Sanskritiaalaya, Reawkening a Forgotten Past by RACdesigns

â&#x20AC;&#x153;Design creates culture; Culture shapes values; Values determine the future.â&#x20AC;? Robert. L. Peters

SANSKRITIAALAYA

RE-AWAKENING A FORGOTTEN PAST A Thesis Submitted to the Faculty of the Architecture Department in Partial Fulfillment of the Requirements for the Degree of Master of Architecture in Architecture at Savannah College of Art and Design Roshni Anna Cheriyan Savannah, GA @ March 2017

Professor Hsu Jen Huang Ph.D., Committee Chair Professor Timothy J Woods, Committee Member Professor Ruth Hutson, Committee Member

â&#x20AC;&#x153;....for my loving family, my sweet friends near and far and my idol Kim Hyun Joong....â&#x20AC;?

To my committee,

I dedicate this thesis to you. This would not have materialized had it been not for the strong faith you had in me and the encouragement to keep following the path. You gave me the will to pick up the pieces and make this project into the most beautiful story I ever wrote.

Professor Singeisen, Your support and direction was crucial when I was researching my topic. You understood that I needed to set a deadline to reach my goals. You helped define a project that did not even exist. Thank you.

Professor Hutson, you have been my inspiration through and through. You took me out of my small box of architecture and taught me of what it infinitely more can be and Iâ&#x20AC;&#x2122;m forever grateful for that.

Professor Woods, your infinite knowledge and critique have helped me see that the small picture is as important as the big one. You helped me define the underlying philosophies of the building and saved it from being a mere skin and structure building.

And most importantly, Professor Hsu Jen. Thank you for being over my neck all day long, pushing me to draw â&#x20AC;&#x153;one more conceptâ&#x20AC;? a hundred times, keeping me near the paper and pen at all times and more importantly making me fall in love with my project. I got to experience the joy of finally realizing my concept, redefine the story of my building and expand my architecture to horizons I didnâ&#x20AC;&#x2122;t know existed.

To my family and friends,

I would not have existed to complete my thesis had it not been the support of my family and friends.

Special thanks to my parents, especially my Mamma for calling me from India to make sure I woke up after an all-nighter and Appa for always calling me to make sure I was doing ok. I guess I will thank my brother Abby for being the mountain I will always try to overcome in my life, for inspiring me to beat you and in that process be the best I can be.

I am forever grateful for my family near and far for being a constant support and for always remembering me in your prayers. Special thanks to my sister Tintu, best friends Pinky, Blessy, Suruthi, Madonna, Karthi and Dorai among so many others who somehow knew I was down and needed their calls and messages to cheer me up. Thank you for patiently waiting while I shut myself off from all

of you in my thesis world, but still be a constant support for me.

Also I extremely thankful to Shan, Ajay, Syafiq, Heng Li, Ryan , my studio mates, my SCAD-ies and the big list of friends and well-wishers this page will not be enough to thank.

And the most to my best friend Janhavi for taking all my drama, for giving me the best advices. You made me see sense and life in my building. Thank you for making this happen.

I know I did not do it alone.

And Finally, Thank you Korean Pop music, Korean dramas and movies. You were my companion for all those long nights, my source of inspiration and somehow when you do enough thesis you feel like all the songs are about your thesis.

TABLE OF CONTENTS ILLUSTRATIONS: LIST OF IMAGES.......................................................................................................001 ABSTRACT...........................................................................................................................................007 SANSKRITIAALAYA.............................................................................................................................012 PEOPLE FROM THE EAST....................................................................................................................013 CULTURE OF THE EAST.......................................................................................................................027 A TALE FROM INDIA...........................................................................................................................043 BACK TO THE ROOTS.........................................................................................................................055 EXPORATION OF SPACE...................................................................................................................083 SANSKRITIAAYLA: RE-AWAKENING A FORGOTTEN PAST...............................................................115 CONCLUSION................................................................................................................................... 135 BIBLIOGRAPHY..................................................................................................................................139

ILLUSTRATIONS: LIST OF IMAGES

Fig 000

: Cover

Holi, Poras Chaudhary Source: http://www.tourismontheedge.com/get-cultural/ holi-the-festival-of-colors

Fig 001

: Abstract Cover

Non-woven wallpaper geometric pattern yellow 310045 Source: http://www.decowunder-tapeten.de/en/ wallpaper/country-house-wallpaper/non-wovenwallpaper-geometric-pattern-yellow-310045.html

Fig 002

: Paavakoothu

Published by Sajin Sagarmg Source: http://aanachandhamkerala.blogspot. com/2014/05/pavakoothu-thol-pava-koothu-is-ancient. html#links

Fig 101

: India_USA Flag

Fig 102

: Historic Timeline

Fig 103

: Demographic Delineation

Fig 104

: Indian Population by state (2009-2013)

Source: Created by author Source: Created by author

Migration Policy Institute (MPI) tabulation of data from U.S. Census Bureau pooled 2009-13 ACS. Source: http://www.migrationpolicy.org/article/indianimmigrants-united-states#Distribution State & Key cities

Fig 106 : Indian Immigrant Population in the United States, 1980-2013

Fig 107 USA

: Population Projection of Indians in

Fig 200

: Culture of the East Cover

Fig 201

: Indian Elephant

Source: Created by author

: People from the East Cover

Published by Evan Brown Source: http://www.designmantic.com/blog/15-smallbusiness-owners-from-india-in-usa/

Source: Created by author

Fig 100

Wallpaper Pattern Vintage in Orange Floral Source: http://allpicts.in/wallpaper-pattern-vintage-inorange-floral-image/

Fig 105 : Indian Population by Metropolitan cities (2009-2013)

Damask Pattern Background Orange by Karen Arnold Source: http://www.publicdomainpictures.net/viewimage.php?image=53051&picture=damask-patternbackground-orange Published by â&#x20AC;&#x2DC;For The Curiousâ&#x20AC;&#x2122; Source: https://www.paraloscuriosos.com/a7053/estees-el-punto-hindu-del-que-todos-hablan-y-que-nadieconoce-su-verdadero-significado?page=2

Fig 202 World

: Temple Mosque Church, Hearts -

Fig 203

: Religious affliation of Indians in USA

Fig 204

: Group of Battias

Published by Humayunn Niaz Ahmed Peerzaada Source: http://picssr.com/tags/deolali/page13 Source: Created by author

Published by Humayunn Niaz Ahmed Peerzaada Source: ebay, Dec. 2006

Fig 205

: Wedding

Fig 302

: Moenjodaro

Fig 206

: Indian Spices

Fig 303

: Great stupa of Sanchi

Fig 207

: Surya Namaskar

Fig 304

: Cave 26, Ajanta

Fig 208

: Ethnic Beauty

Fig 305

: Taj Mahal in March 2004

Fig 209

: Indian Classical Music

Fig 306

: Hampi Chariot

Fig 210

: Journey into the myth of Kathakali

: Chennai High Court

Fig 308

: Evolution of Indian Architecture

Fig 309

: Indian Vernacular Architecture

Published by Kishor Krishnamoorthi Source: http://marigoldtales.com/2015/06/virupanaresh/ Wikimedia Commons, the free media repository Source: https://commons.wikimedia.org/wiki/File:Indian_ Spices.jpg Published by Michael Pravin Source: https://www.flickr.com/photos/60973041@ N05/15626381302/ Published by Ayush Kejriwal Source: h t t p : / / w o r l d - e t h n i c - b e a u t y . t u m b l r . c o m / post/141145305265 Published by unknown Source: http://www.dfordelhi.in/musical-savants/ Published by Angela Dallâ&#x20AC;&#x2122;Agnol Source: http://www.lanouvellevague.it/viaggio-nel-mitokathakali-angela-dallagnol/

Fig 211

: Cultural Confusion

Source: Created by author

Fig 300

: A Tale from India Cover

Indian Print Gold Lace on Red Source: https://www.hollanders.com/index.php/indianprint-gold-lace-on-red.html

Fig 301

: Salim Chishti Tomb

Source: https://commons.wikimedia.org/wiki/File:Salim_ Chishti_Tomb-2.jpg

42 43

Published by Usman Ghani Source: h t t p s : / / c o m m o n s . w i k i m e d i a . o r g / w i k i / File:Moenjodaro(a)_by_Usman_Ghani.jpg Published by Nagarjun Source: https://commons.wikimedia.org/wiki/File:Great_ stupa_of_Sanchi.jpg Published by Dey.Sandip Source: h t t p s : / / c o m m o n s . w i k i m e d i a . o r g / w i k i / File:Cave_26,_Ajanta.jpg Published by Dhirad Source: https://en.wikipedia.org/wiki/File:Taj_Mahal_in_ March_2004.jpg

Published by Apadegal Source: https://commons.wikimedia.org/wiki/File:Hampi_ chariot.jpg

Fig 307

Published by Yoga Balaji Source: h t t p s : / / c o m m o n s . w i k i m e d i a . o r g / w i k i / File:Chennai_High_Court.jpg Source: Created by author Source: Created by author

Fig 400

: Cover

Green Khadi Fabric with Printed Paisleys Source: http://www.exoticindiaart.com/product/textiles/ green-khadi-fabric-with-printed-paisleys-SFB15/

Fig 401

: Indian Design Ideologies

Fig 504

: Site Selection- Sun Diagram

Fig 402

: Vaastu Purush

Fig 505

: Site Selection- Wind Diagram

Fig 403

: Materiality in Indian Architecture

Fig 506

: Site Selection- Climatic Parameters

Fig 404

: Indian Design Elements

Fig 507 Heights

: Site Context- Surrounding Building

Fig 405

: Symbolism through Ornamentation

: Site Context- Surrounding Building

Fig 406

: Traditional Construction Techniques

Fig 508 Typology

Fig 407

: Eradication of Indian Architecture

Fig 509

: Site Context- Points of Interest

Fig 408

: Constricted Global Manifestation

Fig 408

: Thesis Goal

Fig 500

: Cover

Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author

Published by unknown Source: https://w-dog.net/wallpaper/pattern-patternindian-cucumber-paisley-blue/id/355368/

