recreational spaces

Fig. 1.1.3.3 Examples of interior environments like cafe, bar, restaurants, performing spaces, and art galleries as recreational spaces

Recreation

LEISURE TIME (ACTIVE)

(PASSIVE)

RECREATIONAL ACTIVITY

Typology of space

Urban recreational space Architectural recreational space Interior recreational space

Spatial qualities

RECREATIONAL SPACE

BUILT ENVIRONMENT

(Active leisure time)

Fig. 1.1.3.4 Summarizing the relationship of recreational space at all three levels within the built environment (Retrieved from: Mokras-Grabowska, J. (2019). Recreational space- Forms, transformations and innovative trends in development)

1.2 Recreational culture Culture reflects the identity of place, and is known by the use of various artifacts in correspondence to the cultural character. Culture is defined by a set of social traditions and institutions which hold high values at societal level. Culture having complex nature, gets passed on from one generation to other, and is accumulated as a medium of passing knowledge, thoughts, beliefs and concepts through various forms (Mojarrad, & Bahramani, 2015). Culture is a comprehensive collection of societal values and sets a base for building a community. Culture informs the public lifestyles and living patterns of the similar social groups within community. Similarly, culture of recreation can be defined by particular infrastructures and places established over a period of time by community. The conventional recreational places are defined by the type of activities the place hosts. After the rise and emergence of recreation, various parts of the world started developing their own recreational culture. It was informed by the interests of the respective communities and many other factors like traditions, beliefs and social customs. Some might consider visiting museums, opera houses, ballet performances, theatre, and plays, as a practice of the culture, that increase their art and cultural consciousness. While, for some visiting restaurants, cafes, pubs, bars, and clubs for entertainment and socializing purposes can be recreational culture. While, few might visit community centres, science Recreation

Identity

Traditions

Societal values

Community

Culture of Recreation

Manifestation of cultures In built

spaces

Culture as expression

Culture as language

centres, or cultural centres to gain knowledge and interact with certain recreational activities. ‘Great civilizations’ like great cities share a common feature, evolving within them and crucial to their growth and refinement are distinctive informal gathering places. (Oldenburg, 2013) The reflections of cultures can be seen in different cities across the world which are known by their recreational cultures. Viennese coffeehouses, pubs of London, Paris’s sidewalk cafes, Irish grocery stores turning into pubs, German beer gardens, Japanese tea houses, and piazzas from Florence are few instances which reflects the social culture into the public spaces (Oldenburg,2013).

Culture as materiality

Culture as concept

Fig. 1.1.2.1 Manifestation of cultures in recreational spaces

Fig. 1.1.2.2 Examples of London bar, Viennese coffeehouse, Paris’ sidewalk cafe, and performing space (Clockwise from first row left corner)

1.3 Manifestation of Cultures “Culture is the amalgamation of beliefs, rituals, shared meanings, norms and traditions amongst the society” (Moscardo, 2007). Culture is the integration of values and beliefs that influence the actions and guides the decision-making process (Moscardo, 2007). Culture creates a learning system which is transferred from generations to another, and from place to place (Mojarrad & Bahramani, 2015).

Content

Culture

Ways of Learning

Behavior

Values

Meanings

Social Norms

Sets Context

Meaning of culture as summarized by Moscardo, 2007, in three parts are “culture as content to be transmitted, culture as context for behaviour and for learning new information, and culture as communication between people”. Culture in its true sense is directly connected to people, it helps to influence what people seek in the place and becomes binding factor for communities. Cultural values mediate the architecture and spatial character of the space. Often, the qualities of the space are dependent on the culture of the place as the primary user group comes from that culture and can easily relate to such concepts. In public spaces, culture holds a significant role as they should always aim towards improving the cultural values of the people through the notion of space and activities. Though designers should strive to include multiple cultural aspects in conceptualizing public recreational places. Culture can be manifested in Recreation

Fig. 1.3.1 Culture and its meanings as retrieved from: Moscardo, G. (2007). Interpretation, Culture and the Creation of Place

architectural artefacts in various forms like language, expression, materiality, and concepts of such places. 1.3.1 Culture as Language and Expression

Fig. 1.3.1.2 The interiors of Rangeen and 650 Global Kitchen restaurants in Ahmedabad, depicts the use of elements that are rooted to Gujarat’s culture and their form are expressed in various ways in the elements of space

The articulation of spaces refers to the language of the design which defines the perception of the space. Language is also conveyed by the amount of ornamentation and the ways in which it is done by referring to the history, culture or context. Fundamental characters of architectural language are; the form and the style. Mass, shape, structure defines the form, while development of styles is based on societal beliefs, knowledge and expertise of demonstrating it. Language in architecture gives the character to the space and integrating culture increases its value. Also, culture as language is determined by how it is expressed. Expressions have more to do with adding non architectural holdings of the built form within the society. Expression can also be a part of intent of a designer and what one has tried to convey through the design.

Fig. 1.3.2.1 Krushi Bhawan, Bhubaneshwar is a community place for learning and engagement. Locally sourced materials are used to form a strong visual narratives by the architects to enhance the culture and traditions of Oddhisa.

1.3.2 Culture as Materiality Originally, the use of materials was dependent on their ease of availability and the application techniques used to vary. The techniques by which the material was used gave recognition to the style of architecture of each community across the world. Materiality was one of the factors that was used to showcase particular beliefs or represent values of the communities and its culture. But in the times when materials are globally available and have been standardized, the differences seen in the skills and its application are minimized. Though it still remains on the preference of the designers and architects to preserve the cultural, contextual, and environmental values through materials or to take a modern standardized approach.

Recreation

Fig. 1.3.3.1 Tribal Museum in Bhopal narrates an experiential journey of local tribes throughout the space, thus it forms the concept inspired from the culture of the place.

1.3.3 Culture as concept Concept being the primary basis for design approach guides various processes. Concepts guide fundamental thought processes and depends on the choice of the designer. Conceptualization is the first step of design strategies so it becomes a significant factor that informs values within built environment. As concepts become design initiators, they form a base to show designers intent behind particular decisions. Their decision and thoughts may attempt to continue the existing architectural language or contradict it. Designer may choose to follow the culture of the place as design initiator that leads the design process and form the concept for a place. Many cultural centres are examples of how culture is the core idea behind the space and how it informs design processes. These spaces add to the societal values and aim to create cultural consciousness amongst the users. 45

1.3.4 Culture as Ritual Rituals are activities that hold historic, cultural and societal values and meanings with them. They can also be described as traditional activities that have been going on since generations. Rituals are the way of understanding the beliefs and values of people. Rituals become inherent part of the culture of the community where it sets certain events and activities. These activities get translated into functions and they demand a place for performing rituals. Commonly, rituals are associated with religious and cultural aspects that gives identity to the community. Rituals in society are observed in the form of events, festivals, occasions and ceremonies. For an instance, graduation ceremonies or wedding ceremonies, attending an art or literature festivals some of the public rituals. The spatial dimensions of ritual activities are gained by culture playing a vital role in making environments.

Fig. 1.3.4.1 A wedding in a temple is part of culture and is a ritual followed from years. For many people attending a wedding is also considered a recreational activity as it involves socializing and provides entertainment

Recreation

1.3.5 Culture as Tradition Tradition is behaviour or beliefs that a particular group of people follow and is passed within societies. They hold significance from the past and possesses symbolic values. Tradition is also one way of seeing culture as it forms the cultural identity of a person or a group. For an instance, visiting a temple on festivals is part of family tradition that is passed from one generation to another and it also holds recreational purpose within it. Or visiting a regional fair in the town can also be considered as cultural tradition with serving the purpose of recreation. Pushkar fair is an annual fair held in Pushkar city of Rajasthan, where hundreds of people from all around the country gather. The tradition of hosting Pushkar mela every year according to the Indian calendar is passed from years and it still holds it recreational purpose.

Fig. 1.3.5.1 Melas are part of Indian culture since long time and it has converted into a tradition of holding yearly melas across different parts of the country, which still serves the purpose of recreation

1.4 Categories of Recreational Activities Recreational activities can be divided on the basis of its types. Recreational activities are an important medium which improves social values, mental and physical well-being, creates new experiences, can spread consciousness, can increase creativity, provides entertainment and social interaction amongst the community. People choose the way in which they want to spend their leisure time, hence, they voluntarily choose the recreational activities. There are numerous activities which fall under this category as it depends on individual’s interest. But, to set the context for the research, a classification is required to identify the scope of study. Researchers of different time frames classify recreational activities in various ways, a generalized classification is used here to set upon a common ground. Two basic types of recreation are active recreation and passive recreation. The active recreation involves physical activities that are associated with sports, play, and other outdoor activities. The passive recreation involves activities that does not require much of the physical actions but involves social and intellectual activities. Recreation offers flexibility by having organized or unorganized nature. To further classify recreational activity with the nature of space, a matrix is used to explain these types in an easier manner.

Table. 1.4.1 The matrix depicts broader type of activity, and then explains the range of various activities falling under each type. Then it is further explained with the nature of space, that is open, semi open, or closed, which is explained further with the help of supporting images. This classification is retrieved from the research of Jackson L, 2005 on types of recreational activities.

Recreation

Types Types of Recreational Activities involved of Activities activities iiictivities involved

Physical activities

Social activities

sports, games, fitness, etc.

- open or closed - playground, sports club, games arena, gymnasium

- open or semi open - camping sites, forest expedition, water side camp sites

- semi open or painting, closed scrap-booking, - workshops, art ceramics, centers, creative woodworking, etc. learning centers - open, semi open or closed - amphitheaters, fairs, community halls

singing, bands, classical music, concerts, etc.

- open, semi open or closed - malls, open ground, music schools, theaters

Cultural activities

Entertainment activities

theatre, plays, Dramatic activities puppetry, skits, etc.

Musical activities

Reference images Reference images

- open, semi open or parties, banquets, closed - party halls, parks, picnics, etc. party plots, etc

day camps, Camping and resident camps, outdoor activities backpacking, float trips, etc.

Arts and crafts activities

Examples ofofnature of Examples nature space of space

art appreciation, music appreciation, panels, discussion groups, exhibitions, museums visit etc.

- semi open or closed - cultural centers, museums, art centers

- open, semi open or closed drinking, eating, - fairs, malls, playing, dancing, cinemas, restaurants, socializing, etc. bars, cafe, clubs, nightclubs, etc.

1.5 CHARACTERISTICS OF RECREATIONAL PLACES- Sense Making Different recreational spaces having different functions and activities delivers a particular character to the space, which in turn defines the Recreational space. Certain character of the space develops its identity and allows people to use the space in a better way (Bassan, 2016). The character of a place attracts people with different social, cultural and economic backgrounds which satisfy their needs. The character of a place adds to the sense of a place which rises the sense of belonging towards the place. The sense of belonging to the place provides a balance between built environment and individual’s awareness, security and needs (Jalili, Molavo, Mardoukhi, 2016). “When certain place meanings appear to be more prevalent toward an individual, the conception that a person has toward a place will eventually shape their emotions, behaviours, and attachment to that place. In the context of urban research, numerous studies examine and discuss the role of place attachment and sense of place in understanding the value of place to people.” (Zakaria, 2015) (Jalili, Molavo, Mardoukhi, 2016). The sense of belonging adds to the meaning of the place which intensifies the values and its purposes. The adaptability of the place depends on the character of the space apart from the provided function. The manner in which the place is conceived by a human mind is dependent on what the space conveys. Recreational spaces have various forms and characters, and it influences the concepts of such places. The underlying concepts of places strengthens the quality of such places and adds to its purpose for the community. Recreation

PLACE Character

Meanings Sense of place Concepts Sense of belonging Identity Values

Purpose

Fig. 1.5.1 Relationships between concepts, meanings, and characteristics of place and sense of belonging

1.5.1 Concepts of recreational spaces Public recreational spaces are social places, made for the community growth and satisfy their recreational needs. A place gains its identity from its fundamental concepts, that gives the character to the space. When a space has character, purpose, and meaning it becomes the place (Bassan, 2016). Understanding of the concepts of recreational spaces by categorizing them on the basis of its elementary functions will help to understand its purpose. The categorization is as followed: 1.5.1.1 1.5.1.2 1.5.1.3 1.5.1.4 1.5.1.5 1.5.1.6

Place as a ‘Stage’ Place to ‘Socialize’ Place of ‘Cultural Consciousness’ Place of ‘Entertainment’ Place of ‘Knowledge’ Hybrid types 51

1.5.1.1 Place as a ‘Stage’

A stage is meant to showcase some performance, acts or delivers some activities. The place that hosts such activities and forms a background to cater to public events can become a ‘stage’. sometimes the vibrant and most happening place of the city becomes a stage to host various recreational activities. Usually, such places are easily accessible for all demographic groups of people. In addition, they give new cultural identity to the place such that people can easily relate to and become inherent part of it (Bassan, 2016). Sabarmati riverfront in Ahmedabad is a public recreational space that people visit in their leisure time and it hosts various events. The open public space offers possibilities to host various events like flower shows, happy streets, kite festivals, etc.

b Fig. 1.5.1.1 (a) Sabarmati Riverfront acts as a stage to hold various recreational activities (b) The amphitheatre of Darpana dance academy facing the river, hosts various cultural events (c) Riverfront park hosts flower show every year which attracts people from all over the city

Recreation

1.5.1.2 Place to ‘Socialize’

Places where one can go to share their thoughts, opinions and interact with others have the sense of togetherness in community. These places offer people a feeling of being connected to each other in the society. Places having an informal character give freedom to the users to get familiarized to the place. Conversation is the key factor that keeps people attached in communities. Conversation leads to socializing and socializing can happen in various forms. Conversation sets an emphasis to display a person’s individuality and personality (Oldenburg, 2013). The prominent feature for developing culture of the society is the way people meet, greet and socialize with each other. Hence, places providing environment to ‘socialize’ hold a greater importance amongst the community. Public places like plazas, squares, parks, restaurants, café, pubs, etc are few places to socialize. SID plaza in CEPT university campus is an active place used for various recreational activities. Location of the plaza at intersecting points makes it a place where people gather, communicate and socialize.

Fig. 1.5.1.2 Plaza in School of Interior Design, CEPT University acts as a place to socialize where students gather for various recreational activities

Fig. 1.5.1.3.1 Vechaar is a museum that exhibits old utensils and is curated along with the function of restaurant, Vishala

1.5.1.3 Place of ‘cultural consciousness’ Often public spaces have higher impacts on the users, and act as a medium to raise a consciousness of culture. In public recreational spaces, the space having such environments are merged with other primary functions. Raising of cultural consciousness through the space is important as they have societal values attached with them. Museums, galleries, cultural centres, performing spaces like theatres, etc are few places that raise cultural consciousness amongst the users. Conflictoirum, in Ahmedabad is a museum of conflict depicting Gujarat’s history of obscured events. Hence upon visiting the museum one become conscious of the brutal history of Gujarat, the problems faced by the communities during riots and various other things related to history and culture. Another such example of Vishala restaurant in Ahmedabad can be considered which has utensils Recreation

museum along with the theme of village. The exhibit complements the theme of the restaurant and makes the visitor conscious of cultural history of utensils.

Fig. 1.5.1.3.2 Conflictorium exhibits the ‘conflicts’ of events happened in Gujarat

1.5.1.4 Place of ‘Entertainment’

Entertainment has become a basic need of a person in todays’ age. People’s perception of recreation primarily is linked with entertainment as a basic requirement. People looking for break from their mundane routine seek entertainment places to spend their quality leisure time. To experience this change from routine life, intellectuals of different levels seek entertainment in various forms and their choice of places depend on their interests. Restaurants, clubs, bars, malls, cinema, etc. are few examples of places of entertainment. The example below depicts cinema and mall as place of entertainment.

Fig. 1.5.1.4.1 (a) Theatre as a recreational place (b) Mall in Ahmedabad hosting an event for public recreation

1.5.1.5 Place of ‘Knowledge’ Places like museums, art galleries, science centres, cultural centres are few of the examples where one can gain knowledge through the medium of space. The purpose of these places is to impart knowledge in various forms that can be easily interpreted by the users. Primarily, these places exhibit the display in an innovative way such that they become playful and informal yet hold their cultural, artistic or scientific significance for imparting knowledge (Bassan, 2016). Science centres, art galleries, exhibitions are few of the examples of places of knowledge. Science city in Ahmedabad is a public recreational centre which holds various activities under the field of science and it conveys knowledge related to field of science to the users. Multiple art galleries of Jehangir Art gallery in Mumbai that display various exhibitions is another example of gaining knowledge in the field of art along with serving the purpose of recreation.

Fig. 1.5.1.5.1 Science city in Ahmedabad imparts knowledge related to science along with serving the purpose of public events and recreation

Fig. 1.5.1.5.2 Jehangir Art gallery in Mumbai imparts knowledge related to arts and becomes a recreational space for art appreciating people

Recreation

1.5.1.6 Hybrid typology Places where the above-mentioned factors overlap in space and have multiple functions fall in this category. The intersecting factors can be socializing and entertainment, knowledge and cultural consciousness, entertainment with knowledge, and so on. It is difficult to isolate these factors from each other as they are always seen in harmony in places.

Restaurant

Museums

Bars

Clubs

Theaters

Malls

Art Galleries

Community centers Fig. 1.5.1.6.1 Generic examples of recreational spaces at different scales and their underlying aspects

Performing spaces

1.6 Significance of Recreational places in Interior design Recreational spaces having different functional values are intended to serve the purpose of recreation through the notion of space. Social aspects are considered while planning of such spaces but experience of the space lies in the hands of the designer. Urban planners, architects, and sociologists have been continuously involved with conception, creating and making of urban recreational spaces. Recreational spaces have been looked upon as mainly outdoor spaces at urban city level or architectural level. But urban planners and architects are responsible for planning and incorporating recreational spaces at larger level. The role of interior designer shoots in when it comes to the experience, meaning making, and spatial character of the space. At micro level, conceptualization becomes the key driving factor in designing the space and perception of space. Interior designers must not limit themselves to only fulfilling the functions of space but need to add to the recreational values of the space. Often, people perceive the space without knowing the actual impact of built environment on them. Recreation as described previously has the spatial and environmental factors. Thus, recreational activities lead to recreational environment. But formation of recreational environment has spatial qualities which impacts user perception and experience. Hence, to comprehend such recreational environment helps in not only recognizing the spatial Recreation

characteristics of the space but also identifying and studying its higher impact on society and users through space as a medium. So, looking recreational spaces from an interior designer point of view becomes important. Interior designers have started gaining new roles in the society where it is not restricted to just decorating or styling the spaces but to add meaning to the space. (Hasell & Benhamou, 1988). People are unaware of the actual impact of the space which goes beyond its function. It is important for aspiring students of interior design and practicing professionals to understand the significance of this typology of recreation, which in turn helps them to recognize their role at societal level to design public recreational spaces. The germination of such concepts should be included from the pedagogy level to make designers conscious while designing. The challenge for designing recreational spaces lies in necessity of creating comprehensive recreational environments for higher impacts to the society, along with purpose, aesthetics, and functionality.