Source: Created by author

Fig 511

: Survey- Age group of participants

Fig 512

: Survey- Ethnicity of participants

Fig 513

: Survey- Status of Indian Participants

Fig 502

: Site Selection- SWOT Analysis

Fig 503

: Site Selection- â&#x20AC;&#x153;Vaastuâ&#x20AC;? Analysis

Source: Created by author

: Site Selection

Source: Created by author

Fig 501

Source: Created by author

Fig 510 : Site Context- Site Constraints and Opportunities

Source: Created by author Source: Created by author

Source: Created by author

Source: Created by author Source: Created by author Source: Created by author

Fig 514 : Survey- Building Typology Interest and Schedule Preference

Fig 515 : Programmatic Preference Based on Age Group

Source: Created by author

Analysis-

Activity

Source: Created by author

Fig 516 Activities

: Programmatic Analysis- Schedule for

Fig 528

: Spatial Experience

114

Fig 600

: Cover

115

Fig 601

: Saanskritiaalya- Exterior View

117

Fig 602

: Site Development

119

105

Fig 603

: Site Circulation

119

Fig 521 : Courtyard- Spatial Layout of Traditional Indian Houses

106

Fig 604

: Site Plan

120

Fig 522

: Vaastu Principles for Site

107

Fig 605

: Floor Plans

121

Fig 523

: Concept Development

108

Fig 606

: Floor Plans- Egress Diagram

122

Fig 524

: Conceptual Transition of Space

110

Fig 607

: Elevation- South Side

123

Fig 525

: Storytelling through Exploratory Spaces

112

Fig 608

: Section- Longitudinal

124

Fig 526 Courtyard

: Storytelling through Central Open

113

Fig 609

: Detail Section

125

Fig 610

: Detail

126

Source: Created by author

Fig 517 : Programmatic Adjacency Matrix

Analysis-

Spatial

Source: Created by author

Fig 518

: Quantitative- Qualitative Matrix

Source: Created by author

Fig 519

: Programmatic Form Analysis- Based on

Area and Spatial Proximity Source: Created by author

Fig 520

: Courtyard- Spatial Philosophy

Source: Created by author

100 103

Source: Created by author Source: Created by author Source: Created by author

Source: Created by author

Fig 527

: Storytelling through Light and Shadows

Source: Created by author

Published by unknown Source:https://www.fabric.com/buy/0369204/indianbatiks-abstract-bright-orange?cm_mmc=pinterest-_social-_-product-_-0369204 Source: Created by author Source: Created by author

Source: Created by author Source: Created by author

Source: Created by author

113

Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author

Fig 611

: Approach

127

Fig 612

: Into the Courtyard

129

Fig 613

: Roof Garden

130

Fig 614

: Views

131

Fig 615

: Poem- Fairyland

133

Fig 616

: Courtyard

134

Fig 700

: Cover

135

Fig 701

: Taj Mahal Interior Hall

137

Fig 800

: Cover

139

Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author Source: Created by author

Damask Pattern Wallpaper Published by unknown Source: https://www.walldevil.com/737255-damaskpattern-wallpaper.html Published by B.C. Torrissen Source: http://bjornfree.com/raja/index.html Published by Harlequin Source: http://www.krainabarw.pl/product-pol-49369Tapeta-110640-Leonida-Aurelia.html

Fig 002: Paavakoothu

SANSKRITIAALAYA

RE-AWAKENING A FORGOTTEN PAST Roshni Anna Cheriyan March 2017

Indians as a cultural race have been a part of the

Sanskritiaalaya is an exploration of the true principles that

American demography for many generations. The most

built the framework of Indian architecture and revive them

socio-economically successful and one of the largest

to bring back the age of beauty with function. Through

ethnic group in the USA, it is distressing that this population

this, the research attempts to fabricate techniques

is devoid of cultural expression.

that integrate contemporary architecture with age old principles.

This thesis looks into celebrating the traditions and cultures of Indians in USA and through that developing

Furthermore, the main factor that has demarcated Indian

a global means of expressing the Indian Architecture.

architectural development over the centuries are the

The loss of culture in the people is equally reflected in

deep-set emotions and stories it expresses. The passages

the loss of what was the essence in Indian architecture.

of the story that defines the true emotions behind the

The influx of modernization has led to a major portion

vernacular styles are travelled; by identifying the spaces

of the built environment in the Indian context to mirror

as visual and emotional stories that evoke the cultural and

the Western culture.

traditional responses in the viewers.

Keywords: Indian Architecture, Cultural Expression, Architectural Storytelling, Community Center.

0.1 SANSKRITIAALAYA

San.skri.ti.aa.la.ya The word is derived from two Sanskrit words:

Sanskriti: Literal meaning is “refinement” and is the word used for “culture”. Ancient India placed great importance in culture and arts as means to please the elite. Hence culture is closely associated with refinement. It is “extracting the spiritual essence of Brahma” .i.e. Life. Culture is hence defined as a means to spiritual enlightenment.

Aalaya: Literal translation of the word is “place” or “abode”. It is place of permanence, endurance and non-dissolution.

The thesis defines a “Cultural Sanctuary” where one refine their roots and experience a world beyond their own.

1.1 INDIANS IN UNITED STATES OF AMERICA Indian Americans or â&#x20AC;&#x153;East Indiansâ&#x20AC;? can be identified as an ethnic race with a direct or mixed ancestry from the Republic of India. Although one of the lesser identified races in USA, at 3.1 million [1] they represent 1% of the total America population and combined with the immigrant Indian population, is one of the fastest growing ethnic groups in USA. They have been recognized as one of the most socially, religiously and culturally diverse ethnic groups in USA.

Indians have been part of the American social fabric since the early 18oos. Known for their vibrant colors, festivals, food and traditions, Indians have influenced the metro life of many American cities. One of the most illustrious cultures in the world, Indians have adapted to integrate their own traditions into the Western society and maintain their unique cultural identity. 1. Selected population profile in the United States: 2011-2013 American Community Survey

Majority of the Indian American population belong to Indo-Caribbeans, Indians who were brought during the British rule as early a the 1800s as workers. Others include the generation who were brought to USA as workers in the 1800s.

In addition to the existing Indian American population with theirs descendants over generations, there are a large number of Indians entering the USA through education, work and personal prospects and a significant number of them tend to stay back and merge into the American cultural network. These immigrant number add to the cultural mix influencing both American and Indian populations in USA.

In a sense, it leads to an evolving traditional pattern that keeps adding in the â&#x20AC;&#x153;Indian-nessâ&#x20AC;? while continuously blending it with the Western patterns, creating a very unique and growing ethos. Fig 101: India_USA Flag

Fig 102: Historic Timeline

Total Indian Population (not including multiracial): 3,103,000

Total Indian Population (multiracial alone): 300,063

Total Indian Population: 3,443,063

Total Immigrant Indian Population: 2,035,000

Total US Population: 318.9 million

Fig 103: Demographic Delineation

based on 2013 US Census Data

The Indian population grew drastically, from 1.678.765 in

The Asian Indian population in 1990 was 570,000. Of the

2000 (0.6% of total US population) to 2,843.391 in 2010 (0.9%

total population 32% was settled in the Northeast, 26% in

of total US population) alone1. They now are the third

the South, 23% in the West and 19% in the Mid-western

largest ethnic groups and also one of the fastest growing

states. The first Indian families arrived in San Francisco and

races in USA.

Los Angeles in California, housing one of the oldest Indian communities in USA.

The 2010 census points that the population of Indian Americans, those that are settled for generations, stand

Mostly Indian populations are concentrated in big cities.

at a rough estimate of 2 million in figures. In addition to

This is widely due to the availability of jobs, personal

them, there is also a large inflow of immigrant Indians into

preferences to be part of an ethnically diverse population,

the US border which adds to the population. Most Indian

availability of resources like education, entertainment,

immigrants are students and young professionals along

safety among others required for a family. While the largest

with their families, majority of whom already holds a higher

communities of Indians are in California (19%), New York

secondary or college degrees. This highly educated class

(12%) and New Jersey (10%)[1], there are many up and

have since blended into the American social sphere to

coming neighbourhoods like Chicago (1.3%), Texas (1.1%)

create the most economically successful ethnic group in

and Atlanta (1.0%). [2]

the USA, even more than the American population. They have contributed greatly to the economic and cultural growth of America. 1. Indian-Americans form 3rd largest Asian population in US, The Economic Times, April 24, 2014. 2. US Immigrant Population by Metropolitan Area, 2010-2014.

Fig 104: Indian Population by state (2009-2013)

Fig 105: Indian Population by Metropolitan cities (2009-2013)

1980

206,000

450,000

1990

1,023,000

2000

2006

1,519,000

1,780,000

2010

2,035,000

2013

Year

500,000 Number of Immigrants

1,000,000

1,500,000

2,000,000

Fig 106: Indian Immigrant Population in the United States, 1980-2013 Data from U.S. Census Bureau 2006, 2010, and 2013 American Community Surveys (ACS), and Campbell J. Gibson and Kay Jung, â&#x20AC;&#x153;Historical Census Statistics on the Foreign-born Population of the United States: 1850-2000â&#x20AC;? (Working Paper no. 81, U.S. Census Bureau, Washington, DC, February 2006)

What started as a migration of skilled workers in 1965

projection, it is easy to see that the population will see a

brought in the largest number of young and educated,

noticable rise (Refer Fig 106)

English speaking professionals to the country. Post the Immigration Act of 1990 with the ease of laws and citizenship

It is in this context that a need for the cultural release of such

opportunities, the Indian population saw a growth rate of

a large and growing population occurs, by implementing

105.87% from 1990 to 2000 [1].

solutions through design strategies.

Later researches

[2]

showed that Indians were the second

largest Asian born engineers comprising around 23% and the trend was covering the communities across USA.

The current scenario registers Indians residing in USA over three generations. This when included along with the large immigrant population makes Indians a larger part of societies around USA than what is perceived. Considering the current rate of growth of residents of Indian origin in the USA, while also taking into view that the immigration population will considerably reduce over a longer time of

1. US Census 2000 2. Study by AnnaLee Saxenian, 1999 on Silicon Valley engineers.

3,000,000 2,500,000 2,000,000 1,500,000 1,000,000

100,000 80,000 60,000 40,000 20,000 3500 3000 2500

2545

1910

Fig 107: Population Projection of Indians in USA

2507 -1.5%

1920

3130 +24.9% 2405 -23.2% 1930

1940

1950

1960

2,843,391 +64.4% 1,678,765 +105.9%

815,447 +125.6% 361,531 +14932.5%

1970

1980

1990

2000

2010

2050

Fig 201: Indian Elephant

2.1 CULTURAL INSIGHT

Indian culture is an amalgamation of different traditions

forms through traditions, music, dance forms, clothing and

influenced by a variety of religions, languages and

cuisines. However at the core of every cultural aspect

geographic locations. The cultures varies from state to

of India are the same core principles. This blending of

state, village to village. It is hard to stereotype one aspect

cultures over the centuries, and further dispersed based

as the culture of India where each state can be considered

on the region have manifested in different forms through

its own country with exponentially different languages,

traditions, music, dance forms, clothing and cuisines.

food, clothing, festivals and rituals.

However at the core of every cultural aspect of India are the same core principles. The cultures developed as means

Indian culture developed under the influences of different

of social interaction, generational translation of the hard

empires and rulers. As early as the Indus Valley civilization, to

rooted traditions, religious enlightenment, and reverence

the invasion by Persian Mughals, to the Southern Dravidian

for elders and protection of womenfolk.

Kingdoms and finally occupation by the British Empire, India has undergone numerous transformations that have

It is therefore important to find the unadulterated translation

created a unique cultural identity matchless to anywhere

of these cultural values and underlying meaning within

else in the world.

them to manifest strategies for the cultural realization of Indian Americans and immigrant Indians.

This blending of cultures over the centuries, and further dispersed based on the region have manifested in different

2.1.1 RELIGION

Religion plays an important role in the culture of Indian

Religion is a celebration of life among Indians and that

families. Even within the same region, similar rituals are

principle transcends across the diversity and generations.

performed differently influenced by the religion of the

It is a guiding norm for life, many religious practices

community. Hinduism is the most widespread religion in

defining the way of living for the communities. Although

India, followed by Islam and Christianity. Smaller religions

conservative religious communities are slowly breaking

like Buddhism, Jainism, Sikh and other tribal religions also

down due to westernization and increased education

exist within the country.

among peers, the basis of religious practices still hold strong. In modern times, more Indians identify themselves

Religious boundaries exist within Indian communities

as “not-practicing” rather than “atheist”.

although not extreme. Social gatherings and festivals are shared among Indians of different religions while more sensitive topics like inter-religious marriages are still widely frowned upon. Even in more liberal families there aren’t many limits to religion. Hindu 51%

Christian 18%

Unaffliated 14%

Sikh 5%

In USA, many religious institutions like temples and churches have been established and like in India, the religion plays a major role in how the community functions. Fig 202: Temple Mosque Church, Hearts - World

Muslim Jain 2% 10%

Fig 203: Religious affliation of Indians in USA

2.1.2 FAMILY VALUES

Indian families for generations have followed the joint

the consent of the elder of the house. For the major part,

family system. Although in recent times more nuclear

the eldest male of the house has commanding respect

families have sprung about, they come together for

and no decisions are taken without the consent of the

major events and all family functions and festivals. It is an

elder of the house. Womenfolk on the other hand are

unbroken structure in which the eldest member, mostly

mostly discriminated against, having less to no rights

male, presides over the family and in most scenarios the

over monetary or other important decisions. They are

entire family, including siblings their spouses and children,

understood to be in charge of taking care of the children

along many generations live together under one roof.

and maintaining the smooth running of the house. Their status have however been upgraded in recent years with

The family is a support system in India, where the parents

the women getting educated and working.

are responsible for the children all through their life and in turn it is understood that the children take of the parents in

Indian families are the unbreakable bond in India and

their old age. Even though urbanization have broken the

despite some harsh traditions, still commands irreplaceable

limits of the system, it still continues on even if the family

respect and loyalty in India. It is one of the major factors

lives in different parts of the world.

that have shaped most of the traditions. Understanding the family bonds is critical in understanding the layout of

For the major part, the eldest male of the house has commanding respect and no decisions are taken without

Indian culture. Fig 205: Population Projection Fig 204: Group of Battias

2.1.3 CELEBRATIONS AND FESTIVALS

Festivals and celebrations are the epitome of Indian culture.

most important celebration is the marriage in Indian

In some essence Indian culture can itself be symbolized as

families. The giving away of the bride with blessings and

a grand celebration, a celebration of the past, present

good tidings is a moment of great pride and joy. Similar

and future of Indian generations.

theme of bright colors, lights and decorations are translated to family functions as well.

Indian with great valor celebrates Independence Day (Aug 14th) and Republic Day (January 26th). Most religious

In India, festivals are more than commemorations of an

festivals end up being celebrated by the communities as

aged old story or beliefs. It is in fact more of a celebration

a whole transcending beyond the boundaries of religions

of the families themselves, most acting as family reunions

and social classes. Enthusiastic use of light and color maybe

where relatives from far and wide meet at their hometown.

a common and most popular feature of Indian festivals.

The celebrations are a ritual of transferring knowledge and

Festive music, food and fireworks add to the grandeur of

traditions to the newer generations and goes beyond the

every celebration. Some of the most celebrated includes

religious symbolism of them.

Diwali, (the festival of light), Holi, (the festival of colors) Dasara, Eid and Christmas.

The grandeur of the religious festivals are equally, if not more exaggerated in family related functions. Maybe the Fig 205: Wedding

2.1.4 CUISINE

India was first mapped out for it spices and rich flavor. It is

More than the food, the act of family meals is a major

what brought the onset of many expeditions to the great

part of many Indian families. Meals are mostly eaten by

country that it is needless to say food has always been

men of the house first as sign of respect and then by the

the most celebrated aspect of Indian culture.

womenfolk in a typical traditional setting. In the nuclear families that have recently sprung up, family meals are still

Rich in spices, color and flavor, Indian cuisines vary region

considered important and are allocated as times where

to region, from the subtle roasted taste of North and the

everyone sit together and converse. To Indians, meal

sweetness of West to the spiciness of the South. Variety of

times goes beyond the rich flavor of the food to more

dishes have sprung forth based on the regions, religions

emotional bonds of the family.

and local cultivation.

Predominately a country of farmers for many centuries, it is no wonder that food has developed unique tastes in different parts of the country. It was never only a livelihood but also a tradition that bring families together. Majority of Indians practice Hinduism as their religion and identify as vegetarians. While non vegetarian food is consumed at large by the Muslim and Christian communities. Fig 206: Indian Spices

2.1.5 RITUALS

Various rituals from India have garnered attention over the

well-being. They are traditions passed on generation

decades. Most popular among them maybe yoga and

after generation to teach about crucial life lessons. From

meditation. Yoga is a group of physical, mental and spiritual

respecting your elders and fellow humans through the

practices that originated in the pre-Vedic era in India. In

folded hand greeting “Namaste”, to respecting spaces

the late 1980s and early 1990s, yoga was introduced by

by leaving your footwear outside the door, many Indian

gurus to the West. The visit of Swami Vivekananda to USA

rituals are part of a web of traditions that are meant to

and European countries in the 1890s received so much

make yourself a good partner in the society.

attention that it started a trend of yoga in the Western world.

Most of these arose in the early Hindu societies, but like everything else in India, the Hindu roots have amalgamated

In India yoga is more than a physical exercise and associated

into every community as traditions. Most of the rituals have

with spiritual well-being. Meditation is associated as one of

a scientific logic that started it, although over the centuries

the prime rituals followed alongside yoga. “Meditation is

its associations with superstitions and religion have reduced

not concentration. It is de-concentration” Sri Si Ravi Shankar

its credibility. Traditions like sitting on the floor cross-legged

(founder of Art of Living). Similar to yoga, meditation has

for eating which calms the body and helps in digestion and

also started gathering attention in the recent decades.

women putting the “bindhi” or red dot on their foreheads which is meant to activate the energy points are some

A common theme of Indian rituals is about spiritual Fig 207: Surya Namaskar

examples.

2.1.6 CLOTHING

Clothing in India has evolved with different regions, cultures

traditional wear. Different cultures have designed their

and religions. Essentially all Indian clothing had its roots in

own mendwear from “jama” in Gujarat to Turban or”pagri”

the “Langotas” or loin clothes that were used to cover the

in Punjab. In modern times more western wear have been

body. Colors, fabric and embroidery are key elements of

introduced to the society, traditional wear limited to

Indian clothing.

occasions and professional attire.

Saree is a common clothing for womenfolk all over the

Indian textile industry is dominated by fabrics, embroidery,

country while different ways to wear it have been fabricated

colors, material and designs that demarcate regions in

based on the regions. These 8 yard long clothing is a symbol

the country. They are a symbol of hard held traditions and

of feminity, Folk tale says: “The sari, it is said, was born on

deep set values for the Indian population.

the loom of a fanciful weaver. He dreamt of woman. The drape of her tumbling hair. The colors of her many moods. The shimmer of her tears. The softness of her touch. All these he wove together. He couldn’t stop. He wove for many yards. And when he was done, the story goes, he sat back and smiled and smiled and smiled.”