Chapter

METHOD OF INQUIRY INTO RECREATIONAL SPACES THEORETICAL APPROACH 2.1 Values in designed built environment 2.1.1 Value: 2.1.2 Value: 2.1.3 Value: 2.1.4 Value:

Referential Normative Descriptive Aesthetics

2.2 Ordering of spaces 2.2.1 Sequencing of spaces

2.3 Knowledge as aesthetics? 2.4 Detailed examples of recreational spaces 2.5 Methodology for case studies 2.5.1 Criteria for case studies

2.1 Values Architects and designers create built environment where people live, work, play, and entertain, which consists of architectural artefacts (Garg, 2017). Built environment inherits values that add meanings and gives design identity. Values are set of ideas, qualities, standard principles, and characteristics that guide one’s actions to perform the desired task. Architectural studies and literature since long time have indicated that cultures and values help in developing architectural styles (Mazumdar, 1994). Values in design and architecture are discussed in various literature works. Design values can be defined by aesthetics, social, environmental, and traditional factors. Values are conveyed by architectural and environmental integrity that form the hierarchy of objects (Benhamou, Hasell, 1988). In the field of interior design, values bind the society and designers constantly work alongside the society. Values in society are amalgamation of beliefs, rituals, traditions, and cultures which are translated in the form of spatial qualities.

Traditions

Ritual VALUES Beliefs

Culture

Fig. 2.1.1 Different factors contributing to form values

Proposal Values

“A value is not just a preference but is a preference which is felt and/or considered to be justified“morally” or by reasoning or by aesthetic judgements, usually by two or all three of these.” (Holm, 2006) The categories of values used here for research are based on a research paper on “Societal values and architecture: A socio-physical model of the interrelationships” by Sanjoy and Shampa Mazumdar. This literature piece classifies various design values that later on become parameters for study in the research. The model establishes linkages between architectural artefacts, culture and the way they depict societal values. Mazumdars in their research state that the intangible aspects of society are expressed in form of societal norms and societal values. And they gain tangible architectural form by its values and artifacts. Intangible

Societal Values

Societal Norms

Architectural Artifacts

Architectural Values

Tangible Fig. 2.1.2 Tangible and intangible aspects of Values

Referring to the theory by Rapport 1976, Mazumdars “convey on a continuum with tangible at one end with architectural artefacts which are physical manifestations of values, and intangible on other end where societal values are intangible and ideational in nature.”

Hence, it can be understood that values get tangible form through their architectural manifestations. But the question that arises here is how are these values implemented in design without getting into physicality? A simpler way to understand this quest is, values at conceptual level gets transferred in spatial qualities which gains physicality by the artefacts. The intangibles of spatial qualities and characteristics are shaped by context, planning and organization, laying out of spaces, ergonomics, and anthropometrics, and so on. These factors affect the form, shapes, sizes and elements which constitutes the architectural artefacts. Architectural

Values

Conceptual level

Implement at

Physicality

Spatial qualities

Artifacts

- Context and

- Forms, shapes,

cultural

- Sizes, elements,

- Planning &

- Materials of

Organization

construction

- Ergonomics and

- Structural system

anthropometrics - Ordering and sequencing - Proxemics - Accessibility Fig. 2.1.3 Implementation of Architectural values at spatial level

Proposal Values

Values gain tangible expression in the form of architectural artefacts, but values cannot be absolute. That means not all values at once are expected to have their individual manifestation in architectural design. So, to recognize few of the values and understand how they are implemented and perceived in space through artefacts is vital. Values are not always individual elements; they make value hierarchy. Often, values that are linked to each other form a hierarchy that affect the preferences of other values (Holm,2006). They might be expressed directly or implicitly in the works of a designer. Values are important in answering the question ‘why do they do what they do?’ (Mazumdar, 1994). The referred literature work classifies various design values in four sets out of which three sets are further used as parameters for analysis. These sets are “value-referential”, “value-normative”, “value-critical”, and “value-descriptive”. • Value- Referential: The value-referential approach deals with various references that affect architectural artefacts and add value to the space. The argument that either designers should draw influences from historical and cultural factors of the context, or build something which is not related to context, depends completely on them. The form of referents is many, but designer should imply them while designing for people to easily relate to the artefacts. For recreational spaces, the references form a base value to inculcate while designing, as they should have essence of the surroundings reflected in any form. • Value-Normative: Normative value claims that architecture should cater to user needs and human

needs (Mazumdar, 1994). And architecture is always looked upon as an instrument to fulfill human needs and provide a built environment that best suits for its users. This approach helps in developing of program and post occupancy evaluation (Mazumdar, 1994). Recreational spaces offer recreational activities that are in harmony with the physical and cultural needs of the people. Hence, considering normative values for recreational spaces help in achieving what the user desires of such places. • Value- Descriptive: This approach has seen the architectural artefacts as depiction of the ways in which designers represent the concepts and how it relates to the people (Mazumdar, 1994). Architectural artifacts also defined as elements of space are symbolic representations that build up the spatial character. In recreational spaces the elements of space are the key factors that hold the real fun and adds to the uniqueness of the space. Therefore, deciphering the value such elements hold, is crucial part of the research to understand recreational spaces. Public recreational spaces are social spaces that promote social interaction with recreational activity. Social and cultural values are pre dominating in recreational spaces. But to evaluate and asses other set of values these places hold helps in understanding the success and impact of the space on the community at a larger level. And to examine whether the stated implemented values by designers are actually perceived by the users in space or not will help in realizing the importance of such designed places.

Proposal Values

Culture REFERNTIAL Context Anthropometrics

VALUES

NORMATIVE

User needs

Proxemics Territoriality

DESCRIPTIVE

Elements of space

AESTHETICS

Fig. 2.1.4 Architectural values that further on become parameters for the research, but can also be used by designers in designing

2.2 Ordering of spaces Order refers to the arrangement of the whole w.r.t. other parts of a larger system to make a harmonious arrangement. The programmatic requirements for any building always consists of diversity and complexity. The scope of the building by its form should serve the users with the purpose and convey meaning, by inherent hierarchy of the functions they hold (Ching, 2014). The ordering principles play a substantial role in laying out of the spaces and cater to the diversity and complexity of the program through hierarchal programming and designing. “Order without diversity can result in monotony or boredom; diversity without order can produce chaos and a sense of unity with variety is the ideal situation (Ching, 2014).” Implementation of ordering principles allow the spaces and forms to coexist conceptually within a unified, ordered and harmonious unit (Ching, 2014). The notion of order thrives for creativity and criteria that help designer to establish guidelines for laying spaces. Order formulates the design strategy for programming by establishing an inter relationships between human activities and functions (Benhamou, Hasell, 1988). Architectural artefacts are in correspondence to the human activities and requirements. As mentioned by Ching in his book ‘Form, space and order’, order through artefacts is established by ordering principles; axis, symmetry, hierarchy, rhythm, datum and transformation. These ordering principles act as a tool for laying the spaces and brings individual entities together. Ordering principles guide

Proposal Ordering

Artefacts

Design principles

Human activity

Spatial organization Programming

Establish hierarchy of activities

-information gathering

ORDER

Adjacency studies Scale and proportioning systems

Identifying requirements

Spatial definers

Fig. 2.2.1 Human activities and artefacts that affect the ordering of spaces

the spatial qualities like proportion, scale, form, color, and shape (Benhamou, Hasell, 1988). Recreational spaces are programmatic typology that rely on recreational activities and human needs. The construct of such places is with accordance to hierarchy of functions and activities. Hence, for designing recreational spaces, ordering principles are vital to understand as they form the integral part of design process in such places. To decipher the spatial qualities of recreational spaces, ordering becomes an important factor to analyze.

2.2.1 Sequencing of spaces Sequence Dictionary meaning: a particular order in which related things follow each other A set of related events, movements, or items that follow each other in a particular order. Sequence is the process of composition. It is a system of elements coming together to either juxtapose or complement each other to gain meaning. Sequencing is a process that is recognized and primarily used in the initial stages and acts as a theoretical method to creatively approach infinite possibilities (Tavares, n.d.). Different scholars have theorized the importance of sequence as a system of composition that helps in making the organization of elements unique and add meaning to it by unifying individual entity. “In architecture, sequencing allows to understand and design the movement, experience through space, and time (Tavares, n.d.).” Sequencing of spaces deals with laying of actual spaces with programmatic occurrence of events. Programmatic sequence is manifested by gaining geometrical form of spatial organization. Sequence of events, activities, incidents, elements are superimposed on the fixed spatial form (Tschumi, 1994/98). Bernard Tschumi in his book on Architecture and Disjunction, argues that, Programmatic sequence in architecture opens up a dialogue to understand the links and relations between the system of spaces and events and systems of form and functions, and does there exist a one-to-one relationship? In spatial sequence, events are system of motivation and sequence of events merely transforms itself into a program. And program gives definite function to the space. Spatial sequencing is a structured system that can also be Proposal Sequencing

viewed independently of the purpose and meanings they evoke. Spatial Sequence Space

Event

Form

Function

Fig. 2.2.1.1 Space and event relationship that affect the spatial sequence

“Programmatic sequences are generally inferential, conclusions or inferences can be drawn from the events that provide the sequence’s connotative aspects (Tschumi, 1994/98).” The events, spaces, movements, and elements all combine to narrate a sequence which can be linear or deviating. Sequencing helps in interpreting the manipulated spaces and comprehend the spatial organization. Spatial sequences form a dominant factor in perceiving the hierarchy and inter connectivity of spaces. Sequence can be determined by examining principles like approach, movement, axes, and occlusion. (Whitley, 2018) These principles help in tracing the space-function relationship within the given program. In recreational spaces, along with the activities, functional program of the space defines the typology of recreation. Hence, assembly of spaces that guide the spatial organization fall under the domain of spatial sequence. And spatial sequence in recreational spaces gives insight into the spatial organization and movement within the space that affect its experience. 71

2.3 Knowledge as aesthetics? Aesthetics noun: a set of principles concerned with the nature and appreciation of beauty. Aesthetics in architecture is representation of a particular style of design element that makes it visually appealing. Aesthetics becomes a means of communicating design and it defines how it gets perceived and experienced. Aesthetic qualities may have functional abilities to solve one or many design problems. It depends on the choice of the designer what they want to convey through aesthetics in space. The perception of space depends on what the space represents by its aesthetics and defines what values are held by it. Aesthetics gain meaning by spatial configuration of form, shape, color, and materials. These associations may have contextual or cultural references in order to be more impactful to the viewer. Aesthetics become the form of expression of particular style that a designer portrays by using above mentioned parameters. Aesthetics in architecture exhibit the concept of things through its design that has a definite purpose attached to it (Arenibafo, 2017). According to research of Arenibafo, aesthetics can be characterized by beauty, functionality, construction, and unity. Beauty is first perceived form of aesthetics as it is directly related to what is displayed as a part or the whole. Function in architecture is embodiment of concept, elements, and activities that give purpose to the building. Along with what material is being used for the construction of a given project, ‘how’ is that material used is equally important, i.e., tectonics of construction also plays an

Proposal Aesthetics

important role in enhancing the visual appeal and embodied experience of a space. Greek and Roman architecture sought beauty through a rationale with the use of proportioning systems. Hence in several cases scale, proportion, and harmony among the elements are also considered to add to the beauty of the built form.

Fig. 2.3.1 Definition of Aesthetics and extending it beyond beauty by relating it with knowledge

Often, aesthetics go beyond the beauty and functions of the program as they imbibe much deeper thought processes that might have repercussions on the society. Or in turn these thought processes are shaped due to cultural factors and generate the aesthetics of that particular work. Aesthetics in such a piece of work can be considered as carriers of information about that society’s culture. Hence such aesthetics impart knowledge about the beliefs and rituals of that particular society. Knowledge through aesthetics can be broadly seen in two different types; first through the elements which define the spaces and second through the elements and effects which enhance the quality of spaces. The space defining elements constitute of form, shape, and layout while the aesthetics of these elements may get enhanced with the help of add-ons like finishes, various art forms like paintings, sculptures etc.

Beauty (perceptual experience)

Construction

Functionality

Proportion, scale, composition & organization Aesthetics Beyond Beauty? Knowledge

Space making elements

Space enhancing elements

2.4 Detailed examples of recreational spaces Before directly dwelling into the case studies, two of the examples of recreational spaces are studied in detail. The theories explained in the earlier part are applied in the detailed examples. In first example, one part of theory, ordering and sequencing of spaces are studied in brief. And second part of the theory, values is studied in second example. Here, analyzing two examples in a different approach helps in establishing co-relations between two theories in a different way. Hence, the parameters for framework of research become clearer after analyzing these two examples and this also helps in deriving the framework for inquiry into case studies for further research.

Detailed examples Proposal

2.4.1 Ku.BE House of Culture in Movement Architects: MVRDV, ADEPT Program type: Culture Client: Frederiksberg Municipality Size: 4000 m² Location: Frederiksberg Denmark Project Year: 2016

Fig. 2.4.1.1 Exterior view of Ku.Be surrounded by gardens

• Typology of space Ku.Be House of culture in movement is a new typology of project that is designed as a ‘focal point’ for the people of Frederiksberg and Copenhagen. The building serves as a community space that explores the themes of culture, movement, and health (Stevens, 2016). The specific needs and wants of the users are considered at programmatic level that help in community building and improving the quality of life by bringing people together. Architects, ADEPT and MVDRV state that the building blends sports, learning, and theatre into one space for enhancement of body and mind which encourages a healthy life for people irrespective of their age, interests and helps in connecting people. Since its completion, it has become a community destination Proposal Ku.Be House

where people are encouraged to involve in various recreational activities. The bright colors of the building elements with dynamic and playful architecture encourages user participation in many ways.

• Ordering of spaces

Fig. 2.4.1.2 Elements inside volume

The part to whole strategy is employed in laying out the spaces. Six volumes of each unique program are harmoniously arranged in the periphery of the site which are distinguished by its colors and shape. Smaller volumes are organized inside the main volume of the building and the common spaces formed between the volumes are left open for users’ interpretation. Each individual element possesses its own geometry that offers multiplicity of uses in various forms. The common areas left as voids between these volumes acts as a play zone and are open for interpretation. The diversity of program requirements gives complexity to the volumes, yet adds to the dynamic and playful character.

Fig. 2.4.1.3 Translation of individual zones into the volume of site

• Outer Volume- the box At first glance, building looking apparently simple from the outside holds unexpected interior spaces. The playful geometry of the shapes and the manner in which they are ordered brings dynamism to the building from the inside. The framed views from the facade makes the recreational activities visible from the exterior. Fig. 2.4.1.4 Facades on both sides showing framed views of the interiors

Fig. 2.4.1.5 Open volumes created in between adds visual connection of recreational activities on each floor

Proposal Ku.Be House

• Zones- Inner volumes The placement of volumes in the building creates multiple double height areas that increase the visual connectivity within the space that overlooks the happening activities. (Figure 2.4.1.5 & 2.4.1.6)

Fig. 2.4.1.6 The void space brings three floors together and hence give possibilities to include fun elements like tube for movement and small windows creates curiosity to have a look at things happening in the play zone

• Sequencing of spaces Each volume contained within a space combines to form a clustered spatial organization. The composition of volumes and their physical proximity opens up various possibilities for interaction within the space. Each of the volumes holding different recreational activity defines its character. The larger volumes hold public gatherings or performances, while smaller volumes are for exhibitions. Different areas for food, performance, think and Zen zones together forms the activities of the building. Separate Zen rooms for yoga, meditation and dance are provided to improve the mental and physical health. While, play zone and performance zone helps in making the place more interactive for recreational activities. 79

Fig. 2.4.1.7 Each shape holds unique program and they together result into comprehensive recreational center that offers diverse activities

The sequencing of each zones gives character but also forms certain areas for connection and movement (figure 2.4.1.7). The configuration of each shapes creates a sequence of events that adds diversity of experiences. At all the three levels different size, height, and shape of the elements form a different floor plate for interactive recreational activities.

Zen Zone Performance Zone Food Zone Think Zone

Fig. 2.4.1.8 Cross section showing various recreational activities happening at different zones in each element of the building (Section source: https://www.archdaily.com/794532/ke-house-of-culture-in-movement-mvrdvplus-adept)

Proposal Ku.Be House

Diagonal placement of elements in plan gives the space dynamism and adds to the playful character of the space It also provides dynamic open public space at the entrance which hosts various recreational activities and increases social interaction Ground Floor Plan

Open social areas in form of play zone left open for user interpretation for recreational activities Physical activity area have space for spectators to engage more people First Floor Plan Multiple double height areas and courtyards are formed at various places due to playful arrangement of elements, they increase connectivity throughout the space Flexibility in spatial organization due to various types of furniture used Second Floor Plan Movable partitions gives the required privacy for the mediation area Donut shape yoga and exercise area gives unity by its circular form

Third Floor Plan

Fig. 2.4.1.9 Floor plans with marked out zones for recreational activities (Plan Source: https://www.archdaily.com/794532/ke-house-of-culture-inmovement-mvrdv-plus-adept)

Instead of movement being along the defined pathways, it is left open to explore and discover and has gained various alternate forms. For an instance, the maze of different cubes between second and third floors, a net that spans across several levels, and a vertical maze, allows users to climb from one floor to another, or use the slides and poles to get back down quicker. Diverse ways of movement throughout the space makes it playful, and encourages people of all age use to interact within the space and provides an extra layer of physical recreation (figure 2.4.1.10).