Men wear dhoti and embroided “kurta” and pants as Fig 208: Ethnic Beauty

2.1.7 MUSIC

Indian traditional music is of two major styles, classical

The instruments are used in both Carnatic and Hindustani

and folk music. Indian classical music have two branches;

styles, the difference noticable in their ragas (pattern of

Hindustani and Carnatic. Hindustani is the North Indian

musical note)and talas (measure of musical note).

expression of classical music while Carnatic is the South Indian counterpart. The roots of Indian classical music can

Another key element of traditional Indian music is the folk

be found in the Vedic texts. They were not divided into

music. These are of many categories, usually concentrated

the two distinctive categories till the 16th century. It was

to regional or local communities. These are more soulful,

during the Islamic rule that they separated and continued

accompanied by crude handmade instruments and

evolution as two unique styles.

voice. Some famous example is the Bhangra; Punjabi song which is also famous for its dance style.

Indian classical music is accentuated by the various traditional instruments that give its unique sound. The

Over the years the traditional music forms have slowly lost

musical instruments in Indian classical music is divided

popularity, mainly performed for cultural celebrations.

into four categories:

They have also been combined with modern music style

chordophones (string instruments),

aerophones (wind instruments), membranophones (drums) and

idiophones

(non-drum

percussion

instruments).

Most famously known instruments are sitar, veena, tabla, flute, Karnatic violin, nadaswaram among others. Fig 209: Indian Classical Music

to relate to the new generations, called fusion music.

2.1.8 DANCE

Like traditional music, Indian dance styles can also be

Folk and tribal dance on the other hand were passed on by

subdivided into two major categories: Classical and Folk.

word of mouth over the generations. They have different

These have also combined, molded and transformed to

styles and forms based on the regions. Like music, folk

semi classical and tribal dance forms as well.

dance varies with the states and the regions, each having its own unique flavors. Some examples are Dollu Kunitha in

Classical Indian dance traces its roots back to the Vedic

Karnataka, Thirayattam and Theyyam in Kerala, Garba in

era and are mostly associated with Hindu religious

Gujarat, rasiya in rajastan among others.

practices. Most of these formed as forms of dance to please the gods, a reflection of Hindu mythologies and

Contemporary dance forms have arose as a mix of

even as religious rituals. There are primarily eight categories

classical, folk and western. The most popular maybe the

of classical Indian dance: Bharatanatyam (Tamil Nadu),

Bollywood style made famous by the Bollywood movies. In

Kathak (North, West and Central India), Kathakali (Kerala),

India, dance is a crucial element of almost every festival

Kuchipudi (Andhra Pradesh), Odissi (Odissa), Manipuri

and celebrations. Itâ&#x20AC;&#x2122;s a form of expression of the festivity

(Manipur), Mohiniyattam (Kerala), and Sattriya (Assam).

and relationships in India. Even though the traditional

These dance forms have a strict guru-shishya or teacher-

forms are fused to create a new style, dance is still highly

student order and written traditions. Mostly the student live

celebrated in Indian societies both home and in USA.

away from family with the teacher in ashrams or sanctuaries to learn the dance forms. Fig 210: Journey into the myth of Kathakali

2.2 CULTURAL CONFUSION

“Fake Indian”. A large population of American Indian

hanging out with other Indians, wearing Indian clothes and

struggle with this description. Most don’t identify as Indian

other stereotypical activities. If not, most are shunned for not

or Indian American since it’s not a culture that they are

being Indian and for not loving the culture. Indian culture,

familiar with. They prefer to be referred as Americans.

although conservative and forced on in many occasions,

Ethnic identify is not a factor to total identity and can be

goes beyond that. The ideologies and principals of what

deconstructed to what they perceive, according to a

brought these about are forgotten and instead labelled

greater population of second and third generation Indians.

as “being Indian” in the same way an arched window and

This has led to “ethnic revival” in the new generations. For

dome becomes “Indian Architecture”.

most, since Indian history in USA is not as blood-stained and politically trialed as other ethnic groups, somehow they are also lost in importance. For many second generation Indians, they are criticized for being too Indian by their peers and not being Indian enough by their family and society. In this constant battle to please both sides, they often lose a crucial part of their identity.

For a major part being Indian is USA is associated with attending society meetings, watching Indian movies,

2.3 DECLINE OF CULTURE

While earlier generations of Indian Americans have a

Cultural confusion is just one side of the story. For the

strong hold on the traditional roots of their culture and

immigrant Indian population there is an extreme culture

values, the later generations have adapted themselves

shock as they face the lifestyle in USA. They lack resources

to fit the Western culture with which they interact more

that can help them make a smooth transition into the

frequently. Traditional practices are limited to the four walls

Western social fabric. While students may find help in

of the homes or within religious societies. The same do not

college however generalized for the foreign population

transcend to their individual lives. With no fault of their

it may be, families and young professional undergo more

own, individuals find it hard to follow practices and rituals

difficulties to find their place in the society.

covered in extremist practices of religions and superstitions. Access to appropriate sources that can teach and inform

Not only is there a requirement for cultural expression and

the people are also widely unavailable.

education but also for merging the traditional Indian with western cultures to create one that doesnâ&#x20AC;&#x2122;t lose identity of

For Indian Americans, especially the new generations,

either side.

traditions are for weddings and festivals. Art and architecture is made to for the looks and not the meaning. Dance and music is only to garner attention. What was once a celebrated culture is slowly dying and losing its roots.

Customs

Mentorship

FAMILY

superstitious SPICES

Paintings

SOCIETY Conservative Music

INDIAN?

Crafts Dance RELIGION Traditions

EDUCATION

Weddings Rituals exposure

HOPE

Festivals

CAREER color Interaction

DIVERSITY FREEDOM

community

Relationships

CONFUSED JUDGED

BOLLYWOOD

AMERICAN?

GLOBAL

STEREOTYPED Fashion FESTIVALS cuisine

Fig 211: Cultural Confusion

Fig 301: Salim Chishti Tomb

3.1 EVOLUTION OF INDIAN ARCHITECTURE

Indian

architecture

reflection

the

ethnic,

of the spaces, governed by social structure and customs.

environmental and historical content of the country using local materials, workmanship and technologies

â&#x20AC;&#x153;Early India architecture had a strong pragmatist basis,

creating sustainable spaces that are in symbiosis with the

functional in its rhetoric, rooted in carpentry and other

environment. Every vernacular piece of architecture in

building crafts. The visual language of early Indian

India follows the principles of site feasibility, responsive to

architecture was, in fact, rooted in this pragmatismâ&#x20AC;?-

local cli-matic factors, local materiality and techniques and

Michael W. Meister.1

finally the cultural aesthetics and function of the spaces. Indian traditional architecture held high emphasis of the It is a reflection of the ethnic, environmental and historical

iconic realism of buildings. to this extend not just statues

content of the country using local materials, workmanship

and pillars but elaborate buildings were also constructed.

and technologies creating sustainable spaces that are in

Architecture was associated with the show of power and

symbiosis with the environment. Every vernacular piece of

expression of religion and beliefs. In the following examples

architecture in India follows the principles of site feasibility,

the iconic buildings of each era is briefly examined. Not

responsive to local climatic factors, local materiality and1

only were the characteristics prominent and exaggerated

techniques. They reflect the cultural aesthetics and function

in these structures, but some of the core principles were

1. Introduction: The Language and Process of Early Indian Architecture, Essays in Early Indian Architecture by Ananda K Coomaraswamy.

translated to every building of that architectural period.

3.1.1 INDUS VALLEY CIVILIZATION:

3.1.2 VEDIC AND MAURYAN PERIOD:

The architecture was governed by geometry and

This period saw the rise of stupas. These religious structures

symmetry. The houses were made of thick mud bricks to

are hemispherical domes carved to precision by jewellers.

ward of the intense heat. They opened only to the inner

The four gate symbolizing the life and death of Buddha is

courtyards and the smaller lanes to reduce the heat

located at the four cardinal points and completed with

island effect.Large public baths were built that is debated

carvings details to educate the pilgrims about the life

to have been to divert the flash floods of the Indus river.

of Buddha and his teachings. The structures were made

There were no windows that opened to the main roads to

of thick brick walls and shaped like a crushed dome the

keep out noise and dust. Some houses had windows with

stupa structure mitigated the intense heat of the Deccan

wooden shutters to let in air and light.1

plateau creating a cool sanctuary on top of the hills.12

Fig 302: Moenjodaro

Fig 303: Great stupa of Sanchi

1. “Indus Valley Civilization” , Wikipedia, Last modified Mar 11, 2017, https://en.wikipedia.org/wiki/Indus_Valley_Civilization

2. “World Heritage Sites- Sanchi” ,Archaeological Survey of India, Last modified Mar 11, 2017, http://asi.nic.in/asi_monu_whs_sanchi.asp

3.1.3 GUPTAN PERIOD:

3.1.4 MUGHAL EMPIRE:

A signature architecture work during this time were the

The most celebrated example of Mughal architecture is

rock cut caves of Ajanta and Ellora. Cut into the face

the Taj Mahal. Inspired by the Persian and Islamic style

of mountain around the Wangora River, Ajanta rock cut

the entire complex is based of symmetry. The mix of Hindu

caves were sanctuaries for the Buddhist monks. The caves

architecture is visible as lotus motifs of the chatthris or the

have little to no lighting. The horseshoe shaped caves cut

smaller domes. The entire building is made of marble for

deep into the rocks and create refuge against the harsh

the royalty but the jallis keep the structure cool and brings

summer sun and the cold monsoon rains of the region.1

in light and ventilation.12

Fig 304: Cave 26, Ajanta

Fig 305: Taj Mahal in March 2004

1. “The Caves of Ajanta” ,Khan Academy, Shah, Ajanta Last modified Mar 11, 2017, https://www.khanacademy.org/humanities/art-asia/south-asia/buddhist-art2/a/the-caves-of-ajanta

2. “Taj Mahal” , Wikipedia, Last modified Mar 11, 2017, https:// en.wikipedia.org/wiki/Taj_Mahal

3.1.5 VIJAYNAGARA EMPIRE:

3.1.6 BRITISH COLONIZATION:

The Vijayanagara Empire thrived in the Southern India.

Known as the Revival architecture of India the buildings

Known for their intricate carvings and detailed plans the

of these era were inspired by the Victorian style that was

architecture of Hampi, Karnataka showcase these. The

prominent in Britain. The Indian architectural features

Hampi chariot is a shrine designed to take the form of a

like the domes and spires were retained while adding

chariot part of the Vittala Temple complex. Constructed

the Victorian elements to it. Less decorations and made

in the Dravidian style the structure is made to look like a

mostly from brick stones, these buildings were based on

monolithic entity while infact it is made of many granite

functionality than ornamentation. The local materials and

stones cut to precision. The carvings highlight the religious

construction styles made the buildings adapt to their local

significance of the place.1

environments.12

Fig 306: Hampi Chariot

Fig 307: Chennai High Court

1. “Stone Chariot” ,Riverside, Last modified Mar 11, 2017, http:// hampi.in/stone-chariot

2. “Indo-Sarcenic Revival Architecture” , Wikipedia, Last modified Mar 11, 2017, https://en.wikipedia.org/wiki/Indo-Saracenic_ Revival_architecture

Indus Valley Civilization 3000 B. C Geometry and Symmetry

EVOLUTION OF INDIAN ARCHITECTURE

Vedic Period and Mauryan Period 1000 B. C- 50 A.D Introduction of Domes, Barrel Vaults and Ornamentation

Guptan Period and Chalukyan Empire 300 A. D - 900 A.D Symmetry and emphasis on spatial organisation

Mughal Empire and advent of Islam 1500 A.D- 1800 A.D Infusion of Hinduism with Islam Styles and uniformed spatial arrangements

Colonial Architecture 1800 A.D- 1947 A.D Combination of European structural emphasis with Indian design elements

Fig 308: Evolution of Indian Architecture

3.2 INDIAN VERNACULAR ARCHITECTURE

Indigenous vernacular styles of India vary from region to

openings and decoration in woodwork, like “zoondab” or

region. They are diverse, varied and shed light into design

bay window with an enclosed balcony. Most houses are

of sustainable, site compatible, climate responsive designs

square in plan with a small courtyard to prevent heat loss in

of spaces. The following regions and typical built examples

winter. They are all South or East facing to get the maximum

with their characteristic features are briefly explored:

sun.

3.2.1 MOUNTAINOUS NORTH

3.2.2 NORTHERN PLAINS

The mountain regions of North India is marked by the

Northern plains are known for their rich alluvial soil and its

cold climate. They experience heavy rainfall. Most of the

agriculture lifestyle. This region experience a continental

construction is made of timber, Indian cedar being the most

climate with temperatures varying from 0 to 40 degree

commonly available and fragmented stone and mud. The

Celsius. During July, the south west winds bring in monsoon

houses are mostly two storied and flat roofed. In certain

showers. Construction materials accessible to the region

areas which see more heavy rain and snow, pitched roof

are burnt brick, timber and lime plaster.

made of locally available slate stone is popular. These are water proofed with a layer of mud mixed with cow dung

Most popular design style would be the “Chaukband” or

and “buroza” grass.

the town house. These are rectangular houses with strict

These houses are known for their extensively carved arched

geometry. They house at least one courtyard, the number

increasing with the social status of the owner. They have

of construction: “Kachha” or temporary and “Pukka” or

curved, vaulted Bangle/ Bengali style roof on the outer

permanent. The temporary construction are usually huts

edges; an influence of Mughal architecture. The west side

made of tent or thatch.

is open to the exterior, usually in the form of a forecourt. The Eastern side is set away from the entrance. A large

The most common example of pukka construction are the

gathering space is located at the center for functions. There

“Havelis” or mansions. These are usually three to four storied

are screened balconies that look down into the space from

high. These building have a number of techniques to ward

the upper mezzanine floor, reserved for the womenfolk. In

of the extreme desert heat of the region. They house a

these part, women are not allowed to mingle with the men

number of courtyards and “valans” or open rooms. The

and have separate areas dedicated for them.

upper rooms are capped by Bangla arched domes, or four pent roof slopes to vent away the heat during summer.

The major part of the roof is flat, and used as socializing

The lower level have massive vaulted ceilings for the same

spot in the summer. The cool night of the summer make

purpose. The walls are made of thick masonry of either

the flat roofs sleeping areas. Another interesting feature is

brick or stone to provide insulation to the interior spaces.

the “teh khana”. This is a cellar below the ground floor with poor lighting. This room helps lower the temperature during

One of the main features of the haveli is the courtyard.

the extreme heat waves of summer.

The courtyard act as micro-climate modifier. These create perfect shading but also helps maintain cool air inside. The

3.2.3 DESERT WEST

central courtyard connecting other spaces in the haveli ensures that every interior space gets cross-ventilation,

The Western desert region of India have two main categories

reducing the heat and facilitating air flow through them.

3.2.4 TRIBAL HEARTLAND

pitch made of thatch descending low over the walls, and are renewed annually. The number of openings are very

The tribal heartland is a vast area of the Deccan plateau,

low, mostly just a single window and two doors to prevent

with rich forest cover. This region have a more arid climate

heat loss.

as compared to the coastline. There are distinct dry and wet seasons. During summers temperature rises up as high

3.2.6 COASTAL SOUTH

as 40 degree Celsius. They get rainfall during the monsoon season. The tribal kachha houses are made by wattle and

The southern architecture especially along the coastal area

daub. This is a traditional material that consist of a network

have distinctive features. The “Nalukettu” or courtyard house

of interlaced sticks with mud or clay. They have pitched

of Kerala is an exemplary example of this region. Kerala

roof made of tile or thatch to channel water during rainfall.

is a tropical region with high temperatures and humidity.

The floors are raised 6 to 8 inches off the ground, to ensure

They also get torrential rainfall that last months during the

water doesn’t enter the house during the heavy rains.

monsoon season. Traditional materials of construction are brick, lime plaster, stone, wood and Mangalore tiles. To

3.2.5 NORTH EASTERN HILLS

factor in the rains, the nalukettu have striking 45 degree steep pitch roof. The roof slopes both outward and into

The North-eastern part of India lie along the foothills of the

the central courtyard. These are tiled using Mangalore tiles

Himalayas. The climate of the region varies from tropical

that cools down the building due to its low thermal mass.

humid to perennial snowfall. The buildings have deep

These are east facing houses. There are very few and small

foundation made of thick stone rubble walls to protect

openings to the exterior of the house and more towards

against the extreme rain and snow. The roofs have steep

the courtyards to hold the heat within the building.

Traditional Kashmiri House Jammu & Kashmir, Himachal Pradesh Zoondab (Bay Window) â&#x20AC;&#x153;Chaupalâ&#x20AC;? Panchayat House, Haryana Uttar Pradesh, Bihar, Punjab, Haryana Arch supported by pillars as doorways Haveli Rajastan, Gujarat Central Courtyard Mahals Maharashtra, Madhya Pradesh Ventilated Passageways

Kashi Houses, Meghalaya Bengal, Orissa, North Eastern States Steep Pitched Roof

Naalukettu Andhra Pradesh, Karnataka, Kerala, Tamil Nadu Courtyard

Fig 309: Indian Vernacular Architecture

4.1 DESIGN IDEOLOGIES

Although Indian architecture style is diverse over time

comfort is acquired through the physical resolution of the

periods and regions, they all function under some strong

built spaces, Experimental; which animates the mental

common themes. Most of the architectural style were

and emotional state of the user, promoted by the space

developed as a social and religious expression. The values

configurations and its dictates. And finally associational; itâ&#x20AC;&#x2122;s

and traditions of the society were embedded in the design

related to the locality, by the familiarity of the context it

and placement of space, its material usage, site selection

has to the user. Indian architectural style attains complete

and orientation and ornamentation.

balance in all three level through the transition of it spaces, the movement defined by the walls, its play of light and

Indian architectural style can, over the expanse, be

shadows among many.

defined as the translation of storytelling in built spaces. The reason most of the traditional structures remain timeless

The tools used to achieve this balance is clearly observable

and unique is the connection it establishes with the users.

across designs of traditional Indian architecture. The use of

Indian architecture can be defined asâ&#x20AC;? a celebration of

optical illusions is one such way of playing with the visual

life. The manifestations of an idea, it encodes messages

imagery. Indian architecture tease with the human eye

and emotes feelings.â&#x20AC;?

level to create extraordinary vistas and exaggerated views. Usage of symbolic representations metaphors,

The connection of the built space with the user takes places

ornamentations hyperbolized with the texture of the

at three different levels: Sensorial; where a spiritual

material heighten the art of storytelling in this style.

PRINCIPLES

Using Locally available or manufactured materials to ensure cost effective construction. Less transportation for materials ensures a more sustainable building design that considers the building and site as a whole to the location and people.

MATERIALS

Principles like Vastu and what is known as Shastras in local settlements. Deeply rooted in religious beliefs combined with scientific placement of spaces and social practices of the culture , they define spatial planning

DESIGN ELEMENTS Signature design elements that then creates comfortable spaces in the building like overhangs, balconies, courtyards, jalis and so on. These in turn create spaces that connect to the users at an emotional level that create an active interaction between the building and user.