Fig. 2.4.1.10 Movement between the floors is explored in different ways like climbing, jumping and sliding which adds physical recreational activities

ADEPT co-founder martin krogh. “what would otherwise be a simple, mindless journey through the building turns into an exploration and discovery of movement. here it’s you that defines the route, however you want: climbing, sliding, crawling… jumping.”

Proposal Ku.Be House

• Inferences The building adds to the social and cultural values of the community through various themed environments that invoke people’s creativity and integrates interactive experiences. Here, diverse activities are informed and guided by various visual and physical connections established by different elements and their functions within the building. Though these overlapping and stacked volumes are unrevealed by the exterior of the building, the framed view of activities visible from exterior garden gives an overview of the liveliness of the building. An interesting concept of elements of varied geometry placed inside the volume is complemented by variety of color and material palette used. The colorful floors and walls, acoustic panels in ceilings and warm wooden floors are given a base of exposed concrete. The design strategies employed here defines the spatial character of the building and creates a place for interaction amidst different groups of people. The design is mix of the recreational activities and culture that gets a dynamic and playful fabric of the building. Here, ordering and sequencing of spaces affects the aesthetics and adds value to the place. Therefore, understanding ordering and sequencing of space helps to decipher aesthetics and the values that the place hold.

2.4.2 Phaeno Science Centre Architects: Zaha Hadid Architects Program type: Science Centre, exhibitions Project Area: 12,000 m² Location: Wolfsburg, Germany Project Year: 2000-2005

Fig. 2.4.2.1 Exterior view of Phaeno science center from across the street

Fig. 2.4.2.2 Elevated building provides open space that acts as a public space

• Typology of space Phaeno Science centre is an interactive cultural and recreational centre in Wolfsburg, Germany that is dedicated to earth sciences, nature, and physics. The centre constitutes 350 interactive exhibitions, experimental stations on various themes of gravity, laser light, tornados, and so on. The exhibitions are aimed particularly at families and children. However, vast range of activities in the program includes special events, exhibitions, laboratory, a bistro, workshops, a science theatre and a shop attract people of all age. The centre creates a complex set of spaces that are dynamic and fluid in nature. At first glance it is perceived as a complete mystery because of the unusual scale and forms of the volumes and artificial landscapes that surround the building.

ProposalScience Center Phaeno

Fig. 2.4.2.3 (a) Facade of the center oriented towards two different directions have different openings (b) Immediate context of the center showing other historic and cultural buildings (c) Views of the industries from the center reminds one of the Wolfsburg’s context (d) Framed views of the city from other side of the building

• Referential Values Contextual Located at the termination of the chain of cultural and historical buildings in the centre of the city, phaeno creates a ‘magic box’ and ‘an architectural adventure playground’ (Mathur, 2021). The science centre situated on the north bank of Mittelland canal is the end point of other historic buildings of Volkswagen’s public arena. The design responds to the varied contexts like railway lines, the

pedestrian bridge on the canal, Volkswagen factory, and carcity complex surrounding the site. Each side of the façade unfolds differently in correspondence to each side of the context. Phaeno is at the central point, where one part faces the city and other the industries. As shown in figure 2.4.2.3 (a) the façade on each side is in accordance to its context. The side facing industries have huge openings to glorify the significance of the industries that are focal point of the city. On other hand the framed views to the city gives an overview of things happening in and around the city. Hence, contextual values of the building acts as a precedent to add deeper meaning to the design. The overall perception of building has this underlying factor of corresponding to context which the architect has tried to achieve through the design.

Fig. 2.4.2.4 Artificial landscape formed by lifting up the main building provides open public space with undulating planes for various recreational activities

ProposalScience Center Phaeno

• Normative Value The main exhibition space of the building is raised above the ground which is supported by the cone shaped pilotis that gives the experience of building being hovering in the air. These cone shaped columns provide multiple pathways that provide a huge artificial landscape for movement and can host various recreational activities. This acts a public space with gentle undulating planes merging with the surrounding and is left open for user interpretation. The basic need of an open public space is interpreted as a dynamic roof like a space craft with artificially illuminated openings. The seamlessness in roof, wall, and floor gives the feeling of free-flowing spaces through out the journey in the space. These reflects the massive and dynamic architecture of the building. Inclusion of such an open public space gives users a freedom to appropriately use the space and also become a stage for various outdoor events and activities. As evident from the figure 2.4.2.4 children playing around the free open space adds life to the building. • Descriptive Value The interiors of the centre are articulated irregularly with clear demarcation of spaces, and openings placed between walls that continuously keep the visitor engaged in the space. A unique surprise element is created during the journey through the seamlessness of the building that offers freeflowing spaces. Different play of volumes and their fluid nature allows the activities to happen freely by maximum utilizing the floor space. Each element offers varied interaction with the space by the manner in which exhibits are placed. The experiments are interactive and allows people of different age

group to involve differently with the space. However, these experiments not only serve the purpose of spreading knowledge but also hold recreational factor. As evident from the figure, here recreation is not confined within the space but also finds its way out in the artificial landscape by involving people in various outdoor activities. Spaces with high volumes are visually interconnected to other volumes hence creating curiosity amongst the people to go and visit other areas as well.

Fig. 2.4.2.5 High volume interactive exhibition spaces

Fig. 2.4.2.6 Interactive recreational activities happening in the open public space outside the center during a cultural festival

ProposalScience Center Phaeno

• Aesthetics The scale, proportions and placement of volumes are major factors affecting aesthetics of the centre. The visual interconnectivity achieved by adding mezzanine floor adds to the playfulness and increases user interactions with recreational activities (figure 2.4.2.7). At some places the aesthetics are kept minimal such that place can become a stage to host various experiments and can gather people (figure 2.4.2.8). The gigantic proportions of the ‘cones’ makes the space perceived vast and marks a bold and dynamic statement (figure 2.4.2.9).

Fig. 2.4.2.7 Including mezzanine level increases the visual connectivity of activities amongst the floors

Fig. 2.4.2.8 Space itself becomes the medium to host various experiments and public gathering

Fig. 2.4.2.9 Proportions of the structure with respect to the scale of human

Fig. 2.4.2.10 Floor plans indicating programs on each floor (Section courtesy: )

ProposalScience Center Phaeno

• Ordering of Spaces Ground floor offers huge open public space and on moving further the functional spaces find their way in the cone shaped structures. The concourse level floor has the main exhibition are spread though out the floor and also continues to the mezzanine floor. Individual functions like restaurant, coffee bar, event space, and shop hold different themes by their placement into each separate block. The plan shows the division of functional space but also marks out the proportions for public space, cultural spaces and commercial areas (figure 2.4.2.10). The section marks out the form of each volume and states the relation between programs. Here, the aesthetics of building are informed by the ordering and sequencing of spaces that manifests referential values (figure 2.4.2.11).

Fig. 2.4.2.11 Part section demarcating various functional areas (Section courtesy: )

• Inferences The success of the building lies in creating equal amount of experiential public interior and exterior spaces for all. The manifested contextual values add deeper meaning to the building and here it affects the ordering and sequencing of spaces. The manner in which the spaces are laid out depends on the values that architect has tried to integrate at different levels. Phaeno is not just like any other science centre, it offers interactive museum exhibits with science experiments, the laboratories allow people to glance scientists at work, and the open exhibition space that is exhibit of the various science themes. The program encourages learning in a quite diligent way along with hosting recreational activities. The building is a perfect blend of gaining knowledge and becomes a stage to involve in various recreational activities in leisure time. Though the primary aim of the centre is to make people conscious in the field of science by varied forms, the multiplicity of programs makes Phaeno an effective recreational space for the community.

ProposalScience Center Phaeno

2.5 Methodology for Case studies Colors depicts the different stages of inquiry

Reference : Oldenburg, R. (2013). The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community.

Function

Typology

RECREATIONAL SPACES

Built environment Activity

Reference : Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design

Constants

ORDERING OF SPACES

SEQUENCING OF SPACES

Interior Design

VALUES

REFERNTIAL

Variables

AESTHETICS

NORMATIVE

Themed environments

DESCRIPTIVE

Empirical Research

Analytical Case studies

Proposal Methodology

Reference: Mazumdar, S., & Mazumdar, S. (1994). Societal Values And Architecture: A Socio-Physical Model Of The Interrelationships

- Language - Materiality - Expression

Culture as Language, Expression and Materiality

CONCLUSIONS

Culture as Form Manifestations of culture Culture as Concept

Concepts of recreational place

DECIPHERING MANIFESTED CULTURE IN RECREATIONAL SPACES

Culture as Ritual Culture as Tradition

Stage, Socialize, Knowledge, Consciousness, Entertainment

Heirachy of places w.r.t functions

IDENTIFYING ORDERING AND SEQUENCONG OF SPACES

Spatial Organization Heirachy of activities

Culture

Spatial qualities of recreational spaces

UNDERSTANDING INTEGRATED VALUES IN DESIGN OF RECREATIONAL SPACES

Context Anthropometrics User needs

Proxemics

Role of designers in designing such places

Territoriality

Elements of space

IMPACTS OF VARYING PARAMETERS OF DESIGN IN PERCEPTION AND EXPERIENCE OF SPACE

Higher impacts of such places on users and society

2.5 Methodology for Case studies The purpose of the study is to comprehend and analyze recreational spaces as a typology of space. To study recreational spaces from the lens of interior design, it is vital to study the spatial qualities of such places and manifestations of culture. The built environment of recreational spaces is defined by its functions and activities. The spatial qualities are shaped by the underlying concepts of recreational spaces that get influenced by the culture of the place. (Referred literature- The Great good place by Ray Oldenburg) Culture can be manifested as form, concept, language, expression, and materiality. These are the intangibles of recreational spaces but to understand the physicality of such places a theoretical framework is required. Here, adapted framework for analyzing recreational spaces is segregated into three parts. First part deals with ordering and sequencing of spaces that act as constants for determining spatial organization and establish hierarchy of activities. ‘Key Interiors Since 1900 by Graeme Brooker’ and ‘Form, space and Order by DK Ching’ are two referred literatures for this part. The second part deals with the theories of design that add meanings to the space by integrated values. The types of values to be studied are adapted from the academic research paper on ‘Societal values and Architecture’ and book on ‘Human factors in built environment by Linda Nussbaumer’. Three values included in the framework become tools for designing to add deeper meanings to such places. The application of the above-mentioned factors is evident in conceptualizing the space, but the final

Proposal Methodology

outcome of the design affects the perception and experience of space which depends on aesthetics of the space. Aesthetics gives various themed environments to the space by defining its language and expression. Collectively, the mentioned factors form the framework to analyze the recreational spaces and can be applied to conduct an empirical research to find out the values these places hold. There are various other factors and parameters that can be used as tools to analyze recreational spaces but to limit the scope of the research these factors are considered to achieve the purpose.

2.5.1 Criteria for selection of Case studies The research aims to study public recreational centers that have strong influences of context, culture, society, and values and they raise art and culture consciousness to the users. Studying recreational places located in India will help in giving a much deeper and personal insights for the study. The multiplicity of uses of such places can be easily understand by analyzing the cultural context. Also, drawing inferences from Indian examples will aid in understanding the role of designer in creating such places in Indian context. The selected case studies are Jawahar Kala Kendra situated in Jaipur and Bangalore International Center in Bangalore. Therefore, two recreational centers based in different context and built-in different time frames are considered for study which helps to draw varied inferences from each of the centers. The common factor linking the selected case studies are

programmatic similarities and their role at societal level in raising arts and culture consciousness along with recreational phenomena. The first one marks strong connections with the history and cultural context of the Jaipur city, while later one is a modern example based on changing needs of today’s time. • Jawahar Kala Kendra: A center dedicated to promote arts and culture of Rajasthan, built by Charles Correa in 1996, still hold its significance as an active recreational space and ‘cultural hub’ for the citizens of Jaipur. Kendra has maintained its legacy by serving the purpose of recreation and cultural consciousness in various forms. Also, considering the scale of the project, applying above mentioned factors to analyze the Kendra will provide a comprehensive example which stands true to its deep-rooted cultural values. • Bangalore International center: Recently built in 2019, the center is a contemporary example of public space hosting various art, cultural, and recreational activities. Located in the residential neighborhood, the space offers diversity of functions and has modern approach towards the design. The design strategies employed here are quite different from the Kala Kendra in Jaipur. The sequential process is followed in empirical study of the case studies. After inferring from first case study of Jawahar Kala Kendra, the applied framework is tweaked for second case study, Bangalore International Center. The shift in framework marks the differences between two case studies that give varying inferences.

Proposal Methodology

The first one has already well-established set of values and follow a particular cultural and contextual influences, which has been studied and analyzed by different researchers over the time. And it is well researched and criticized place. So, the values have to be validated and evaluate. While the second one is recently completed recreational and community center which is still not researched and analyzed by researchers. So, this space demands establishing and identifying its own set of values and inferences from the study. Hence, taking a sequential approach will help to arrive at two different set of inferences which in turn will make the conclusion stronger.

EMPIRICAL RESEARCH ON RECREATIONAL SPACES

Chapter

ANALYTICAL STUDY 3.1 Case Studies 3.1.1 Jawahar Kala Kendra - Inferences: Values that raise consciousness through space 3.1.2 Methodoloy for second case study 3.1.3 Bangalore International Center - Inferences: Values that raise consciousness through space

Jawahar Kala Kendra Architect: Charles Correa Program type: Arts and Cultural Center, Public space Client: Rajasthan State Government Built up area: 9.5 acres Location: Jaipur, Rajasthan Project Year: 1986-1992

3.1.1 Jawahar Kala Kendra • Typology of space The Jawahar Kala Kendra is an art and cultural centre located in Jaipur. In 1986, Charles Correa was commissioned by the state government to design a centre dedicated to preserving the arts and culture of Rajasthan. Built as a tribute to former prime minister, Jawaharlal Nehru, who envisioned modern India, the Jawahar kala Kendra exhibits dedicated spaces to promote rich cultural heritage. Kala Kendra is an art and cultural centre which hosts art galleries, permanent and temporary exhibitions, museums, performing spaces, amphitheatre, library, canteen, and cafeteria. Kala Kendra offers a diversity of uses and brings people from different backgrounds together and stages various recreational activities, which add up to make the center a recreational centre for the community. • Kendra as Recreational place: Arts and Culture Kendra offers inclusive arts and cultural programs which are freely accessible by the public. It hosts international art festivals, film festivals, multi-lingual plays and theatre, art exhibitions by local artists and international artists, classical music concerts and dance performances, folk events, fashion shows and literature festivals and various other cultural, private, and corporate events. ‘Kala Kendra is one of the most happening places in the city. Every time we visit the space, different events are happening here.’ As told by an interviewee who was part of a theatre group.

Proposal Kala Kendra

Kendra is the city’s community centre, and people of all age groups visit and are involved in various events. The in-house canteen- Indian coffee house is a place to socialize. It is a place where people can grab a coffee or teacup and spend a sunny afternoon surrounded by cosmic paintings on walls that emphasize astronomical knowledge. Often, the place hosts corporate lunches, discussions, informal meetings and charity events, workshops for children and many such activities. One can spend immeasurable time in the amphitheatre surrounded by high walls that makes the place serene, calm, and open to multiple activities during the day. Apart from hosting cultural and entertainment events, the amphitheatre becomes an excellent place for socializing for various groups of people. There is something peculiar about Kendra, here one can spend his or her time peacefully and interactively without the disturbance of the city’s. Kendra has a strong connection with residents of the city as it provides a place to explore the creative side of the individual and possesses cultural and societal values.

“Every society has seen architecture as something that transcends its functional roles, as a diagram of the cosmos.” – Charles Correa

Fig. 3.1.1.1 Different cultural activities happening around the Kendra in different forms

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• Manifestation of Cultures: culture as Concept Kala Kendra’s Plan is the analogue of the city plan of Jaipur, which Maharaja Jai Singh planned in the mid-17th Century. The city was intended to become a commercial capital, where people from different intellectual levels like merchants, traders, scholars, craftspersons, and artisans would come and reside. Correa has very diligently interpreted the city’s initial planning and deeply understood the purpose of the cultural centre. The center offers the program of making arts and culture more interactive for the visitors- whether inclined to specific cultural practices or not, and hence is inclusive of a broader audience. The centre has murals and scriptures inspired by astrology, Vaastu shastra, the symbolism of Jainism and Buddhism and paintings inspired by Rajasthani’s folk art. Having taken inferences from the past, Kala Kendra professionally manages to contemporize the building by manifesting various aspects of arts, culture, and history and provides a comprehensive user experience in a multi-functional space. And manifestation of culture is evident at the conceptual planning of the centre and it is implied in design strategies in various ways which will be further explained in depth. • Ordering of spaces The spaces of Kala Kendra are segmented into nine distinct square blocks, each of which holds a different function and provides a different experience of being in that space. The sequencing of each block narrates the whole experience of the space. Each represents actual and imaginary planets, and the functions of the blocks are also segregated accordingly.

Proposal Kala Kendra

“The design of the city comes from the city of Jaipur itself, which was based on the nine squares each representing nine planets.” -Charles Correa

The plan of the Jaipur city is replicated here in a literal manner as one of the blocks is shifted in the planning of the city due to the existing hills. The Plan of Kala Kendra is inspired by the Navagraha or nine house mandala system, which is also seen in the planning of the city of Jaipur. As shown in figure 3.1.1.2 one of the blocks is pivoted to follow a similar grid to that of the city plan. The central part of the nine square grids has been accentuated by keeping it open, as witnessed in ancient Hindu cosmography. Correa has also used his concept of zero, which for the current scenario has been interpreted as “Bindu”, which signifies the central point for all source of energies.

Navagrahas symbols which are depicted on each block of the Kendra

Grid inspired from Navagrahas

One block shifted in the plan of Jaipur city due to hills

One block pivoted to depict the city of Jaipur

Fig 3.1.1.2 Derivation of plan grid from Navagraha

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The function of each of the blocks corresponds to the mythic qualities related to the planet. The terminology of the planets and their associations with qualities and functions of a space is mentioned in Table 3.1.1.1.

Table 3.1.1.1 – Navagraha translation to design and Functions of each block (Referred from Sharma, R. (2015). JAWAHAR KALA KENDRA. www.Academia.Edu. https://www.academia. edu/30954088/JAWAHAR_KALA_KENDRA)

• Sequencing of spaces The functions can be explained further by Figure 3.1.1.4, which shows the Plan of Kendra with the nine planets. The hierarchy of the functions and activities within Kendra is divided according to the characteristics of planets. Mars indicates power; hence the Mangal Mahal has an administrative block in the entrance. Jupiter (Guru) stands for knowledge, and so houses the library. Venus has the quality of art, so it accommodates the theatre block. Mercury stands for education, so it stands for Lok Kala Kendra and further so on. The centre of the universe with enormous energy and that holds all the planets together is the Sun, depicted

Proposal Kala Kendra

through an amphitheatre. The Sun is manifested as a knowledge reservoir and becomes a place for meeting and hosting various events as all the blocks open into the central open space. Correa has designed the Kendra in a contemporary manner that reflects the past but holds the present and future values. The amphitheater can also be compared to the idea of a chowk which can be seen in a lot of houses there. Hence the same function can cater to different typologies. Fig. 3.1.1.3 Cosmic symbols translated into the architecture by Correa.

Fig 3.1.1.4 Ordering and sequencing of spaces in Plan along with their respective planets

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Every requirement of the cultural hub of the time has been considered to make the Kendra most appropriate in its use. The play of volumes from open to semi-open, single height to double height to the domed roof to open courtyards, the interplay of shadows and light reflecting on the colours of the walls and sunlight making its way to the building not only through the openings on walls but through the ceiling makes the complex a masterpiece. Museum

Lok Kala Kendra

Studios

Museum

Canteen

Amphitheatre

Admin

Library

Theatre

Entrance Fig 3.1.1.5 Activity diagram showing the connectivity between the blocks and flow of the functions in Kala Kendra

The functions of each of the block is divided in a manner that the spaces designed in each block respond to the activities. The theatre and library are placed near the entrance so that they can be easily accessible and can function as an individual entity. Spatial narrative of interconnected spaces can be experienced upon entering the admin block which connects to amphitheatre on one side and canteen to other. In the similar manner, amphitheatre is the central function which is connected to other blocks on all four side. Proposal Kala Kendra

• Values in Design Value: Referential Context- Low rise residences surround the Kendra located in the flat piece of land in Jaipur city. The climate of Jaipur is hot, dry, and arid; the buildings here should be constructed so that the interior spaces are kept cool during the hot and dry season. The inwardlooking masses tend to cut down the penetration of harsh sunlight through the outer shell, and the flat roofs respond to the climatic site conditions.

Fig 3.1.1.6 Reference grid of Jaipur city plan as a precedent in forming the grid for Kala Kendra

Fig 3.1.1.7 High walled solid facade of Theatre block of red sandstone with only one opening

Historical references from the Plan of Jaipur city are evident in the centre’s planning, where the map of Jaipur is considered a precedent. The outer shell of the building is cladded in red sandstone; hence Kendra, located in the pink city, gives justification to the nickname of the Jaipur as Pink City as red sandstone is extensively used in the town. The high walls of Kendra resemble the walls from old city of Jaipur, which were used to provide enclosure, security and privacy to the inner spaces. 111

The spatial quality of each block follows open to sky spaces which are scattered around the Kendra. Each of the blocks have open courtyard spaces along with one main open amphitheatre block. This assembly of various courtyards can be witnessed from typical Rajasthani havelis. Figure 3.1.1.8 depicts the plan of relations between open and closed volumes within the Kendra. And the visual connection of all the blocks from tis main central focal point. The axis running across the central grid connects all the blocks visually and physically.

Fig 3.1.1.8 Courtyards marked in the plan with the central axis that forms the node for connection between each block.

Fig 3.1.1.9 Courtyards in three different forms in Lok Kala Kendra, Museum, and Canteen block

Proposal Kala Kendra

Fig 3.1.1.10 3d views of each block demarcating the open courtyard spaces and high solid walls with minimum punctures on outer walls

The axonometric view of each block shows the relationship of courtyards and the openness of each block. High solid walls of each blocks give the framed entrances and acts as a threshold in the connection between the blocks. Thick solid walls wrapped around the blocks keep the inner side of each block cool as it cuts down the hot winds.

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Fig 3.1.1.11 Circulation of air through the courtyards and the framed threshold between the blocks

In response to the hot and arid climate of Jaipur, well ventilated courtyards are added which bring in the natural light, fresh air for circulation and naturally keeps the places cool during the day.

Cultural- The centre was designed to host various cultural and art activities, so the building’s inspiration came from the culture of context. The cultural references of astrological murals appreciated by the Maharaja have been used throughout the space; even the Rajasthani folk art paintings found their way to the centre’s different doors. The domes’ scriptures are also inspired by Jainism and Buddhism, which remarks on the centre’s cross-cultural inferences. Figure 3.1.1.12 depicts wall murals and paintings at various places across the Kendra. It also depicts the use of astrological symbols and signs used in different places to raise consciousness amongst the visitors. Amphitheatre Seating Stepwells can be described as a place to store water with depression in centre which forms the courtyard. Stepwells also served the purpose of community gathering places as the stored water was accessible to all after the monsoon. Hence, it became the place for women to socialize and gather together while they fetch water. The imitation of this factor can be seen in the open central courtyard which is a place

Proposal Kala Kendra

Fig 3.1.1.12 Wall murals depicting astrological symbols and paintings in ceilings and walls at different places in Kendra.

for socializing, and the central open part forms a ‘stage’ for hosting various cultural events and activities. Culture as Language and Expression Cultural reference of common feature of stepwell in Jaipur inspires the interactive seating of the amphitheater as shown in figure 3.1.1.13. The inspiration is not only by the form or the shape of the steps but it happens also through the materials.

Fig 3.1.1.13 Step-wells form the cultural base for the amphitheatre which hosts various leisure time activities.

Fig 3.1.1.14 Chand Baori in Jaipur reference

as a

Fig 3.1.1.15(a) Central open courtyard acts as an performing space which has seating inspired from the step-well

Fig 3.1.1.15(b) Schematic diagram of steps emphasizing the corners of seating that is referred from step-well

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Culture as materiality Locally available stones were used in the construction of step-wells during old times. Correa has used pink sandstone which is also sourced from surrounding places and follows the similar language as that of other monuments of the city like the city palace, Hawa Mahal, etc. (figure 3.1.1.16, 3.1.1.17)

Fig 3.1.1.16(a) Facade of Hawa mahal of red sandstone

Value: Normative The Kendra programming is done in a manner that it offers several functions that serve the purpose of the cultural centre. Kendra entirely portrays the cultural significance through the narratives in the architecture of the building and appropriateness of functions and programs. The play of sequencing of the functional entities makes the user curious to visit the entire space and unfolds its layers through the space journey. The needs of the user are accomplished by the space in various ways.

Fig 3.1.1.17 Plan demarcating the internal and external circulation of the Kala Kendra

Proposal Kala Kendra

Fig 3.1.1.16(b) Facade of Administrative block in Kendra cladded with red sandstone

Value: Descriptive The articulation of spaces is done in a manner that spaces very linearly flow into one another. Each block serving a different function also has a diverse experience of the spaces. The transition between places is from the framed views of the next block from the existing block. As one approaches the central court of Kendra, one can witness blank facades of the library block, administrative block, and theatre block, each cladded with red sandstone with symbols inlaid in granite and white marble. The administrative block entrance is double heightened with skylight, and further going on, the volume has a single height as a breathing space before one opens into the central dome.

Fig 3.1.1.18 Volumetric play throughout the transition of spaces

The design of the amphitheater steps seating influences the stepwell, which is a common feature of Jaipur. The stairs’ placement and anthropometrics are done so that their use can be maximized, and small clusters are formed, which invite different groups of people to sit and interact together. The design of stairs allows the user to relax and be comfortable, and helps in spending more time at the place. This adds to the recreational phenomena of the amphitheater where people can spend their leisure time, while being involved in various other activities. 117

Fig 3.1.1.19 Different scenarios of people utilizing the steps in groups of friends or as an individual, during the leisure time when there is no event taking place Fig 3.1.1.20 Plans depict two different scenarios and orientation of people with respect to the activity. (a) First situation shows the orientation of people towards the stage during the events. (b) While second plan casual seating during normal day at Kendra.

Proposal Kala Kendra

Aesthetics: Themed environments Kala Kendra is a live example of the city’s cultural hub regularly involved in different activities since its foundation and continues being a community centre. The building’s architecture keeps the space lively and provides a perfect shell to mend according to the events. The visually appealing characteristics of the building hold the user within the space and the assigned functions. Even though the building’s contemporariness is appreciated, a specific period was left unused because of its ageing. But the building got revamped in 2017, and since then, the building gained a new perspective and is frequently used by the people. It hosts local festivals and exhibitions and becomes a stage for many national and international events. 119

• Aesthetics To comprehend the meaning behind the aesthetics in form of art as a spatial articulation, various factors are studied to examine the significance of art in space. Extensive use of art in Kendra in various forms raises cultural consciousness apart form serving the recreational purpose.

Role of art in spatial articulation • Medium of art Art can be in 2d or 3d form, or art can be constituted in architecture in the form of spatial narration and experience. The 2d art forms are murals, paintings, and drawings on varied mediums. The 3d art forms add third dimension to the 2d form which has various meanings and interpretations. In Kala Kendra, there is an amalgamation of both 2d and 3d art forms which results in an inclusive experience of the architecture. The medium of art affects the aesthetics of the space which in term affect the user’s perception of space. Kendra has 2d art forms in wall paintings and murals at different places, which are inspired from varied cultural influences. The 3d art exist in the form of sculptures subtly placed at few places and it is intertwined with the architecture to form spatial narratives. The architect has tried to maintain a balance in space by using culture as a referential value which guides the medium and subject matter of art.

• Subject matter of art/ cultural meaning of art The subject of the art holds its importance as they become a medium of transferring visual knowledge for Proposal Kala Kendra

making the user conscious of the art form. The subject matter gives essence to the art work and depicts a story inclined by the subject. The portrayal of subject matter depends on the imagination of the artists and designers in space and in what way it gets translated into real. The translation of art in space is representation of the artists’ creativity to add to the aesthetics of the space. Kala Kendra has amalgamation of various art themes falling under a larger subject of Indian mythological matter. These themes having cultural influences are noted under four main types: Astrology, Rajasthan’s folk art, Jainism, and Buddhism. They are inspired from mandalas, astrological symbols, astrological paintings, Rajasthan’s miniature painting, and Jain cosmology and are painted by local artisans of Rajasthan. These varied art themes make the user conscious of diverse subjects of Indian mythology.

Fig 3.1.1.21 Wall paintings and murals across the Kendra of different themes. (a) Jain cosmography (b) Astrological symbols of moon (c) Rajasthan’s folk painting (d) Symbols of Mandala

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A - The first occurrence of 2d art in space is experienced in the dome in Mangal Mahal which depicts the map of Jain cosmology. Mangal Mahal is the administration block which is placed right in the entrance and has dome painted with Jain cosmological symbols. The symbol of fish, old mythic stories, rivers, vegetation, mountains, and numerous inscribed texts depict the story of circle of life and its cosmic existence. This theme of the art is derived from the Indian mythic astrology. B - The second type of art is Rajasthan’s folk art which is seen in the form of miniature wall paintings at different places throughout the Kendra. The wall paintings celebrate the traditional folk stories, some of them depict the stories of Jaipur city and its landmarks, some of them relate to Hindu god Vishnu, some of them celebrate nature by intricate paintings of trees, birds and the surroundings. Few of them also depict celebrations of the royal families through paintings of maharajas on elephants, horses, women celebrating and so on. This narrates different stories of Rajasthani Culture and makes the user conscious of its rich cultural heritage and values they possess. The use of such art forms still keep the royal legacy and tradition of such Rajasthani miniature paintings alive. C - The third theme of the art is witnessed in canteen block, Chandra Mahal. Here, the wall paintings signify the lunar symbols, different phases of moon, numbers, digits, and astrology diagrams, directions and inscribed texts in Sanskrit language. They all describe and compliment the characteristics of moon, which relates back to the quality of the block and the name, Chandra Mahal. D - The fourth theme falls under the astrology part

Proposal Kala Kendra

Cultural Meaning of art Astrological symbols

Rajasthan’s Folk art

Plan of Jaipur city and Mandala

Fig 3.1.1.22 Diagram explaining the manifested cultural meaning of art in Kendra

in which the wall paintings perceived in different parts of Kendra relate to astrology. These art form depicts the astrological symbols based on cosmic woman dating back to 18th century, astrological drawings, symbols and texts, and hastkar yantra based on medieval Rajasthani paintings and so on. Hence, this art form follows the same language of the concept of the planning of Kendra which Correa has used in the architectural narrative of the spaces. One can collect from this that, these symbols have deep rooted cultural meanings attached to them in different forms. These different subject matters of art directly or indirectly relate back to the culture of Rajasthan and pass on the rich cultural heritage to the user by making them conscious of varied Rajasthani art forms. These folklores traveled generations and they have different meaning and stories. This in turn allows to weave a deeper meaning to the architecture and the built form hence recreation here also can be seen as an interactive and historical relationship. These cultural meanings of the art enhance the values and provides aesthetics to the space. In absence of such art forms, one would not be able to dwell into deeper subconscious effect of the art in space. As this relation is not direct in all the cases one has to carefully observe and understand its cultural meanings. So, this in turn, aids in making users conscious of culture and makes them think beyond of what is visible.

• Scale and impact of art at spatial level To understand the impact of art on users it is necessary to recognize its scale at spatial level. Different forms of art have different scales at spatial level which affect the user experience and perception of art. To comprehend the scale schematic diagrams of different areas are depicted to show diversity in its

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scale and proportion with respect to the space. The composition, proportion, and scale of art in space is imperative to study to recognize the significance of art. These compositional principles sub-consciously effect the users’ mind and have different effects with respect of its scale. Here a few situations are explained by further by examples.

Art on the ceiling Figure 3.1.1.22 depicts the scale of cosmography paintings on dome with respect to the surrounding space. The approach towards the dome is single height and on moving forward one can glaze at the paintings in the dome. As paintings are done all over the inner side of the dome, it gives a 360-degree view of the paintings. It creates an emphasis on the art form and spatially half the volume of the dome is painted. This is the case where art form is in the ceiling and its emphasis is created on the users.

Fig 3.1.1.22 Art on dome in the Mangal mahal giving 360 degree view of painting in ceiling

The second example is of the entrance to the administrative block, where the double height volume of the space has sky-light (Figure 3.1.1.23). The double height ceiling is divided into visual grid of 9 parts inspired from mandala and that also resemble the Kendra. The central part of the grid is left open to sky as reflected from the central open amphitheatre Proposal Kala Kendra

Fig 3.1.1.23 Astrological symbols in form of painting on double volume of the Mangal mahal with skylight in between which depicts sun, this is reflected in the plan of Kendra as well

Fig 3.1.1.24 Art on ceiling in the entry following the beam grid of entrance passage

of the Kendra and rest of the part has symbols of each planet painted over. These symbols are also witnessed as an inlay on the façade of each of the blocks. This mural gets noticed as it is in the entrance foyer and it informs the aesthetics of the double height ceiling. The third situation of art form in the ceiling is witnessed on the other entry of the admin block (figure 3.1.1.24). The entrance from the parking has flat roof with beam grid running across the low height ceiling. The divisions formed in between the beams are emphasized by painting it with the astrological symbols and placing the light fixture in the centre. Spatial divisions of space through beams get accentuated with these paintings and narrates an experience while entering. This precise way of placing the art on the ceiling creates minimal spatial effect yet adds to the journey through the space.

Art on the walls The second part of the theme is segregated by murals on walls. Figure 3.1.1.25 express one of the situations where the art is at the entrance walls of the art galleries. Visually the space is divided into three parts, with one part majorly occupied by the display of artwork. These illustrations and proportions are related to the Shekhawati havelis of Jaipur. Where the

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entrance is placed on a pedestal, where the entrance wooden carved door is surrounded on both sides by the miniature art paintings. This situation is replicated at the entrance of the art galleries of Kendra. This expression of art form adds to the royal entry by imitating characteristics from Havelis.

Fig 3.1.1.25 The ratio of wall paintings and space divisions on entrance of galleries follow the proportions of Shekhavati havelis

The second situation is of the mural placed besides the entry of one of the offices in admin block (figure 3.1.1.26). The location of the art is on the side wall which opens up to the garden on one side and has blank wall on the other side. There are lot of things happening at same space at a time so one may only have a glimpse of the mural art. As one side is like a dead end of the space it hardly gets noticed.

Fig 3.1.1.26 The ratio of wall painting and door on one side of the admin block

Proposal Kala Kendra

The third situation of the wall murals are observed in canteen block, Chandra mahal (figure 3.1.1.27). The spaces are divided by the column and beam grids spatially and seating element is also placed in correspondence to it. Hence, the placement of the art is done in between these columns and different spaces have different astrological lunar paintings. These paintings are put up on almost all the walls of the canteen which has seating attached to it. Therefore, this can serve as a visual space dividing element on the walls of the canteen.

Fig 3.1.1.27 Surfaces formed in between the divisions of columns and beams have wall paintings in canteen block

Role of art in spatial articulation

Values through art

Aesthetics Consciousness of art to the user

Medium of Art Cultural meaning of Art Art at spatial level Fig 3.1.1.28 Sequence followed for inquiring implied values through art and its role in spatial articulation through aesthetics

Impact of art on user

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• Impact of art on user As studied above the scale of art in space affects the whole experience and weaves the narration of that area. To understand how this art is perceived by the users and what impact it has at a spatial level which affects the aesthetics is vital to study. As aesthetics is the tool for perceiving the space it helps to recognize how art and cultural consciousness is perceived to the users by space as a medium. Taking the case of the art form in the dome, full circle of end-to-end painted ceiling creates an emphasis in space (figure 3.1.1.29). And makes the user pause and observe the art form. As this dome is the junction point of going to the other space there is always a heavy flow of people passing under the dome. So, this art from reaches maximum number of people visiting

Fig 3.1.1.29 The art on domed ceiling brings centrality to the space

Proposal Kala Kendra

the space. Hence, it makes them conscious of Indian mythic symbols in form of Jain cosmography. The second situation of paintings placed between the beams in the ceiling in the entrance has minimal effect on users (figure 3.1.1.30). The paintings are not directly perceived at first glance because upon

Fig 3.1.1.30 The art on ceiling in passage ways creates framed entry by equal divisions of space

entrance the architecture of the space takes your attention. This happens because the placement of art is in the circulation path where this passage is solely meant for the entrance. Considering third situation, where art is placed on the walls of canteen, where it acts as a space dividing element (figure 3.1.1.31). These paintings form the background during the activities happening in the space. Each segment of space has its own continuous seating element connected to the columns and walls. So, the immediate backdrop for the seating is served by these paintings. Even if the person is alone or is visiting with group of friends, the amount of time one will spend here is more, so placement of the art is 129

Fig 3.1.1.31 Art as a backdrop in canteen

crucial. Due to the close proximity of activities and art people get more time to observe the art. And such placement and scale of art makes the aesthetics of space bold which cannot be neglected.