SYMBOLISM

CONSTRUCTION TECHNIQUES

Symbolism plays a huge role in Indian Vernacular style. Whether it is to ward of evil, bring blessings or say a story. Symbols, decorations and ornamentation are the primary means of story telling in Indian vernacular architecture.

Using locally defined building techniques that have been tried and tested to work for the given climate. These techniques respond to the site and climatic changes of the location to create everlasting structures.

Fig 401: Indian Design Ideologies

4.1.1 PRINCIPLES “Vaastu” or “Vaastu Shastra” is a prime design ideology

Northeast

that is practiced all over India. It is a Hindu architectural

areas. This is to channel the sun’s energy.

principle that literally translates to “science of architecture”.

East

It is defined to engage nature with architecture and define

sun’s rays hits the east side of the building first and the initial

the functions of the various spaces based on the orientation

rays of sun is considered good for the human body.

of the site. It is a set of rituals using geometric patterns,

Southeast

symmetry and alignments along the cardinal axes. It takes

on the side which heats up more in the evening since it

into consideration the effect that Sun, Earth’s magnetic

won’t be used much in the evening as compared to the

field, the cardinal directions , energy fields and elements of

morning.

nature have in relation to a built space.

South

- Open space, water source and meditation

- Main entrance and more windows. The

- Kitchen. Traditionally the kitchen is placed

- Office, children’s playrooms and store rooms

.i.e. spaces that are active only in the morning. - Library, since it’s a mildly occupied space

There are five elements: fire, air, water, earth and sky and

Southwest

eight directions in Vaastu. The entire philosophy is defined

it can be used to reduce heat gain into the rest of the

as a means to channel the flow of energy or “prana” to

building.

bring balance between man, nature and the built space.

West

The five elements have to be in equilibrium to achieve this.

gains the most heat throughout the day.

The desired layout of spaces based on the eight directions

Northwest

- Less occupied spaces

is as follows:

North

- Open spaces since it gets constant light.

- Toilets, trees, less occupancy spaces since it

WATER SOURCE OPEN SPACES FENESTRATIONS CONSTANT LIGHT

TOILETS LESS USED SPACES

TOILETS LESS USED SPACES INFRA-RED LIGHT THICKER WALLS

SW TOILETS LESS USED SPACES THICKER WALLS

MEDITATION ROOM WATER SOURCE OPEN SPACES HEALTHY MORNING LIGHT

S OFFICE INFRA-RED LIGHT THICKER WALLS

KITCHEN WATER SOURCE OPEN SPACES FENESTRATIONS

SE KITCHEN Fig 402: Vaastu Purush

PRINCIPLES

MATERIALS

SYMBOLISM

CONSTRUCTION TECHNIQUES

THATCH

TERRACOTTA TILES

KOTA STONE

MARBLE STONE

KILN BURNT BRICK

GYPSUM PLASTER

CEDAR TIMBER

BAMBOO

Fig 403: Materiality in Indian Architecture

DESIGN ELEMENTS

PRINCIPLES

JALI SCREENS

MATERIALS

COURTYARD

DESIGN ELEMENTS

SYMBOLISM

CHAJJA (EAVES)

CONSTRUCTION TECHNIQUES

JHAROKA (BALCONY) Fig 404: Indian Design Elements

PRINCIPLES

KOLAM DESIGN

MATERIALS

MIRROR WORK

Fig 405: Symbolism through Ornamentation

DESIGN ELEMENTS

WARLI PAINTING

STUCCO DESIGNS

SYMBOLISM

WOOD CARVING

CONSTRUCTION TECHNIQUES

STONE CARVING

PRINCIPLES

MATERIALS

FILLER SLAB

THATCH ROOF

DESIGN ELEMENTS

RAT TRAP BOND

SYMBOLISM

EXPOSED BRICK

CONSTRUCTION TECHNIQUES

DHAJJA WALL

Fig 406: Traditional Construction Techniques

4.2 ERADICATION OF INDIAN ARCHITECTURE

The Indian Architecture is nearing its imminent extinction.

technology without any openings and 360 degree views to

The scenario is calling for a need of revival where we

the surroundings. They have created glass structures that

explore the roots once again. Studies show that while

create suffocating environments unsuitable for living and

architecture incorporating vernacular styles is practiced

working.

by few from the earlier generation it is a dying art. The newer generation of designerâ&#x20AC;&#x2122;s practices try to implement

An example of this trend in Indian architecture maybe

more modern and marketable architecture, fueled

the IT buildings and the corporate high rise structures

further by rising competition and profitable business. There

being constructed in Chennai, Tamil Nadu. In Chennai the

is a desperate need to rediscover the roots of vernacular

summer heat rises to 120 F during the summer. The slight

architecture and apply it in the modern framework as a

rainfall that it gets through te retrieving monsoons adds to

means of revival of the Indian art and culture.

the humidity. In these conditions the IT buildings runs up to an average of more than 13,000 million units of electrical

The current trend in Indian cities has leaned towards glass

energy. In extreme cases to curb the energy use the city

facades and concrete blocks. The problem in this type of

even adopts 12 hours of power cuts to sustain the energy

design is the lack of understanding of the site and climate

needs for the rest of the year. On the other hand century

of the locality. Traditional architecture had considered

old chettinadu houses function even without the need for

the natural factors to create a correlation with nature.

a heating system through out the summer and retain the

A majority of the new buildings seem to operate using

heat during the mild winter seasons.

“Traditionalism does not imply turning the clock backward.

“This is a paradox: how to become modern and return the

On the contrary, it is a progressive and consistent process

sources, how to revive an old, dormant civilization and take

of updation that subtly combines the “old” and “new””.

part in the universal civilization.”

-Yatin Pandya

- Paul Ricoeur, 1961

On closer inspection of traditional structures, it is evident that many of them are design to withstand or work with the climate of the region. The designs are sustainable using materials from site, understanding the layout of the site to orient spaces based on the sun, wind and light. Implementing this on a larger scale and fast paced construction although not easy, is not impossible. It is dire that traditions and ideologies of the past are brought back to create sustainable and timeless architecture that connect to the user. Another contemptable trend is the mimicking of Indian ornamental style to imitate traditional styles. Rather than decifering the functionality, the theory for it’s placement and others, many current architects practice addition of traditional elements like arches, jalis and motifs in an attempt to appear “traditional”. The practice we should promote is not to look but feel “Indian”.

B. V. Doshi

Charles Correa

1911 Sir Edwin Lutyens Delhi.

Louis I Kahn

Laurie Baker

A. P. Kanvinde

1947 India gains independence Le Corbusier introduces Modernist style 1960- 1990 Modernist Movement

Fig 407: Eradication of Indian Architecture

REVIVAL ?

1991 Economical Boom

Wadala Tower, Mumbai

Namaste Tower, Mumbai

LIC Public Building, Mahindra Tower, New Delhi Mumbai

Essar Tower, Tidal InfoTech Park, Mumbai Chennai

Post-Modernism

4.3 CONSTRICTED GLOBAL MANIFESTATION

Swaminarayam Hindu Temple, Neasden, London, UK

The potential of Indian architectural style to cater to the global climate is great, provided by the wide range of tropics and climatic zones situated in India. However so far the global transition of this style is limited to a few religious structures and themed restaurants. The style can expand beyond the religious architecture to be applied to buildings on a universal urban scale.

Venkateswara Temple, Atlanta, Georgia

The underlying philosophies of the style to create sustainable and positive building spaces needs to be transformed to cater the needs of built environment outside India. It is an art of storytelling that need to be exposed as a â&#x20AC;&#x153;universal dictumâ&#x20AC;? relevant to the modern era. It is a manifestation of time, space and emotion and it is time for the story to be retold. Arya Dewaker Temple Paramaribo, Suriname

Tsukiji Honganji Temple, Tokyo, Japan

Pearth Hindu Temple, WA, Australia

Fig 408: Constricted Global Manifestation

4.4 CASE STUDIES I

Take into consideration the US census for Indian Americans.

Although certain religious centers end up taking over

There are over 3.4million Indian Americans residing on the

this role it gets restrained within a certain class of Indians.

US soil, comprising around 1% of the total population.

An added program space for introducing newly arriving Indians; like students or professionals even married couples,

The culture of the population is slowly dissipating with the

into the existing framework of the society is either rare or

influence of the global culture. However, Indian families

non-existent.

still hold on to their traditions in small ways, be it festivals, weddings or even cultural summer classes. There are many

More than that there is no means of educating the global

efforts to bring the Indian families living in an area together

community how rich and varied the Indian culture and

for support and development and coming together as a

traditions are and no means to transcend this education

big family is something rooted deep in the culture. These

to the next generation within their own communities. There

events that are a big part of their life are shunned to small

is an opportunity for encouraging the universal community

spaces where freedom of culture is what they bring to

to join and receive support from these communities.

that space. Many existing communities carry such support

It is in the light of this issue an architectural solution can

groups within the four walls of their house but the chance

be introduced. The following existing centers for cultural

for extension into the larger community is curbed by the

extension available for the Indian Americans in USA are

lack of space.

examined;

4.4.1 INDIAN AMERICAN CULTURAL CENTER

the Indian families of the area. However being associated

(IACC), INDIANA

with the religious association, the extent of outreach is curbed despite being a host of many events and workshops.

This space acts as a venue for different occasions and is a

The space again is however limited to that of a banquet

simple architectural space. Although a variety of activities

hall to hold the events.

function here the space does not customize them nor is it in any way a reflection of what the frame holds. In essence it a

In both centers, the religious affiliation of the cultural center

temple dedicated for Hindu religious practices. In cases of

curbs it from being ac-cessible to a larger community at

an event like a wedding, festivals or any other celebration

hand. Moreover these centers are design to host events.

the temple hall doubles as a banquet hall.