Fig 3.1.1.32 Art as a visual in circulation area

The placement of painting next to the door of the office has minimal impact on users visiting for the first time (figure 3.1.1.32) . As this area falls in the corner, the number of people visiting this area is restricted and it mainly acts a passage for circulation. People just pass by this art because the emphasis here is on the view outside and the architecture of the space. Hence, this placement of art is not very successful in drawing the attention of the user. Proposal Kala Kendra

• Inferences Jawahar Kala Kendra is a renowned centre for arts and exhibits cultural heritage, and represents itself as an exhibit of this similar theme. JKK was designed to hold events that enriched the city’s dwellers culturally and enhance their art and social knowledge in different fields. The manifestation of cultures at various parts of the Kendra makes the visitor aware of many different things. Culture conveys itself in the form of language, expression, and materiality at conceptual planning at the place. This in turn affects the spatial character of each block, giving each space a unique identity of its own, but still manages to hold them together for a comprehensive experience. The centre has considerable impact at the community level, where people become conscious of the arts and culture of Rajasthan and all over the world. The functional spaces unveil themselves into a sequence established by the architect based on classifying them and taking inspirations from the Indian mythical theme. This decision points out the architect’s effort to develop a post-modern Indian identity influenced by rich Indian cultural heritage. Values Aesthetics Art

Culture Consciousness within user

Fig 3.1.1.33 Implemented values through art and culture that raise consciousness within user

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How is art embedded

Medium of art

Scale and impart of art at spatial level

On dome (Mangal Mahal)

Mural

Jain cosmog map of life

On ceiling at entrance (Mangal Mahal)

Mural

Astrology sy

On walls of canteen (Chandra mahal)

Wall paintings

Astrology sy and painting based on M a theme

On walls in circulation areas

Wall paintings

Rajasthani F depicting va folk stories

Table 3.1.1.2 Differentiating art forms based on spatial characteristics

• Comparing these different situations of different spaces helps in drawing an analytical comparison amongst the different styles of used and perceived art at both spatial and user level. Placing art at pause points in spatial journey, makes the user observe the artwork for a longer duration of time and hence it impacts the user as they try to gather

Proposal Kala Kendra

Impact of art on user

Subject m of art

on user

Subject matter of art

Inferences

Perception of art in space on users

Jain cosmography map of life

Centrality on art (Art at pause points)

Emphasis is created on dome by the art

Astrology symbols

Art in the approach way (Art in circulation)

Symmetry brings the continuity of art in space

Astrology symbols and paintings based on Moon as a theme

Art as backdrop (Art at pause points)

Art forms the figure and ground effect

Rajasthani Folk art depicting various folk stories

Art as a visual in corridor space (Art in circulation)

Paintings creates a visual balance in composition of elements

Proportions of placement of art

knowledge from the art. But, placing the art in circulation passages has less impact on users but do affect the aesthetics of the space by enhancing it. As more time is utilized in the movement through the space by the users, its impact is minimal. Correa has very rationally used these art forms to make a statement in architectural form and language which express the art and cultural values of the region.

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• Implemented Values From analyzing different scenarios of placement of art and studying them in depth, one can infer following values implemented in various ways. • Contextual Values: From the values studied in the earlier parts, referential value is a dominant value used throughout the Kendra. The amalgamation of plan of Jaipur city, astrological symbols, and Rajasthan’s folk art in ordering and sequencing of space adds to the contextual value of the centre. This weaves a comprehensive strong narrative for the arts and cultural centre, by ‘Re-Creating” the plan of Jaipur city. The centre becomes the epicenter for art and culture for the city and is visited by numerous people of varied intellectual levels and also serves the purpose of recreation. So, the spaces within the Kendra weave experiential stories that appeal to all. Inferring from this, one can state that Kendra holds historic values that are re-created in spatial organization. Kendra corresponds to climatic conditions by inward looking courtyards and high sloid walls to cu-out heat penetration. a vital position in creating art and cultural consciousness to the users, not only by its functions but also from the art of architecture and aesthetics of the space. • Cultural values: Correa has diligently used culture as a referential value to decide the form, nature and subject matter of the art and architecture of the Kendra. Along with promoting arts and culture, Kendra becomes a place for quality learning through socializing. This adds to the socio-cultural values of the space. • Elements: Spatial qualities defined by the form, shape, and openings in each block, is a blend

Proposal Kala Kendra

of regionalism and modernism that marks the juxtaposition between the history and the future. • Aesthetics: Placement of an art plays an important role in spatial perception of the aesthetics in space. Also, the medium of art becomes a governing factor for perception of art. The scale, symmetry, proportions, location, and composition define the placement of art. These design principles affect the perception of space and art so one can relate that placement of art depending on these design principles affect the perception of aesthetics in space. - In Kala Kendra, 2d art form is maximum used with subject matters linked to the Rajasthan’s rich cultural heritage and adds to the value of the space. Here different art themes are used creatively, at different places that gives different narratives and multiple perception of art and culture to the user and depicts different stories throughout the Kendra. The need for creating different narratives and weaving different stories was the quest of Correa to enhance the experience of the Kala Kendra in a manner that the aesthetics become self-expressive of the culture. This self-expressive value of each block reflects its own functional and architectural identity which conveys different meanings inspired from planets. This different spatial identity and nature of space weaves a strong narrative for each block and adds to the experience of the center. The vernacular value through aesthetics is added by muted colours of the interiors of each block. This offer a chance for the artists to use vivid, bright and saturated colours to enhance the art form throughout the space.

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- Kendra becomes a medium to impart knowledge gained by the community in varied forms. The cultural influences of mandalas, Indian astrology and cosmography does not limit itself in the sequencing and laying out of the architectural space but also continues as aesthetics through the medium of art. These cultural influences having deep rooted meanings, raise a consciousness of traditional art forms through space as a medium. By adding the layer of cultural influences on aesthetics, the values that the space convey become more relevant. - It can be concluded from above inferences that; Kendra holds contextual and cultural values that are implemented in the form of aesthetics through the elements of space. Hence, one can state that there is not only one prevailing value in the center, but has amalgamation of different set of values.

Proposal Kala Kendra

Cultural values

Manifested through

Culture as language, expression & materiality

Ordering of spaces

Manifested cultures

Aesthetics

Consciousness within users

Cultural reference of Jaipur city & Navagraha

Sequencing of spaces

Fig 3.1.1.34 Kala Kendra as a cultural recreational space

• The ordering, sequencing, and values embedded by the space affects the aesthetics of the space, which here is informed by art and culture that raise a consciousness to the society. It is not necessary that all the visitors are aware and have knowledge of the arts and culture, so to cater to such audiences, Kendra offers such spatial narratives through aesthetics where one can become aware through medium of space. So, one can gather that Kendra, apart from serving the purpose of recreation, imparts cultural knowledge and consciousness to the users through space and it forms the most significant value of the center. Kala Kendra holds various values that bind the center together and gives a comprehensive experience as a cultural recreational center.

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Types of Values

Values implemented by

History

Spatial organization

Climate

Form

Perceived through

Culture of Socializing

Programming

Museum

Culture of Socializing

Activities and events

Promote art and culture

Lok Kala Kendra

Studios

Museum

Canteen

Amphitheatre

Admin

Library

Theatre

Entrance

Art

Proposal Kala Kendra

Art following design principles

Types of Values

Values implemented by

Selfexpression

Paintings, murals, scriptures

Perceived through

Art and cultural consciousness

Selfexpression

Various art themes

Art and cultural consciousness

Blend of Regionalism and Modernism

Different spatial narrative of individual spaces

Table 3.1.1.3 Identifying types of values and its implementation in space

• To summarize the research based on the types of values and identify its implementation, this matrix is made. This gives a clear understanding of what types of values are implemented in what manner. And after identifying its implementation, unraveling how it is perceived in space is vital to study to comprehend its translation into space through various mediums. Here, it is also inferred that not only one value affects the decision making, there are multiple values that come together to define the set of values. 139

Implemented by

Spatial organization

Values Form

History Types of Values CONTEXT

Climate & Regionalism Programming Culture of Socializing Activities & Events

CULTURE

AESTHETICS

ELEMENTS OF SPACE

Promote art and culture Art following design principles

Art Self-expression

Paintings, murals, scriptures

Art and cultural consciousness Blend of Regionalism and Modernism

Various art themes

Different spatial narratives of individual spaces

Proposal Kala Kendra

Fig 3.1.1.35 Establishing co-relations between the types of values and individual values

• As explained in chapter 2.1, values are not absolute, they are dependent on each other. Here, after analyzing Kala Kendra, one can infer following set of values and their interrelations. The inter dependency is quite complex as one value has multiple ways of expressing and they are interconnected in one or the other way. This is explained here in a diagrammatic format by establishing different associations based on the research done in the above parts.

141

• Values that raise art and cultural consciousness CONTEXT & CULTURE

History

Art & cultural consciousness

Art and self expression

Blend of Regionalism and Modernism ELEMENTS OF SPACE

AESTHETICS

Fig 3.1.1.36 Values that raise art and cultural consciousness through space

Elements Of Space Aesthetics

Proposal Kala Kendra

• After identifying the values and their inter dependency, next step is to decipher how they raise art and cultural consciousness through space. Here, three values play a major role in raising art and cultural consciousness and they have been implemented in different ways. Aesthetics is the amalgamation of self-expression of art. And elements of space express art in different forms and weave a different spatial narrative in each block.

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3.1.2 Methodology for second Case study Colors depicts the different stages of inquiry

Reference : Oldenburg, R. (2013). The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community.

Function

Typology

RECREATIONAL SPACES

Built environment Activity

Reference : Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal of Interior Design

Constants

ORDERING OF SPACES

SEQUENCING OF SPACES

Interior Design

VALUES

REFERNTIAL

Variables

AESTHETICS

NORMATIVE

Themed environments

DESCRIPTIVE

Empirical Research

Analytical Case studies

Proposal Methodology II

Reference: Mazumdar, S., & Mazumdar, S. (1994). Societal Values And Architecture: A Socio-Physical Model Of The Interrelationships

- Language - Materiality - Expression

• First methodology fitted well for analysing Kala Kendra, as it met all the parameters listed. But for the second case study the methodology needed to be tweaked as it did not satisfy all the parameters. So, the parameters that can be applied for analysis for second case study are considered in second methodology.

CONCLUSIONS

Heirachy of places w.r.t functions

IDENTIFYING ORDERING AND SEQUENCONG OF SPACES

Spatial Organization Heirachy of activities

Culture

Spatial qualities of recreational spaces

UNDERSTANDING INTEGRATED VALUES IN DESIGN OF RECREATIONAL SPACES

Context Anthropometrics User needs

Proxemics

Role of designers in designing such places

Territoriality

Elements of space

IMPACTS OF VARYING PARAMETERS OF DESIGN IN PERCEPTION AND EXPERIENCE OF SPACE

Higher impacts of such places on users and society

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Bangalore International Center Architect: Hundred Hands, Bangalore Program type: Culture, Public Space Client: Bangalore International Center Trust Size: 4420 m² Location: Domlur, Bangalore Project Year: 2019

3.1.3 Bangalore International Center • Typology of space The Bangalore international centre is a public space positioned in Domlur Township of Bangalore. BIC is a non-profit organization hosting activities and events that foster conversations and ideas across various cultures, societies, religions, regions. The program exposes the citizens to new fields and makes them conscious of the cultural activities. The centre serves as a cultural hub which is open to all members and non-members for all the events which makes it accessible to all. It shares a narrow site area with neighbourhood having a park on one side and residential houses on another. The building perfectly manages to accommodate multiple functions with harmony to the space in a holistic way. The centre hosts cross cultural events from varying fields of literature, art, theatre, architecture, music, politics, and technology. These diverse types of functions staged at one place make the centre open for intellectuals from various fields. Along with the multiplicity of functions, the space offers contemporary aesthetics which represents the dynamic values of Bangalore city. The centre opened in 2019, serves the purpose of community space which is easily accessible by the public and opens up new dialogue amongst them.

Fig. 3.1.3.1 Initial sketch by the architect

Proposal Center Bangalore

• Ordering of Spaces The design of Bangalore International centre done by Bijoy Ramachandran of Hundred hands was presented in a competition and has undergone multiple iterations over the time span after its selection. The fundamental idea of the proposed design was to provide public interaction and participation which was achieved by elevating common area to the upper floor which gave visibility even from the streets as shown in figure 3.1.3.2.

Fig. 3.1.3.2 Initial sketches by the architect demarcating elevated public space to increase visibility from street

Fig. 3.1.3.3 Initial sketches by the architect indicating their proposal for large open public space

“The interconnected nature of the public spaces gives the sense of being part of a larger community.” -Bijoy Ramachandan

This plays an important role in making a strong visual connection to outside and even the people passing by can become aware of the activities happening inside, and this increases their inclination to visit the place.

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Fig. 3.1.3.4 Interior View of Bangalore International center from the entrance foyer, depicting double volume and the connectivity to other floors

Bijoy Ramachandran in an interview states that “What you encounter as you enter the building, is that it is surprisingly generous, given the paucity of space on the sides. It’s much larger than one would imagine in a building of this size.”

The building serving as a community centre offers multiple recreational activities. These activities are spread out amongst different functions throughout the space. The functions are placed in hierarchy with correspondence to the public use. Restaurant is placed near entrance on ground floor and auditorium with multipurpose hall and public lounge area is place on the first floor. And other functions like seminar rooms, library, art gallery are placed on upper floors. Terrace is being utilized by placing amphitheatre and a small café on top. Proposal Center Bangalore

Workshops

Cafe

Amphitheatre

Exhibition space

Library

Multi purpose hall

Lounge

Seminar room

Auditorium Direct access

Restaurant

Entrance

Indirect access

Fig. 3.1.3.5 Placement of activities and their inter connections

The ordering of spaces follows the principle of ‘datum’, where the common spaces are used as a reference for the arrangement of other functional places. The places are organized in a manner that it creates a continuity due to its functions. The linear placement of spaces in the building helps to provide a sufficient visual continuity and it follows the linear datum. The central common area serves as a node to connect all the functions on each floor and helps in defining the spatial organization. The main functional spaces of the centre like a restaurant, auditorium with 200 people seating capacity, an exhibition space, seminar rooms, guest accommodation, a library, and meetings rooms are linked by a common public space. Here the intermediate public spaces are in the form of a passage that forms a link between different volumes. 151

• Dominant intermediate spaces that become public space has equal purpose of recreation. Because they are arranged in a manner that other functional places are linked through this common space. As one progresses towards the upper levels of the building, the common public space decreases and more functional spaces occupy the space (figure 3.1.3.6). Ground floor and first floors have comparatively more area for the public space to convert for a stage that hosts various ancillary activities like exhibitions and public gatherings. The scale of functional spaces versus public space is depicted here and public space gets its significance as it becomes the space for ‘extended recreation’. The public space proportionally provides more area for activities and group gatherings before and post events, so often the exhibitions find its way to this public space.

Proposal Center Bangalore

Terrace

Second floor

First floor

Ground floor

Fig. 3.1.3.6 Proportions of functional spaces and public space

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• Despite, having a solid cuboid geometry on the outside, the interior spaces carve their own narratives and experiences. The volume play at the entrance creates a high interactive public space. The double height entrance foyer which is overlooked by the seating area on first floor connects both the floors. Continuing the double height on first floor adds to the visual connectivity to the third-floor balcony and corridor space (figure 3.1.3.7). Hence, a visual connection to all three floors is created meticulously.

Fig. 3.1.3.7 Volumetric placement creating interconnectivity between different levels

The interiors of the common spaces on above floors of a three-story building are framed through the glass façade in between the concrete shell. Concrete columns in the elevation form repetitive bays of glass windows between them. The arrangement of glass windows and concrete columns in a repetitive manner creates a rhythm (figure 3.1.3.8). The rhythm created in the elevation adds to the playful character of the façade and also casts playful shadows inside the space accentuating the elements.

Proposal Center Bangalore

Fig. 3.1.3.8 Repetitive columns form a Rhythm in the facade

This increases the connectivity to outside from inside and vice versa. The components of the building are arranged in a generous manner that the public spaces mediate the circulation amongst the different functional spaces and provide a place for social gathering, art exhibitions, and add to the multiplicity of the space. The public space of the building adds life to the centre along with its supporting functional spaces. The total area available at site was restricted, so to provide an open public space to host outdoor events and performances, the amphitheatre has found its way on the terrace under the tensile canopy.

Fig. 3.1.3.9 Shadows created from the front facade in the entrance foyer

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Ground floor plan Fig. 3.1.3.10 All level floor plans indicating different functions

Proposal Center Bangalore

First floor plan

Second floor plan

Terrace floor plan

157

• Sequencing of Spaces The centre as a public institution aims to offer a neutral place for hosting informed conversations for various fields. The innovative use of the restricted area was a concern along with providing interactive public spaces like auditorium, café, gallery, seminar halls and library. The spaces are composed in a way that they relate to each other by the connecting public passage and their functions informs the proximity of spaces. The places are laid out according to its function on each floor (figure 3.2.1.10). The adjacency of the programs is decided upon the level of public interactions with them. The programs that purely require public attention are placed on the lower levels and the programs which require some privacy are placed on the upper floors. The restaurant and café which attract maximum public are placed on the ground floor while rest of the place is left open as a public space. The restaurant also opens up to semi- open seating on one side which is surrounded by lush green-spaces. The first floor has an auditorium, convertible performing space, and a flexible public space which overlooks ground floor entrance foyer on one side and opens up into balconies on other side. As one progresses in the building, the second floor has functions which filter out the public according to its use and functions as it has areas which requires calm environments. It has a library, seminar rooms, an office space and a small pantry with guest accommodation. The function of the library is to invite more people to blend with the space and encourages one to spend their leisure time in the building.