A chance for education and information is lost in trying to maintain its com-mercial value. They also do not attempt

The center is not equipped to carry out multiple activates

to include non-Indians in their activities creating further

at the same time. It also caters to a concentrated sector

enclosure within itself.

of Indian population residing in the area, both by location and available amenities.

4.4.2 INDIAN CULTURAL CENTER (ICC), SOUTH JERSEY The ICC in South Jersey is a project under the Indian Temple Association Cultural Center in an attempt to bring together

Indian American Cultural Center, Indiana 1

Indian Cultural Center, South Jersey

Sangath, Ahmedabad

Indian Institute Of Management, Ahmedabad

Centre Culturel Jean-Marie Tjibaou , New Caledonia

Miho Museum, Japan

Located along Meriville Road, Indiana in close vicinity to residential communities Banquet Hall: Capacity 350 Temple housed in the complex Hall is re-purposed as meeting halls Full functional kitchen and amenities Used for marriage functions, festivals and celebrations Indian American Cultural Center, Indiana Source: Google street view

Indian American Cultural Center, Indiana Source: Google maps

Activities: Worship Marriages and Events

1.â&#x20AC;?Home.â&#x20AC;? Home. Accessed November 1, 2015. http://www.iacc-nwindiana.org/.

Indian American Cultural Center, Indiana

Indian Cultural Center, South Jersey1

Sangath, Ahmedabad

Indian Institute Of Management, Ahmedabad

Centre Culturel Jean-Marie Tjibaou , New Caledonia

Miho Museum, Japan

Located along Highway 73, South Jersey in close vicinity to residential communities 20,500 sq.ft Area 2 Banquet Hall: 7000 sq.ft Capacity 500 Temple housed in the complex Hall is repurposed as meeting halls: Capacity 100 Full functional kitchen and amenities Used for marriage functions, festival celebrations and workshop classes Activities: Indian Cultural Center, South Jersey Source: Google street view

Indian Cultural Center, South Jersey Source: Google maps

Worship Marriages and Events Regional Society Meetings Music Classes Health Screening and Blood Drives Library

1. â&#x20AC;?Auditorium and Community Hall in SJ.â&#x20AC;? Wedding Hall, Banquet Hall & Reception Halls in South Jersey. Accessed November 1, 2015. http://www.iccofsj.org/.

4.5 CASE STUDIES II

Following the influx of Modernism and Modernist architects

of the region. The plan mirrors the interlocking vault

in the Indian soil, the initial stages showed development

systems of the primeval dwellings. The system of axes that

in the right direction. On one hand foreign architects

blends and breaks the flow of the structure simultaneously

took claim and designed their interpretations of Indian

resembles that of a rural settlement. The materiality of the

architecture while at the same time many Indian architects

clay infused walls and the form of the building also reflects

sought education overseas and came back to implement

the climate and landscape of the region. The Sangath is a

their modernistic views in the existing urban fabric. They

visual example of how the vernacular techniques can be

chose the careful combination of the East and West

evolved to form and concept of the structure.

giving way to a new style of contemporary architecture. Although most of this style has faded out at present, they

4.5.2 IIM, AHMEDABAD BY LOUIS KAHN

are impeccable precedence of how vernacular style can be re-infused into the modern architectural framework.

“Vastly monumental, yet heart-warmingly human in scale the IIM is a feast of light and shade, vistas and views,

4.5.1 SANGATH, AHMEDABAD BY B. V.DOSHI

connections and transitions.”1 planned based on firm hierarchy, the buildings are connected by a maze of

Sangath in Ahmedabad, Gujarat is the office of Vastu Shilpa Consultants, B. V Doshi’s studio. The main studio is sunk beneath the ground to escape from the intense heat

corridors, courtyards and open spaces. The IM, Ahmedabad 1. Spanjers, Kees, Louis Kahn: Indian Institute of Management, Ahmedabad , Docomomo US, Spring 2009

is a reflection of all that Louis Kahn stands for. Planned in

Indian architecture, these design are a pure representation

brick and poured in place concrete the building goes after

of its underlying principles.

local materiality and texture. Large circular openings give tribute to the forms of the vernacular architectural style.

In his words:

“The large facade omissions are abstracted patterns found

“I can never understand an architect who designs 500

within the Indian culture that were positioned to act as light

houses all exactly the same. It doesn’t take much to

wells and a natural cooling system protecting the interior

put all the components into at least half a dozen other

from India’s harsh desert climate.”

combinations. It’s perfectly easy to mix materials on any

given site so the possibilities for variety are endless. If These building defines a perfect marriage of the traditional

only we didn’t level sites and eliminate trees but instead

design philosophies to the modern habitat. It defines the

plan to go around them, then we would not get the long

transition and organization of spaces and the materiality

monotonous rows to begin with. Most materials have their

of the surfaces. These spaces intrigue the five senses by

own special characteristics and if used honestly and simply

staying true to their form, texture, color and visual. Laurie

they contribute to the ‘looks’ of a building merely from their

Baker, another well-known architect of India, has strongly

color, their texture and the patterns formed by joining them

expressed the need for materials to remain true to its form.

together There is no need to cover them over with costly

Through his practice to re-define cost effective architecture

finishes. Let a brick wall look like a brick wall and a stone wall

in India, materiality, site feasibility and flow of spaces were

look like a stone wall. Concrete should look like concrete

given priority in design. Like the traditional structures of

and not be plastered or painted to look like marble”

1. Andrew Kroll. “AD Classics: Indian Institute of Management / Louis Kahn” 25 Oct 2010. ArchDaily. Accessed 1 Nov 2015.

- Laurie Baker

Indian American Cultural Center, Indiana

Indian Cultural Center, South Jersey

Sangath, Ahmedabad1

Indian Institute Of Management, Ahmedabad

Centre Culturel Jean-Marie Tjibaou , New Caledonia

Miho Museum, Japan

Office of Ar. B. V. Doshi at Ahmedabad, Gujarat, India. Indian Vernacular Prnciples of vaulted roofing, stepped profiles, play of light in space, addition of water as a design element is incorporated in the design. Concrete construction. Low-technology construction methods and use of recycled materials. Layout mimics spatial arrangement of an indian temple, with a series of spaces leading to the main platform. The building form is also inspired from the Stupa. Sangath, Ahmedabad, India Source: www.indian-architects.com

Floor Plan Source: MIT Libraries Dome

Activities: Office Research Centre Community workshop space

1. Metcalf, Taylor, â&#x20AC;&#x153;AD Classics: Sangath / Balkrishna Doshiâ&#x20AC;? 15 Aug 2011. ArchDaily. Accessed 1 Nov 2015. http://www.archdaily. com/158300/ad-classics-sangath-balkrishna-doshi

Indian American Cultural Center, Indiana

Indian Cultural Center, South Jersey

Sangath, Ahmedabad

Indian Institute of Management, Ahmedabad1

Centre Culturel Jean-Marie Tjibaou , New Caledonia

Miho Museum, Japan

Campus design by Louis I Kahn, Ahmedabad, Gujarat, India Local materials such as brick and concrete was used for the construction. Large geometric patterned cut-outs on the front facade derived from patterns found in the vernacular structures. Open spaces and light-shade play are important features in the design. Activities: Classrooms Library Residential complexes Indian Institute of Management, Ahmedabad, India Source: www.officechai.com

Sangath, Ahmedabad, India Source: www.archdaily.com

1. Andrew Kroll. â&#x20AC;&#x153;AD Classics: Indian Institute of Management / Louis Kahnâ&#x20AC;? 25 Oct 2010. ArchDaily. Accessed 1 Nov 2015. http://www. archdaily.com/83697/ad-classics-indian- institute-of-management-louis-kahn/

Indian American Cultural Center, Indiana

Indian Cultural Center, South Jersey

Sangath, Ahmedabad

Indian Institute Of Management, Ahmedabad

Centre Culturel Jean-Marie Tjibaou , New Caledonia1

Miho Museum, Japan

Tjibaou Cultural Centre, Nouméa, New Caledonia by Renzo Piano 92,000 sq ft Inspired by the construction technique of traditional Kanak Grand Hut. Kanak building traditions are incorporated in the design of the structures. Laminated wood construction to imitate the wodd framing of the original counterpart. Climate responsive building. Landscapes used to introduce buildings, a direct inspiration from the traditional hut clusters. Centre Culturel Jean-Marie Tjibaou , New Caledonia Source: www.rpbw.com, Renzo Piano building Workshop

Preliminary Plan/ Elevation Composite Drawing Source: www.archdaily.com

Activities: Museum Office spaces

1. Langdon, David, “AD Classics: Centre Culturel Jean-Marie Tjibaou / Renzo Piano” 4 Aug 2015. ArchDaily. Accessed 1 Nov 2015. http://www.archdaily.com/600641/ad-classics-centre-culturel-jean-marie-tjibaou-renzo-piano

Indian American Cultural Center, Indiana

Indian Cultural Center, South Jersey

Sangath, Ahmedabad

Indian Institute Of Management, Ahmedabad

Centre Culturel Jean-Marie Tjibaou , New Caledonia

Miho Museum, Japan1

Miho Museum, Shigaraki, Shiga prefecture, Japan 187,500 sq. ft Museum Space 36,000 sq.ft Pavilion Space The building is inspired by an old Chinese tale, “ Peach Blossom Valley” and the building leads to the space like story. Slanting glass walls, space frames and warm toned stonework is a modern interpretation of the traditional architecture of Japan Environment-controlled Design Activities: Miho Museum, Japan Source: www.archdaily.com

Diagram Source: www.archdaily.com

Exhibition Space Audio Visual Room Lecture Hall Office spaces

1. “Miho Museum / I.M. Pei” 04 Jun 2015. ArchDaily. Accessed 1 Nov 2015. http://www.archdaily.com/639108/miho-museum-i-m-pei/

4.6 MISSION STATEMENT

To embrace the diversity of Indian culture and create a sense of community by defining programs that educate, encourage and intrigue the new generation and engage the older generation for transfer of culture and emphasize on a home away from home.

uc a ric tin h g cu th ltu e re glo an ba d l tra co di m tio m ns un of ity In of di a. th e l na tio SA di n U tra d i nd ttle l a se ra s ltu an cu eric e th am or n t f ia tle Ind ou the n sig s of De ed ne

Introducing Indian architecture as design principles on a global market

Fig 409: Thesis Goal

5.1 SITE SELECTION

Considering all the factors, a building with diverse use that

but also give the opportunity to introduce the culture to

can cater to a wide range of population but also educate

people outside the community.

and inform the population about the importance of Indian architecture and its varied applications is required.