Proposal Center Bangalore

The third-floor terrace has open amphitheatre with tensile canopy and seating under the solar panel roof. The spatial organization follows a hierarchical sequence in accordance to its maximum use and proximity of functions and spaces are in the response of the public gathering. The architectural expression and the language of the building is based on breaking the volume of the ground floor and first floor and creating a void in between to visually connect the building and providing an open public space.

Double height volume

Longitudinal section along the building

Single height volume

Fig. 3.1.3.11 Volumetric play of double height and visual connection evident through out the building

Auditorium volume Interconnectivity of volumes

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Fig. 3.1.3.12 Axonometric view of all floors depicting space to space relationship

Proposal Center Bangalore

Types of Spaces and Connectivity

Amphitheater

Library

Seminar room Art Gallery Auditorium

Multi-purpose hall Auditorium

Restaurant

Assembly of Spaces and Underlying factors

161

Auditorium

Public Space

Restaurant Entrance Foyer

Outdoor seating Fig. 3.1.3.13 On the ground floor entrance foyer, main circulation space, and outdoor sitting in the restaurant acts as spill out spaces for ‘extended recreation’

Proposal Center Bangalore

Exhibition Display

Multi purpose hall

Auditorium

Public Space - Buffer zone

Fig. 3.1.3.14 Main circulation areas on first floor as a public gathering place before and after the events

The spill out spaces in between creates a buffer space amongst the main functional spaces which acts as a public gathering space for socializing. The spill out of spaces in the restaurant happen by adding some buffer spaces around the main functions. These buffer spaces form the place for public gatherings and acts as an extended recreation place where people spend their time before and after going to the restaurant. The buffer space for both the auditoriums on the first floor is the central public space which is also the part of main circulation area. This becomes the place for people to ‘socialize’ before and after the event, it also becomes the place to share ‘knowledge’ as intellectuals exchange their thoughts at such break points. The huge open area at the entrance foyer and the connecting free space on ground floor acts as a canvas to host various small activities. Taking the advantage of this place, it provides a space for displays of various art exhibitions that take place in this area to make the people sub consciously glaze the exhibit and have its impact. 163

• Values: Referential Contextual The recreational lifestyle of Bangalore as a city is more connected to entertainment and socializing factors. But few organizations like Bangalore international centre keeps the art and cultural recreation of the city alive. Theatres in Bangalore hosts few plays and musical events but they cater to only one function. Bangalore international centre is in sync with the existing recreational public spaces but this stands out as it is one of its kind in the city. The multiplicity of functions at one place is evident here which supports the contextual recreational habits of the city which improves the existing notion of recreation. As the centre was rooted by its idea to initiate the dialogues amongst people in the field of culture and arts, its location also plays a significant role to make its impact. The centre positioned along a narrow area of site shares the neighbourhood with low rise residential buildings in Domlur area of Bangalore. The site has park on one side of the building and small cannel of storm water flowing through on other. The landscape surrounding the building cut down the odours from the adjoining storm water channel. The neighbourhood houses are 3-4 storey so for the building to perfectly fit in the context it should not go above that height (figure 3.1.3.15). The residential houses nearby have balcony and verandah as inherent part of their design and hence inculcating balcony like open space in the building expresses the response to the context and design of the neighbourhood. (figure 3.1.3.16)

Proposal Center Bangalore

Fig. 3.1.3.15 Center and its surroundings

Fig. 3.1.3.16 Architect’s vision on the center and its contextual value

• Values: Normative The centre being a community space provides amenities that facilitate social gatherings for varied events. The division of functions on each floor is in a manner that the most used public spaces are placed on the lower levels and upper level has the functions which requires some privacy because they cater to specific group of people. The restaurant is placed on the ground floor and is directly accessible from the main entrance. Before entering the auditorium, a huge open space is provided for people to gather and socialize, before and after the events. And the provision of lounge areas in open public space encourages people to spend more time over there. The second floor requires privacy in terms of private events happening in the seminar rooms, library, and guest accommodation for its efficient use.

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• Values: Descriptive (Elements of Space) The architecture of the building caters to the public use by splitting the volumes which opens possibilities for more interaction within the space (figure 3.2.1.17). The double height entrance foyer opens up the view to different areas from first and the second floor. The intervention of double height at the entrance enlightens the grandeur of the space and makes the public gathering space look massive.

Fig. 3.1.3.17 Proportions of double height space

Another such element used to mark the connection between the floors is the use of ‘oculus’ as named by the designers. The exposed concrete domed shape oculus connects two floors in the cultural centre and adds to the design element. The open lounge spaces on the first floor make the visitor spend more time after or before the events at the centre. Fig. 3.1.3.18 Oculus connecting the floors of the cultural center

Proposal Center Bangalore

The efficient use of terrace as an amphitheatre for various events for social gatherings provides an outdoor seating area with tensile fabric canopy and solar panel roof. Small cafeteria for private events on roof is placed under the solar panel roof. This increases the recreational activity happening in the space where the terrace has been diligently used.

Fig. 3.1.3.19 Split level recreation

The inside-outside connection is quite dominant in the centre which informs the design language. The inclusion of huge openings through-out the building in the form of windows and doors creates a strong visual connection to the outside. The framed views through the windows connect the outside people to inside as the buildings in neighbourhood are also of the similar height. Wide windows of library and seminar rooms are surrounded by greens which makes the view pleasant and brings abundant natural winds and sunlight (figure c,d 3.1.3.20). Also, addition of huge glass windows at the entrance foyer makes the volume perceived bigger and opens up to the outside (figure a,b 3.1.3.20).

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Fig. 3.1.3.20 Framed openings at different places in the center (a) Entrance foyer has maximum use of the glass windows to bring outside to inside and celebrate the entry in the building (b) The glass facade continues in the front facade (c) Library has restricted openings to maintain the peaceful environment (d) Seminar rooms having full length windows bring the maximum sunlight and nature inside

• Aesthetics Aesthetics here is born out of modernist idea of using materials that would stay true to the art of construction and possess a sense of time, as a dynamic notion. Building would exhibit its time of creation and except the factor of ageing, while material palette would still give the ‘sense’ of timelessness. Hence, the building after years will portray the factor of being time driven and yet will be timelessness. The use of materials like exposed concrete, exposed brick, and natural wood depicts the timelessness of the building.

Proposal Center Bangalore

The aesthetics of public space are kept minimal with material palette of exposed concrete structure, wooden furniture, kota stone flooring, and exposed brick feature wall. The muted colours and earthy material palette are supported by using art in a minimalistic way which complements the building. The rigidity of the building is broken by use of art in an organic form as a sculpture accentuating the double height in a minimal way.

Fig. 3.1.3.21 Part section emphasizing art with exposed brick wall as a backdrop

Fig. 3.1.3.22 Organic shaped art in the form of hanging sculpture brings life to the rigid volumes at entrance foyer

Different situation is found in the ceilings of library, seminar room, and restaurant. The ceiling of these areas is cladded with fabric board panels which adds to the softness and adds character to the space as all three places have different muted patterns and colours of the fabric boards. They also help in cutting down the high sounds at these places. Restaurant needs to maintain the sound level because it should not become too loud that it feels chaotic (figure 3.1.3.24).The sound should not reflect or pass from the seminar room to Fabric panel

Fig. 3.1.3.23 Fabric panels used in library ceiling acts as acoustic panels

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Fig. 3.1.3.24 Restaurant ceiling having acoustic fabric panels that add to the aesthetics of the space

Fig. 3.1.3.25 Seminar room having acoustic fabric panels subtly affects the aesthetics

the outside to maintain the level of privacy over the conversations (figure 3.1.3.25). And library should provide a quiet atmosphere in which a person can read peacefully (figure 3.1.3.23). A complete modern approach is used in design of the main auditorium, where undulated planes wrap the whole space (figure 3.1.3.27). They also serve the acoustic purpose as these planes tend to cut down the extra noise. The bright coloured seats mark a bold statement in a subtle way that blends with the undulating planes (figure 3.1.3.26). Auditorium is the only place which has a distinct spatial character because it is programmed in a way that it forms the core function. Hence, aesthetics of auditorium stands out while all other spaces follow the similar language throughout the centre.

Proposal Center Bangalore

Fig. 3.1.3.26 Red and brown used as an impactful color theme

Fig. 3.1.3.27 Undulated planes wraps the auditorium and adds to the aesthetics and acoustic

The double volume has the backdrop of the exposed brick wall running across from entrance foyer to the first floor which separates the restaurant on the ground floor. And this exposed brick wall forms the separating plane between the entrance foyer and restaurant and also accentuates the volume of the space by running till the first floor.

Fig. 3.1.3.28 Brick wall that acts as a separating plane and backdrop in the entrance foyer

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• Inferences Bangalore International centre, is a contemporary public space which offers various cultural, art and recreational programs. It forms a platform that reflects the evolving, aspirational, futuristic and dynamic cultural values of Bangalore city. It becomes a ‘go-to’ place for arts and culture in the city where cultural experiences are curated by the interactions and becomes a knowledge warehouse. The architect’s intent was to create a public space well suited for hosting all types of events through inclusive programs. And the architecture of the building which conveys sustainability through the use of local materials and keeping the design minimal yet impactful. After analysing the centre, the quest to identify the manifested set of values gives an insight of how much design conveys the architect’s intent and how has it been achieved though implementing values. Social values

Manifested through

Hierarchy of functions

Ordering and Sequencing of spaces

Aesthetics

Fig. 3.1.3.29 Bangalore International Center as a public Recreational space

Proposal Center Bangalore

Volumetric play

• Elements of space: The ordering and sequencing of spaces are governing factors in the design of Bangalore international centre and they subtly inform the aesthetics of the space. The common areas formed here are informed by the spatial organization that forms the public gathering space for socializing. The impact of this public space is not limited by the planning but is affected through the volume of the space. The interconnectivity between the volumes adds the layer of transparency to the space, which allows visitor to see what is happening throughout the building. Hence, inclusion of double height in the entrance not only increases the volume of the space but also visually connects people to each other at first glance on entering the space. This aids in increasing interaction of people within the space through interconnectivity of the volumes. The glass windows on the two sides of the façade further links the interior spaces to outside. Hence, it can be inferred that the volumetric play makes the public space interactive and adds to the interconnection between users amongst different floors. The large open area provides an area for ‘extended recreation’ where certain spill out zones hosts various activities.

Fig. 3.1.3.30 Interconnectivity between the floors is achieved by the play of volumes

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• Experience: The experience and perception of space is defined here by the volumetric placement and hierarchy of programs. The physical interactions within the space are achieved through its spatial organization. The public spaces that are meant to be frequently used like restaurant and auditorium are placed on the lower floors and close to the entrance. Other functions like seminar room, library, multi-purpose hall, are the places which requires comparatively less human traffic and peaceful environments, so they are placed on the upper floors of the building. Intelligently placed amphitheatre on the terrace provides an extra function to the limited area of the building. The hierarchy of functions defines the usage of the building and hence shapes the experience of the space. • Aesthetics: The material palette used in the centre gives the ‘sense of timelessness’ through simplicity. The cuboid structure of brick and concrete with glass panels shows the simplicity in design and corresponds with the climate of the place. The shift of these three materials is meticulously done by the designers in the space. The materials have been used in their original form and with advent of time the building will portray timelessness due to the use of such materials. Here use of materials, offers the aesthetic value to the recreational centre.

Proposal Center Bangalore

• User needs: Recreation is not restricted within defined spaces, rather tries to flow out of the constrain, both of the physical and non-material aspects that make the space an eventful occurrence. The centre offers secondary spaces that acts as spill out spaces, apart from the main functional recreational spaces. Spill out spaces are crucial in recreational space as it adds to the recreational character by providing multiplicity of uses and become area for ‘extended recreation’. These spill out spaces increases sociability and accessibility within the space. The centre has inculcated such spill out spaces as the main public space connecting core functional spaces. Hence, these spaces hold interactions and public gatherings during various events. It can be inferred that spaces cannot confine the recreational activity, rather it becomes the initiator of it but does not limit itself within the defined space. They satisfy the user needs of the recreational space and adds to the values that place hold.

Fig. 3.1.3.31Significane of spill-out spaces in diagrammatic manner

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• Context: In Bangalore International centre, references from the neighbourhood and contextual architecture have been taken to serve the purpose of public recreational space. The associations from the neighbourhood defines the form of the building. The public space on ground floor is consciously carved out to create a double heighted public space and is visually connected to other levels. The events and activities happening inside the common space in the building are perceived from inside as well as visually from outside due to the presence of the glass façade. This increases the focus of the building and encourages people for more participation. So, following this strategy of inside-outside connection, helps in promoting the activities happening in the building, and inside the building, the connection between common spaces adds transparency to the functions of the building from entrance itself. As the surrounding building are low rise and are of similar height, the centre follows the similar language by being a 3-story building. The residential houses nearby also have balcony as inherent part of their design and hence inculcating balcony like open space in the building expresses the response to the context and design associations with the neighbourhood. These strategies go with the purpose of centre being a public space that complements the context by its form.

Proposal Center Bangalore

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Types of Values

Values implemented by

Connectivity

Volumes

Connectivity

Sequencing of spaces

Perceived through

Ground floor

Terrace

First floor

Second floor

Openness

Form

Physical Interactions

Amphitheater

Physical Interactions

Hierarchy in functions

Library

Seminar room Art Gallery Auditorium

Timelessness

Multipurpose hall Auditorium

Restaurant

Timelessness Simplicity

Proposal Center Bangalore

Material palette

Types of Values

Values implemented by

Physical Interactions

Spill-out spaces

Perceived through

Increase Sociability

Buffer Zones

Accessibility

Table. 3.1.3.1 Identifying types of values and its implementation in space

• The matrix here gives an overview of the types of values and its implementation. This helps in defining what values are implemented in what way. After defining and identifying the values, how they are perceived through space gives an insight into its implementation. Different set of values applied in various ways in the design are recognized.

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Implemented by Volumes

Values

Sequencing of spaces

Connectivity

Types of Values

Openness Form

ELEMENTS OF SPACE

Physical Interactions

Hierarchy in functions

EXPERIENCE Timelessness AESTHETICS Simplicity

USER NEEDS

Increase sociability

Accessibility

Buffer zones

Proposal Center Bangalore

Material palette

Spill-out spaces

Fig. 3.1.3.32 Inter-dependency of Values , its types and its implementations

The program of Bangalore International Centre being a democratic centre with primary concern of public participation has been achieved by the design. Though design of the building not fully justify the values stated by the architect but tries to establish a new set of values that are in public interest. And they have been implemented in various ways through program and the building. The inter dependency of values is being explained here in a diagrammatic approach to comprehend associations of values with its implementations.

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• Values that aids in increasing awareness of cultural activities ELEMENTS OF SPACE

Connectivity & openness

Increased awareness of cultural activities

Physical interactions

EXPERIENCE

Increased sociability

USER NEEDS

Fig 3.1.3.33 Values that increase sociability and interactions and spread awareness of cultural activities

Proposal

• The situation here is different from Kala Kendra, the value imbibed in space raise awareness of cultural activities and events happening around in the centre. Hence, through these activities cultural consciousness is raised. Values also increase sociability in space and physical interaction amongst people that helps in community building. This connectivity and open spaces offer places for social gatherings and place for exhibiting. Hence, awareness is raised through different activities happening in and around the center.

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CONCLUSIONS

Chapter

Future of interior designers in designing recreational spaces in India 4.1 New domains of Recreational spaces: Public Interiority 4.2 Recognizing role of interior designer in designing public recreational spaces 4.3 Values in Interior Design 4.4 Future directions

4.1 Public Interiority: New Domains of Recreational Spaces Responsibilities of interior designers in creating recreational spaces of socio-cultural significance. The conjunction between the ‘interior’ and the ‘public space’ emphasizes the complex nature of relation in the field of interior and urban design. Public interiority falls under ever evolving discipline of interior architecture where new roles are defined and opportunities open up quite often. The field does not limit itself to designing private spaces, but is concerned with the social roles and responsibilities in designing the public spaces as well. Public interiority is a meeting point of two disciplines –interior architecture and urban design where the boundaries are blurred to foster creative thinking. The interdisciplinary approach for designing public spaces should be used to address the design issues of public spaces. It is essential to develop strategies and design principles that aids in qualitative design of public interiors by considering interior architects and urban designers (Poot, Van Acker, & De Vos, 2015). The architects and interior designers bring in the spatial characteristics and define the typology of public space while urban designers establish the base for societal values how they affect the perception and experience of the public spaces (Poot, Van Acker, & De Vos, 2015). Sociologists consider the community aspects like needs of the user, behaviour, interactions, while urban designers are concerned with urban development and planning. While, interior architects are concerned with spatial qualities of such places along with including the human factors in the design, which impacts the community and user experience. Therefore, it is vital for designers

Proposal Conclusion

to develop a method that includes the physical and social features that aids in giving the character to the public interior space. Public interiors relate more to the social place defined by the people who use the place. Hence for designers to consider the factors that improve the impacts and add meanings to such place are important to include in design process. Recreational spaces are one of the important public spaces amongst the communities where people are involved in various activities. “Recreational space as a public space is a common good, a part of the everyday life of urban communities, whose needs should be taken into consideration at the planning stage.”- (Mokras-Grabowska, 2019). Grabowska through her research states above that needs of recreational spaces should be considered while planning as they have started gaining new dimensions and meanings. Recreational spaces are mediators for social and cultural consciousness to the people, which also aims for cultural transformation of the community. Along with pleasure, joy, enjoyment, and socializing these places have larger objectives in favour of community development. These factors that go beyond and have to be mentioned here, that becomes a strong factual point The over-arching themes for designing public recreational spaces have two vital strategies which when applied can open up new domains of such places in interior design. These two factors are ‘Planning for People’ and ‘Planning space for Learning’. Here, ‘Planning for people’ not only mean to fulfil the functional requirements of the program

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by adding art galleries, cafes, restaurants, and amphitheatre; but also, to imply design strategies that achieve societal needs of raising some consciousness within the users. Recreational spaces have social role which is met by mindful design of such built places. Conducting research and studies to understand the needs and expectations of the people enables designers to include the parameters that will meet the above-mentioned criteria. The planning processes in design are always iterative and is not confined to linear structure, so locating people not in the beginning, or middle, or in end but considering people as the driving force helps in ease of planning process (Poot, Van Acker, & De Vos, 2015). Interior designers should include the human factors in design processes which are not limited to aesthetics but also weave a spatial narrative for experiential journey in the space. People develop their own interpretations and meanings of the objects and built environment that arise through the spatial character, which affects the perception. Interior designers’ ability to study the interaction of people with built environment helps to comprehend the relations between functions and the space (Nussbaumer, 2018). To achieve the goals for planning for people in recreational space, priorities have to be set by designers to integrate the issues and concerns faced by the people. The issues include user needs, social needs, space requirements, and cultural influences to fit in the context of the space. These all factors combine to form the aesthetics of the space which is spatially affected by the ordering and sequencing of the space. The space meets the purpose when human factors are considered for

Proposal Conclusion

planning for people while designing. Public space is a medium that influences the consciousness in the users (Mokras-Grabowska, 2019). An integral part in a recreational space is providing the opportunity to impart something new and raise a consciousness within users. If the development of public recreational space happens with explorations in an interesting manner, it can constitute the place for learning. While designing public recreational places, the spatial character is referred for adding values to the design which affects the aesthetics. But the underlying learning and consciousness layer adds to the values of such places. To raise consciousness through recreational space is the effective way because the typology itself appeals varied types of people and has considerable impact on the community. Planning space for learning should be a conscious decision by the designers to incorporate along with other factors like socializing and entertainment in such places. The modes of learning that raise a consciousness is not always directly visible through aesthetics of space but might also be an underlying factor which goes behind the conception of such places. The factor of learning can be achieved by varied learning styles that depends on the programs and the activities the space offer. When a program of recreational space is formed, it requires designers to include such domains which responds to the need of the users and raise a consciousness within the users. And planning of each recreational space has different parameters which are to be considered. But to limit the scope, factors used in the earlier part of the research framework are discussed further to formulate a design strategy for interior designers for 189

designing public recreational spaces. • To appropriately design recreational spaces with certain quality, it is essential to set and define principles that contribute to the designers. Earlier fields provide the spatial character to the space but in order to improve perception and experience Urban public place

Interior design

Public Interiority

(Community)

(Spatial dimensions)

(New domains of Recreational spaces in interior design)

Role of interior design in public recreational places

Future of Recreational spaces in interior design in India Fig. 4.1.1 Sequence followed for establishing role of interior designer in public spaces

of space considering new factors might help. Such principles aid in future of recreational spaces in interior design. The design of such places becomes successful when the use of such places is actually met by its purpose. And there is no gap between the designer’s intent of the design and the user’s perception of the space. The empirical study of Indian recreational spaces set in different time frame, opened up two different interpretations of the manifested values through culture, aesthetics, and ordering and sequencing of spaces. These interpretations help in defining the role of designer and discloses multiple approach

Proposal Conclusion

towards the design of such places. In future, such multidisciplinary approach needs to be adapted to design recreational spaces in India. The future of recreational spaces in India should include the possibilities of space as a medium of imparting and gaining knowledge. Designers in future should consider the factors discussed in the earlier part to enrich the impact of such places on community and users.

4.2 Recognizing role of interior designer in designing public recreational spaces

After emphasizing the role and responsibilities of interior designer in designing public recreational spaces, the need to formulate the design strategies that help in holistic design of such places is necessary to discuss. The variables and constants as discussed in the framework for the typology of recreational spaces are applied in analysing to conduct empirical research. The parameters considered for the research are dependent in a manner that they coherently inform the design decisions with manifesting values affecting aesthetics of the place. Parameters like spatial organization, hierarchy of spaces, programming, form, volumes, and spatial narratives that affect ordering and sequecning of the space along with aesthetics, form a medium through which values can be implemented. Designers need to accomplish these parameters and identify which will become the governing factor for designing of spaces that raise cultural consciousness.

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To understand how each of the parameters depend on each other and influence the other and derive the relationship between them, three different associations are explained. • Aesthetics – Manifested Values The intangible variable of manifesting values gains the tangible form through the aesthetics of the space. Aesthetics of the space are formed by the artefacts present in the environment that forms the spatial character of the place, through themed environments. Incorporating the values in aesthetics of the space will give meaning to the place as aesthetics is a variable that can be manipulated in many ways. Hence aesthetics can be derived by the values that hold the place or the function of the space. In kala Kendra, the art and cultural values formed an integral part in shaping the aesthetics of the space. • Aesthetics – Ordering and sequencing of spaces Ordering and sequencing of spaces aids in laying down the spaces to create an experiential journey and fulfilling the needs of the space, but adding the layer of aesthetics narrates a story and gives the character to the space. Often, the ordering of spaces form the underlying factor and aesthetics becomes the first layer of perception and experience of space. As the aesthetics constitutes of themed environments which gets informed by the elements of space, they establish a direct relationship between them. In Kala Kendra, the laying of spaces according to mandala and the plan of Jaipur city, gives the spatial dimension to it but the character of each block emerges from the aesthetics that are influenced by the arts and culture. The volumes in Bangalore

Proposal Conclusion

International centre are dominant in forming the aesthetics of the space. As the exposed beam and column grid and double height volumes affects the aesthetics of the space. • Manifested Values– Ordering and sequencing of spaces Manifestation of referential, descriptive, and normative values embedded in space guides the manner in which the spaces are laid down. In case of Kala Kendra, the cultural and contextual values of Jaipur inform the ordering and laying out of spaces. In Bangalore International centre the socio-cultural values inform the spatial organization. The normative values include the user needs which forms the basis on which spaces are planned and sequenced. The ordering and sequencing of spaces fulfils the functional and programmatic requirements, but to add deeper meaning to such space manifestation of values becomes substantial. Considering aesthetics as the dominant factor in Kala Kendra, the first step is to observe what informs the aesthetics of such places. Inferring from case study of Kala Kendra, art and culture informs the aesthetics which are translated in space through language, expression, and materiality. They constitute the manifested values through the sequencing and ordering of spaces through the elements of space and the themed environments which in turn affect the aesthetics of the space.

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Inferred from the Jawahar Kala Kendra, art and culture forms the language, expression and materiality of the space which informs the aesthetics and is constituted by manifested values through ordering and sequencing of spaces.

Proposal Conclusion

Fig. 4.2.1 Jawahar Kala Kendra conclusion diagram of inter relationships

Fig. 4.2.2 Bangalore International center conclusion diagram of inter-relationships

In second case study of Bangalore International Center, the ordering and sequencing of spaces become the dominant factor which affects aesthetics. Ordering of spaces through hierarchy of functions forms the interconnectivity of spaces and sequencing of spaces increases interaction. Hence, sociability gets manifested as a value in the center.

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4.3 Values in Interior Design In architecture, it is not challenging to impart particular values through the design as they create spaces from ground zero. So, they have more opportunities to explore and set values which are not bounded by the limitations as they work in context of site and surroundings. Also, architect can choose freely what values will the voids convey in order to communicate the design effectively. However, when it comes to the field of interior design, they are provided a shell which already ingrains some values. It is in the hands of interior designers that whether they want to work in accordance to the existing values of the building or accomplish their own set of values. The proposed set of values might or might not be in harmony to the existing values. Interior designers do not have complete freedom as they design in the given shell. The question arises here is in creating larger scale projects, how are the societal needs taken care by interior designer? As an interior designer, one obvious choice to make becomes the take on the overall concept of the design to be based on the architecture or by introducing an alien or a contrasting theme. Or are they allowed to bring in their own values and implement them that correspond to the users, site, context, and societal needs. This questions the existing set of values that the physical presence of the structure might seem to hold. These questions can never have a definite answer and they depend on individual situations. But researchers across different fields of the architecture, design, and sociology have identified the need to formalize the socio-cultural values the built environment hold (Benhamou & Hasell, 1988). There fails to be a single Proposal Conclusion

way to address these issues but the real challenge is to consider fundamental values that addresses the societal needs through the design. • Design profession from the society’s perspective Design decisions made by the designers not only represent the scientific solutions to the problems but also mark the interaction between built environment and users. “Apart from Aesthetic or Economic values, there are some more indicators or values which are to be considered by all building professionals (Garg, 2017).” In design profession social responsibilities are met by inculcating social and cultural values that affect the society. Designers are always considered to manifest user needs and societal needs into the design of public spaces. But there is a conflict between what values to consider and prioritize while designing. • Values link to behavior and decision It is difficult to separate ‘values’ from the architecture and design, as it binds everything together. Designers should draw special attention to inculcate values during the design process that support the appropriate creation of public places for community. Values that are implemented to create built environment within public domain have ability to solve the issues of social welfare. As values in architecture and design becomes the mode of expression, they sub-consciously affect the perception of space. Hence, including ‘Value Oriented System’ (Garg, 2017) during design process leads to harmony between the culture and the societal needs, that helps in creating better spaces. Values become the guidelines for design processes and they are linked to decision making.

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Design evaluation based on value sets; Values are also the methods through which one can critically evaluate the built environment in interior design. • Importance of values implemented by interior design in recreational spaces In the domain of designing public spaces, architects and urban designers consider issues and concerns that deal with the larger context. But these places require an added layer by interior designers that will give comprehensive experience of such places. Interdisciplinary approach towards creation of public recreational spaces will help in enhancing the design and establish the role of interior designers in designing such recreational spaces. Designers should aim for the design strategies employed to resolve the ‘design issues’ that should also meet the socio-cultural values of the place. Many factors affect the imbibed values in built environment, this research unravels one way to critically inquire them. But there are many other possibilities and directions one can explore to further carry forward the research. It can be done using the established framework, or new set of parameters can be included to set new domains in inquiring public recreational spaces. However, it should be understood that not only the program makes the space successful. It is the deeper meanings portrayed through values, that create higher impact on the society and users. Also, the research ahead can help in identifying and establishing the role of an interior designer in the design of public spaces for recreation.

Proposal Conclusion

Referential value Culture

Sequencing of Spaces

Ordering of Spaces

User needs

Context

Normative

Referential value

value

Consciousness

Aesthetics

Elements of space Fig. 4.3.1 Relationships of types of studied values and principles studied in the research Types of values Principles Relations between values Relations between principles Relations between principles and values

Descriptive value

This relationship diagram portrays connections between the types of values, ordering of spaces, sequencing of spaces, aesthetics, and consciousness, that is established based on the case studies. It is not possible for values to exist independently; they coherently form the set of values of the built environment. Combining inferences from both the case studies, this is the examined inter-relationship. Different set of values influence different spatial dimensions. For an instance, contextual and cultural values affect the ordering and sequencing of spaces in Jawahar Kala Kendra and culture also affects the aesthetics of space through elements of space.

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4.4 Future Directions The research falls under the scope of public recreational spaces where order, values and aesthetics are studied to bring some consciousness amongst the users. But the future scope to continue the research or look with a different lens will give new perspectives of recreational spaces. And the question that arise here is “Can recreational space become a ‘catalyst’ in the process of imparting knowledge and gaining knowledge through space as a medium?” And if so, then how the presence of artefacts and manifested values affects the designing of the recreational space which in turn affect the user impacts of such places. The issue that can be further addressed by conducting research can unravel that how can social meanings be added to the public space? And can community engagement play an important role as preceding factor in making of public recreational spaces?

Fig. 4.4.1 Recreational space as a medium to impart knowledge and gain knowledge

Proposal Future Directions

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APPENDIX

Chapter

5 i Glossary of terms ii Appendix iii Bibliography iv List of figures v Review Feedback

• Glossary of terms Leisure time: taking place during time not used for gainful employment Recreation: (a way of) enjoying yourself when you are not working Socializing: the activity of spending time when you are not working with friends or with other people in order to enjoy yourself Culture: the set of values, conventions, or social practices associated with a particular field, activity, or societal characteristic Aesthetics: a branch of philosophy dealing with the nature of beauty, art, and conception and with the creation and appreciation of beauty Values: the principles that help you to decide what is right and wrong, and how to act in various situations: Consciousness: the state of understanding and realizing something Sociability: the quality of liking to meet and spend time with other people Normative: ‘relating to rules, or making people obey rules, especially rules of behaviour’, ‘of, relating to, or determining norms or standards’

* All definitions are retrieved from Cambridge dictionary and Merriam-Webster

Proposal of terms Glossary

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• Appendix • List of recreational spaces that can be studied further (Indian examples) Examples

1. Dr Bhau Daji Lad Museum, Mumbai

2. Indian Music Experience Museum, Bangalore

3. NCPA, Mumbai

Functions

Museum, parks, zoo, Cultural and Recreational Center

Music experience center, sound gardens, exhibitions, workshops, performing center, and Recreational Center

Performing space, museum, art galleries, Cultural and Recreational Center

4. Nehru Planetarium and Museum, parks, zoo, Cultural Cultural Center, Mumbai and Recreational Center

5. The Bihar Museum, Patna

Proposal Appendix

Music experience center, sound gardens, exhibitions, workshops, performing center, and Recreational Center

Probable manifested values

History, Protection of heritage, art and cultural consciousness

Imparts knowledge of music, Experiential journey

Cultural awareness, sociability, interactions

Knowledge, simplicity, selfexpression

Contemporary, art consciousness

Implemented Values by

Images

Built form, exhibits, functions, expression

Displays, events, spatial narratives of interior spaces, concept

Themed environments, activities

Themed environments, exhibits, form

Materiality, expression, language, functions

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• List of recreational spaces that can be studied further (International examples)

1. Philharmonie de, Paris By- Jean Nouvel

2. Suzhou Bay Grand Theater, China By- Christian de Portzamparc

3. MECA Cultural Center, Bordeaux, France, By- Bjarke Ingels Group

4. Plassen Cultural Center, Molde, Norway, By- 3XN Architects

Proposal Appendix

Concert halls, exhibitions, workshops and cultural Recreational Center

Music and performance halls, museums, theatres and cultural Recreational Center

Arts, Culture, performances, Exhibitions

Library, Theater, exhibition center, gallery, Community center

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• Bibliography • Published Books Brooker, G. (2013). Key Interiors since 1900. Laurence King Publishing. Ching, F. D. K. (2014). Architecture: Form, Space, & Order (4th ed.). Wiley. Holm, I. (2006). Ideas and Beliefs in Architecture and Industrial Design. Arkitekturog designhøgskolen i Oslo. Lord, B., Lord, G. D., & Martin, L. (2012). Manual of Museum Planning: Sustainable Space, Facilities, and Operations (3rd ed.). AltaMira Press. Nussbaumer, L. L. (2018). Human Factors in the Built Environment (2nd ed.). Fairchild Books. Oldenburg, R. (2013). The great good place- cafes coffee shops, bookstores, bars, hair salons and other hangouts at the heart of a community. Laurence King Publishing Ltd. Tschumi, B. (1994). Architecture and Disjunction (First Edition). Mit Pr. Whitley, M. (2018). Architectural Narrative through Spatial Sequencing. (Masters Thesis) Faculty of the Virginia Polytechnic Institute and State University. • Journal article/ Research Papers Ali Mojarrad, S., & Khoshbakht Bahramani, S. (2015). Qualitative improvement of historical buildings with cultural, recreational approach. Indian Journal of Natural Products and Resources, 1. https://www.researchgate.net/ publication/339129574_QUALITATIVE_IMPROVEMENT_OF_HISTORICAL_ BUILDINGS_WITH_CULTURAL_RECREATIONAL_APPROACH Arenibafo, F. E. (2017). The Transformation of Aesthetics in Architecture from Traditional to Modern Architecture: A case study of the Yoruba (southwestern) region of Nigeria. Journal of Contemporary Urban Affairs, 1(1), 35–44. https://doi.org/10.25034/1761.1(1)35-44 Garg, R. (2017). Adding VALUES in Architectural Design of Built Environment. International Journal on Emerging Technologies, 54–58. https://www. researchtrend.net/ Hasell, M. J., & Benhamou, R. (1988). Interior Design: A Dynamic Systems View. Journal

Proposal Bibliography

of Interior Design, 14(2), 13–22. https://doi.org/10.1111/j.1939-1668.1988. tb00124.x Huth, R., & Weishaupt, H. (2009). Education and high cultural leisure activities. Journal for Educational Research Online, 1(2009), 224–240. https:// www.researchgate.net/publication/265677532_Education_and_Highprestige_Cultural_Recreational_Activities Johnson, A. J., & Glover, T. D. (2013). Understanding Urban Public Space in a Leisure Context. Leisure Sciences, 35(2), 190–197. https://doi.org/10.1080/ 01490400.2013.761922 Mazumdar, S. S. (1994). Societal values and architecture: A socio-physical model of the interrelationships. Journal of Architectural and Planning Research, 66–91. https://www.jstor.org/ Meyer, B., & Niezgoda, A. (2018). The impact of the perception of leisure on recreational and tourism spaces in an urban area. Turyzm/Tourism, 28(1), 47–52. https://doi.org/10.18778/0867-5856.28.1.14 Mokras-Grabowska, J. (2018). New urban recreational spaces. Attractiveness, infrastructure arrangements, identity. The example of the city of Łódź. Miscellanea Geographica, 22(4), 219–224. https://doi.org/10.2478/ mgrsd-2018-0017 Mokras-Grabowska, J. (2019). Recreational space- Forms, transformations and innovative trends in development. GEOGRAPHY AND TOURISM, Semi Annual Journal, 7(1), 7–16. https://www.researchgate.net/publication/337021879_ Recreational_Space_-Forms_Transformations_and_Innovative_Trends_in_ Development MOLAVI, M., MARDOUKHI, Z., & JALILI, F. (2016). UTILIZATION OF PLACE-MAKING APPROACH IN URBAN SPACES USING HISTORIC MANSIONS ATTRACTIONS. Theoretical and Empirical Researches in Urban Management, 11(4), 60-73. Retrieved April 30, 2021, from http://www.jstor.org/stable/24873564 Moscardo, G. (2007). Interpretation, Culture and the Creation of Place. Tourism Recreation Research, 32(3), 57–64. https://doi.org/10.1080/02508281.20 07.11081540 Poot, T., De Vos, E., & Van Acker, M. (2018). Thinking beyond dualities in public space: the unfolding of urban interiority as a set of interdisciplinary lenses. Interiors, 9(3), 324–345. https://doi.org/10.1080/20419112.2019.162223 5

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Poot, T., Van Acker, M., & De Vos, E. (2015). The Public Interior: IDEA JOURNAL, 44–55. https://doi.org/10.37113/ideaj.vi0.52 • Unpublished thesis Bassan, J. (2016). Understanding the quotient of placemaking: potentials in designed public places. CEPT University, (Undergraduate thesis) 1. https:// repository.cept.ac.in/handle/20.500.12725/2277 Mehta, H. (1980). Recreational spaces: a case study of Baroda city. CEPT University, (Undergraduate thesis) 1. https://repository.cept.ac.in/ handle/20.500.12725/12193

• Websites Architecture, H. (2019, May 31). Jawahar Kala Kendra. Hidden Architecture. http:// hiddenarchitecture.net/jawahar-kala-kendra/ Cambridge Dictionary. (2021, February 24). recreation definition: 1. (a way of) enjoying yourself when you are not working: 2. the act of making something exist or. . .. Learn more. Cambridge.Org. https://dictionary.cambridge.org/ dictionary/english/recreation Crook, L. (2019, July 5). BIG and FREAKS complete looping MÉCA cultural centre in Bordeaux. Dezeen. https://www.dezeen.com/2019/07/05/meca-culturalcentre-big-freaks-architecture-bordeaux/ Hernández, D. (2020, December 23). Ku.Be House of Culture in Movement / MVRDV + ADEPT. ArchDaily. https://www.archdaily.com/794532/ke-house-of-culturein-movement-mvrdv-plus-adept Jackson, L. (2005, July 25). Leisure Lines: Types of Recreation. Http://Leisurelines. Blogspot.Com. http://leisurelines.blogspot.com/2005/07/types-ofrecreation.html Mathur, C. (2021, February 11). Phaeno Science Centre by Zaha Hadid: An architectural adventureplayground. RTF | Rethinking The Future. https://www. re-thinkingthefuture.com/case-studies/a2575-phaeno-science-centre-byzaha-hadid-an-architectural-adventure-playground/ Stevens, P. I (2016, September 2). MVRDV and ADEPT complete community center in copenhagen to encourage an active lifestyle. Designboom | Architecture & Design Magazine. https://www.designboom.com/architecture/mvrdv-

Proposal Bibliography

adept-community-center-copenhagen-kube-house-of-culture-inmovement-09-02-2016/ Pilcher, D. (2020, July 22). Leisure as an architectural problem. Architectural Review. https://www.architectural-review.com/essays/leisure-as-an-architecturalproblem Pintos, P. (2020, December 15). MÉCA Cultural Center / BIG. ArchDaily. https://www. archdaily.com/920341/meca-cultural-center-big?ad_source=search&ad_ medium=search_result_all Project for Public Spaces. (n.d.). Https://Www.Pps.Org/Article/the-Power-ofPlacemaking-through-Corporate-Social-Responsibility. Retrieved February 15, 2021, from https://www.pps.org/ Sharma, R. (2015). JAWAHAR KALA KENDRA. Www.Academia.Edu. https://www. academia.edu/30954088/JAWAHAR_KALA_KENDRA STIRworld. (2019, September 2). Charles Correa’s Jawahar Kala Kendra is a revelation of the modernist’s genius. https://www.stirworld.com/see-featurescharles-correa-s-jawahar-kala-kendra-is-a-revelation-of-the-modernist-sgenius Tapia, D. (2021, March 2). Bangalore International Centre / Hundredhands. ArchDaily. https://www.archdaily.com/932463/bangalore-internationalcentre-hundredhands Tavares, M. C. (n.d.). Sequences in architecture. How to use cinema to design the experience of space and time. The Architecture Player. Retrieved April 15, 2021, from https://www.architectureplayer.com/strips/sequencesin-architecture-how-to-use-cinema-to-design-the-experience-of-spaceand-time Team, A. (2020, October 21). Jawahar Kala Kendra Arts Centre in Jaipur / Charles Correa. ArchEyes. https://archeyes.com/jawahar-kala-kendra-charlescorrea/

• Report Confederation of Indian Industry (CII) & PricewaterhouseCoopers Pvt Ltd. (2018, November). Transforming urban India: Art and culture to play a pivotal role. Tarana Sawhney. https://www.pwc.in/assets/pdfs/publications/2018/ transforming-urban-india.pdf

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• List of Figures Chapter 01 1.1.1 Defining Leisure and Re-Creation Fig. 1.1.1.1, Fig. 1.1.1.2, Fig. 1.1.1.3, Fig. 1.1.1.4 Retrieved from https://www. architectural-review.com/essays/leisure-as-an-architectural-problem 1.1. 3 Recreational space Fig. 1.1.3.1 (a) Retrieved from https://www.stuttgarter-nachrichten.de/inhalt. sonne-satt-am-samstag-stuttgart-geniesst-das-osterwetter.7e6ee47f-de8d4831-a75a-b326ede1f2c7.html (b) & (c) Retrieved from https://www.travellingcamera.com/2012/03/colorfulphoto-journey-to-nehru-park.html (d) Retrieved from https://twitter.com/go2warsaw/status/953999164677017600 (e) Retrieved from https://www.facebook.com/CEPTUniversity1/photos (f) Retrieved from https://www.dezeen.com/tag/open-air-theatres/ Fig. 1.1.3.2 (a) Retrieved from http://www.culture-keeper.com/blog/ s36o62h7kfu231jd2u7y73y7f3bnzk (b) Retrieved from https://www.thebetterindia.com/132379/50-years-aurovillematri-mandir-pondicherry-history/ (c) Retrieved from https://www.designboom.com/architecture/sameep-padoraassociates-sp-a-jetavan-centre-india-06-29-2016/ (d) Retrieved from https://letsgotothemuseum.wordpress.com/tag/pacific-sciencecenter/ (e) Retrieved from https://foursquare.com/v/amdavad-nigufa/4bcaf5d8b6c49c74444d9191 Fig. 1.1.3.3 (a) Retrieved from https://www.republicworld.com/entertainment-news/ bollywood-news/restaurants-in-mumbai-where-you-can-often-spot-bollywoodcelebrities.html (b) Retrieved from https://amazingindiablog.in/seva-cafe-ahmedabad/ (c) Retrieved from https://dssc.co/dssc-secret-conversations-oddbird-man-akhilwable/ (d) Retrieved from https://www.delhievents.com/2018/06/theatre-workshopplaytext-oddbird-yellowcat.html

Proposal List of Figures

(e) Retrieved from https://blog.savaari.com/top-7-sportsbars-bangalore/ (f) Retrieved from https://www.thenewsminute.com/article/popular-bengaluruhangout-spot-bflat-shut-shop-oct-2-may-return-new-avatar-109138 (g) Retrieved from https://medium.com/@alyakhemji/upcoming-art-exhibitionsand-events-in-dubai-2018-d5b075e5a631 (h) Retrieved from https://www.archdaily.com/923851/alembic-industrialheritage-and-re-development-karan-grover-and-associates/5d66804e284dd 161f000017b-alembic-industrial-heritage-and-re-development-karan-groverand-associates-photo 1.2 Recreational culture Fig 1.1.2.2 (a) Retrieved from https://www.fodors.com/world/europe/england/ london/experiences/news/20-authentic-london-pubs-that-you-should-actuallyvisit (b) Retrieved from https://in.pinterest.com/pin/491103534336140225/ (c) Retrieved from https://www.wallpaperflare.com/paris-cafe-kleber-tourismtravel-cafe-kleber-chair-sidewalk-cafe-wallpaper-wxgye (d) Retrieved from https://thepeachreview.com/2020/03/28/the-bolshoi-theatrewill-broadcast-opera-and-ballet-performances-on-youtube/ 1.3 Manifestation of Cultures Fig 1.3.1.2 Retrieved from https://www.tripadvisor.in/LocationPhotoDirectLinkg297608-d3732998-i55106019-650_The_Global_Kitchen-Ahmedabad_ Ahmedabad_District_Gujarat.html, https://architecturelive.in/rangeen-restaurantat-ahmadabad-by-prashant-pradhan-architects/ Fig 1.3.2.1Retrieved from https://www.archdaily.com/941738/krushi-bhawanstudio-lotus/5ee7ce22b357652009000145-krushi-bhawan-studio-lotus-photo, https://www.architecturalrecord.com/articles/14492-krushi-bhawan-by-studiolotus Fig 1.3.3.1 Retrieved from https://zafigo.com/stories/zafigo-stories/the-tribalmuseum-bhopal-madhya-pradesh-india/ Fig 1.3.4.1 Retrieved from https://frugal2fab.com/2018/06/23/wedding-under2-lakhs/, https://blog.theweddingbrigade.com/blog/8-wedding-decor-ideasinspired-by-bollwood-movies/ 215

Fig 1.3.5.1 Retrieved from https://www.royaladventuretours.com/pushkar/fairpushkar-ajmer-rajasthan.php, http://www.vibhuandme.com/2017/10/a-typicalindia-fair.html 1.4 Categories of Recreational Activities Table 1.4.1 1. Retrieved from https://www.indiamart.com/maharajaagrasenvidyalaya/activities.html 2. Retrieved from https://www.compassroseevents.com/host-company-picnicbring-together-staff-provide-team-building-activities/ 3. Retrieved from https://www.deshgujarat.com/2021/01/02/in-pictures-morewater-sports-activities-added-at-sabarmati-riverfront/ 4. Retrieved from https://www.chinadaily.com.cn/culture/art/2014-07/22/ content_17874354.html 5. Retrieved from https://www.indiamart.com/proddetail/acting-workshopservices-19029895030.html 6. Retrieved from https://welltempered.wordpress.com/2014/11/02/classicalmusic-an-orchestra-conductor-suggests-10-ways-to-improve-concerts-the-earadds-two-more/ 7. Retrieved from https://www.visitlondon.com/things-to-do/sightseeing/londonattraction/museum/free-museums-in-london 8. Retrieved from https://www.grubstreet.com/bestofnewyork/best-frenchrestaurants-nyc.html 1.5.1 Concepts of Recreational Spaces Fig . 1.5.1.1.(a) Retrieved from https://www.world-architects.com/pt/hcpdpmahmedabad/project/sabarmati-riverfront-development-project (b) Retrieved from https://www.theweek.in/theweek/leisure/2018/09/21/the-stageis-set-for-ahmedabads-natarani-theatre.html (c) Retrieved from http://oasisdesigns.org/flowergardenc.asp Fig . 1.5.1.2 (a) Retrieved from http: //www.dnaindia.com/ahmedabad/reportahmedabad-centre-for-environmental-planning-and-technology-sanctionsteaching-fellowshipposts-1939122 (b) Retrieved from https://www.instagram.com/fd_cept/ Fig . 1.5.1.3.1 Retrieved from https://travelknots.wordpress.com/2016/07/09/ vishalla-in-ahmedabad-snapshot-of-vibrant-gujarati-culture/vishala-1/ Fig . 1.5.1.3.2 (a) Retrieved from https://www.triphobo.com/places/ahmedabad-

List of Figures Proposal

india/conflictorium (b) Retrieved from https://theseer.in/conflictorium-a-museum-of-conflicts/ Fig . 1.5.1.4.1 (a) Retrieved from https://worldoftheatreandart.com/audiencetheatres-loud-quiet-today/ (b) Retrieved from https://www.mouthshut.com/product-reviews/AlphaOne-MallVastrapur-Ahmedabad-Photos-925078276 Fig . 1.5.1.5.1 (a) Retrieved from https://www.deshgujarat.com/2017/04/20/ gujarat-science-city-to-have-new-aquatic-and-robotic-galleries/ (b) Retrieved from https://www.tripadvisor.in/LocationPhotoDirectLink-g297608d1603378-i35909583-Gujarat_Science_City-Ahmedabad_Ahmedabad_ District_Gujarat.html Fig . 1.5.1.5.2 (a) Retrieved from https://lbb.in/mumbai/jehangir-art-gallery/ (b) Retrieved from https://www.thrillophilia.com/attractions/jehangir-art-gallery Chapter 02 2.4.1 Ku.Be House of Culture in Movement Fig . 2.4.1.1, 2.4.1.3, 2.4.1.4, 2.4.1.5, 2.4.1.6, 2.4.1.7, 2.4.1.8, 2.4.1.9, 2.4.1.10, Retrieved from https://www.designboom.com/architecture/ mvrdv-adept-community-center-copenhagen-kube-house-of-culture-inmovement-09-02-2016/ 2.4.2 Phaeno Science Center Fig . 2.4.2.1, 2.4.2.2, Retrieved from https://www.arch.photos/zaha-hadidphaeno-science-centre Fig 2.4.2.3 (a), Retrieved from https://www.inexhibit.com/mymuseum/phaenoscience-center-wolfsburg/ Fig . 2.4.2.3 (b), 2.4.2.10, Retrieved from https://edaturgut.wordpress. com/2020/06/16/case-study-phaeno-science-center/ Fig . 2.4.2.3, (c) Retrieved from https://www.architectural-review.com/buildings/ science-centre-by-zaha-hadid-architects-wolfsburg-germany Fig . 2.4.2.4, Retrieved from https://archello.com/project/phaeno-science-centerwolfsburg Fig 2.4.2.5 Retrieved from http://camilleutterback.com/projects/text-rain-forph%C3%A6no/ Fig . 2.4.2.6, 2.4.2.7 Retrieved from https://www.e-architect.com/hamburg/

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phaeno-centre Fig . 2.4.2.8 Retrieved from https://www.re-thinkingthefuture.com/case-studies/ a2575-phaeno-science-centre-by-zaha-hadid-an-architectural-adventureplayground/ Fig . 2.4.2.9 Retrieved from https://www.arch.photos/zaha-hadid-phaenoscience-centre Fig 2.4.2.11 Retrieved from https://fdocuments.in/document/zaha-hadid-phaenoscience-centre.html Chapter 03 3.1.1 Jawahar Kala Kendra Fig 3.1.1.1 (a) Retrieved from https://www.tripadvisor.in/Attraction_Reviewg304555-d311636-Reviews-Jawahar_Kala_Kendra-Jaipur_Jaipur_District_ Rajasthan.html (b) Retrieved from http://hiddenarchitecture.net/jawahar-kala-kendra/ (c) Retrieved from https://architecturelive.in/event-when-is-space-curatorial-walk/ (d) Retrieved from https://timesofindia.indiatimes.com/entertainment/events/jaipur/ indian-ceramic-triennale-at-jawahar-kala-kendra-in-jaipur-receives-goodresponse-from-jaipurites/articleshow/65660268.cms Fig 3.1.1.6 Retrieved from https://fabianostner.wordpress.com/2015/08/14/ current-project-city-house-jaipur-concept-stage/ Fig 3.1.1.10, 3.1.1.11 Retrieved from https://www.stirworld.com/see-featurescharles-correa-s-jawahar-kala-kendra-is-a-revelation-of-the-modernist-s-genius Fig 3.1.1.13 (a) Retrieved from https://in.pinterest.com/ pin/702139398133622614/ Fig 3.1.1.14 Retrieved from https://www.jaipurcityblog.com/chand-baoriabhaneri-jaipur-worlds-deepest-stepwell/ Fig 3.1.1.16 (a) Retrieved from https://www.holidify.com/places/jaipur/hawamahal-sightseeing-2131.html Fig 3.1.1.21 (a) Retrieved from https://www.stirworld.com/see-features-charlescorrea-s-jawahar-kala-kendra-is-a-revelation-of-the-modernist-s-genius 3.1.3 Bangalore International Center Fig 3.1.3.2, 3.1.3.3, 3.1.3.16, Retrieved from http://www.hundredhands.com/bic-2. html

List of Figures Proposal

Fig 3.1.3.1, 3.1.3.4, 3.1.3.9, 3.1.3.10, 3.1.3.11, 3.1.3.12, 3.1.3.15, 3.1.3.20 (a-d), 3.1.3.21, 3.1.3.23, 3.1.3.24 (a), 3.1.3.25 (b), 3.1.3.26, 3.1.3.27, 3.1.3.28, 3.1.3.30 Retrieved from https://www.archdaily.com/932463/bangalore-internationalcentre-hundredhands?ad_medium=gallery Note: Rest all of the figures and diagrams are made by the author

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• Review Feedback • Review 01 | 21.01.2021 Sagar Modh: - What are the different directions of looking at recreational spaces? First consider different aspects and then choose one particular direction. - Informative diagram but divide it in smaller parts to explain it in detail. Visit and observe recreational spaces now with constraints and consider what all factors to observe. And do come up with good observations after visiting the places which can help you. Naandi Parikh: - Framework is ready and broken down in a good manner which clearly states what you want to do and what different stages will be there. - If possible, stick to Indian context which will help you to draw a better conclusion. - Need to figure out case studies and start working on analyzing it. Implications: List of case studies and examples was made and framework was revisited after exploring other aspects.

Review Feedback Proposal

• Review 02 | 02.03.2021 Sagar Modh: -Good amount of work and good presentation and case study also represented nicely. - But now focus on the second part and identify the need of the research and just include that in conclusion. Naandi Parikh: - Lot of information and lot of work which is quite sorted and going on right track. - How are you going to compare the case studies? And how will you map the analysis is still not clear. - And also mention how you are going to conclude it. Implications: Significance of research was added in conclusion and primary case study was conducted to explore how can it be concluded. • Review 03 | 27.03.2021 Sagar Modh: - Good diagrams of case studies but maybe adding photos on side might help to relate it better. - Clear direction for conclusion also, so keep it going. Naandi Parikh: - Good analysis and case study done in depth now complete the other case study likewise. - Its good that you have added ‘Future discussions’ part in your conclusion, it can help others to maybe take forward the research. Implications: Conclusion was made stronger and case studies were defined further.

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If you are loosing your leisure, look out; you might be losing your soul Logan Smith