The top three regions with the largest Indian population

Furthermore the building should be able to bring people

Are New York- Newark- Jersey City, Chicago- Naperville-

together and foster community and familial relationships.

Elgin and Washington- Arlington- Alexandria. Out of the

More than a passive space it should be an active

three regions New York is selected considering not only is it

environment that function to define the essence of Indian

accessible to a larger Indian population but also being the

community and the idea of experiencing â&#x20AC;&#x153;Indian-nessâ&#x20AC;?. A

one of the global capital cities, the ease of access to the

cultural center that can cater to all these needs is an ideal

global community is greater.

choice for building use. The Chelsea are with the Highline is located for the site Taking into account the need for diversity, an urban center

of the cultural center. Highline saw a record of 7.5 million

which has a global population along with a large Indian

visitors in 2015.1 This is a perfect location to attract users

population is ideal to experiment the design methodology.

from all walks of life.

This would not only allow for a large number of consistent users that will be able to use the space on a regular basis

1.Source: Friends of Highline Report 2016

NEW YORK- NEWARKJERSEY CITY

CHICAGO- NAPERVILLE- ELGIN

WASHINGTON- ARLINGTONALEXANDRIA

= 12,500 Indian people *based on 2010 census

Fig 501: Site Selection

5.1.1 SITE SELECTION

96,700 Sq.ft.

Access to Highline

Proximity to Cultural District

Diversified User Groups

Connection to Urban Fabric

NEW YORK- CHELSEA DISTRICT

Fig 502: Site Selection- SWOT Analysis

Location Roads on all sides

Site Shape The Trapezium shape of site, called “Gohmukh” is auspicious Orientation West facing site : Considered good for service oriented buildigs Proportion h=1.50 b : pleasant appearance

NEW YORK- CHELSEA DISTRICT

Fig 503: Site Selection- “Vaastu” Analysis

5.2 SITE ANALYSIS

Fig 504: Site Analysis- Sun Diagram

Maximum Temperature

Minimum Temperature

Humidity

Wind Speed

Precipitation

Fig 505: Site Analysis- Wind Diagram

Fig 506: Site Analysis- Climatic Parameters

5.3 SITE CONTEXT

0’ 0”-4’ 0” 4’ 0”-20’ 0” 20’ 0”-40’ 0” 40’ 0”-60’ 0” 60’ 0”-80’ 0” 80’ 0”-100’ 0”

Fig 507: Site Context- Surrounding Building Heights

Multi Family House Multi Family Apartments Mixed Use Industrial/ Manufacturing Commercial

Public Buildings Utility Parking Green Spaces Fig 508: Site Context- Surrounding Building Typology

A- Dia Art Foundation

A B- Andrew Kreps Gallery

B C D

C- P. P. O. W. Gallery

D- Tanya Bonakdar Gallery

E- Chelsea Piers Sports And Entertainment Complex

F- David Zwirner Gallery

G- The Kitchen

H- Chelsea Market

Fig 509: Site Context- Points of Interest

5.3.1 SITE CONTEXT IAC Building By Frank Gehry An Iconic Building that can tower over and hide the project in comparison

Fig 510: Site Context- Site Contraints and Opportunities

Site Opportunities Under Highline Possibilities to use the space under Highline for activities and directing movements.

View Of Hudson River Added extravagence to vistas from site

ETHNICITY

5.4 USER GROUP ANALYSIS

An online form to understand the user group and distributed. This conssted of question of how interested said person would be and the activities they would like to participate in, if there was a proposal for an Indian cultural center near Highline, New York. Over 200 people from different countries, ethnicities and age group participated. The following are the results of the survey:

INDIAN

AGE GROUP

12-17 years old

18-24 years old

25-34 years old

45-54 years old

55-64 years old

65 and older

Fig 511: Survey- Age Group of Participants

CAUCASIAN

HISPANIC

ASIAN

MIDDLE-EASTERN

OTHER

Fig 512: Survey- Ethnicity of Participants DEMOGRAPHICS

35-44 years old

Indian American

Immigrant Student

Permanent Resident

Other

Fig 513: Survey- Status of Indian Participants

INTEREST STUDY

HIGHLY INTERESTED

INTERESTED

NOT SURE/ MAYBE

WEEKDAYS

WEEKENDS

EVENTS ONLY

NOT INTERESTED

Fig 514: Survey- Building Typology Interest and Schedule Preference

5.5 PROGRAMMATIC ANALYSIS -12

Games/ Play Area Gift Shop Museum

12- 18

Workshop Library Art Gallery

18-25

Youth Center Lecture Hall

25-40

Auditorium Yoga Center

40-60

Restaurant/ Cafeâ&#x20AC;&#x2122; Event Space

65+

Fig 515: Programmatic Analysis- Activity Preference Based on Age Group

Garden Indian Market

MONDAY

TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY

SUNDAY

EVENTS

Fig 516: Programmatic Analysis- Schedule for Activities

5.5.1 PROGRAMMATIC ANALYSIS

Important Adjacency Convenient Adjacency Unimportant Adjacency Fig 517: Programmatic Analysis- Spatial Adjacency Matrix

Public Acces

Daylight

High Ceiling View

Open Space

Intimate Spaces

Acoustic Control

Access To Outdoor

Formal Setting

Informal Setting

Square Ft Area 4445

Entrance Plaza

2000

Indian Market

100

Garden

4200

Museum

2000

Art Gallery

4400

Event Spaces

6600

Auditorium

5800

Library

5000

Workshop

2000

Youth Center

3300

Lecture Halls

4700

Restaurant/ Cafeâ&#x20AC;&#x2122;

1050

Yoga center

2200

Gift Shop

8700

Games/ Play Area

Necessary Not Necessary May/ May Not Not Applicable

750

Administration

Fig 518: Quantitative- Qualitative Matrix

100

5.5.2 PROGRAMMATIC AREA ANALYSIS Information Center Lobby

100 4000

SQ.FT SQ.FT

Security+ Cloak Room Restroom: Men (3) Women (3) Physically Challenged (1)

300 20 15 5.625

SQ.FT SQ.FT SQ.FT SQ.FT

Indian Market

Shops (8)

250

Garden

Equipment Storage

Entrance Plaza

Museum Art Gallery

Event Spaces Auditorium

Gift Shop

101

(3Sq.Ft/ person taking 1200 people during peak times)

4,445

SQ.FT

2,000

SQ.FT

100

SQ.FT

100

SQ.FT

Lobby Sales And Information Counter Security+ Cloak Room Display Gallery Exhibition Space Collection And Storage Curatorial Workshop Restroom: Men (3) Women (3) Physically Challenged (1)

600 50 100 2000 2500 400 500 20 15 5.625

SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT

6,200

SQ.FT

Outdoor Event Space Auditorium/ Banquet Hall/ Event Space Stage Side Stage Green Rooms Av Control Room Storage Restroom: Men (3) Women (3) Physically Challenged (1)

4,400 3,500 1,000 400 500 120 200 20 15 5.625

SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT

11,000

SQ.FT

Shop Area+ Register Store

2,040 100

SQ.FT SQ.FT

2,200

SQ.FT

Outdoor spaces not counted

(3Sq.Ft/ person taking 1200 people during peak times)

5.5 Sq.Ft/ person taking 500 people during peak times)

(3Sq.Ft/ person taking 1200 people during peak times)

Library Workshop Youth Center Lecture Halls

Restaurant/ Cafe’

Yoga Center

Games/ Play Area

Administration

Book Display Reader’s Area Staff Work Space Miscellaneous E-Library Workshop (7) Av/ Lecture Room (3) Restroom: Men (3) Women (3) Physically Challenged (1)

2,500 1,000 500 1,000 700 7,000 3,300 20 15 5.625

SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT

Seating Floor Area

2,000

SQ.FT

Kitchen

2,000

SQ.FT

Manager’s Office Store Cafe’ Floor Area Counter And Service Area

80 100 400 100

SQ.FT SQ.FT SQ.FT SQ.FT

Mat Area

500

SQ.FT

Equipment Storage Locker/ Changing Room Restroom: Men (1) Women (1) Physically Challenged (1)

100 400 4.5 4.5 5.625

Indoor Store Outdoor Courts (2) Director Staff Lounge Store Restroom:

Men (1) Women (1)

5.5 Sq.Ft/ person taking 500 people during peak times) 20-30 People 50 People

16,100

SQ.FT

4,700

SQ.FT

SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT

1,050

SQ.FT

500 100 3,360 4,700

SQ.FT SQ.FT SQ.FT SQ.FT

8,700

SQ.FT

150 200 250 100 5 5

SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT SQ.FT

750

SQ.FT

4 Sq.Ft/ person taking 500 people during peak times 5 Sq.Ft/ person considering peak events

12 Sq.Ft/ person taking 30 people during peak times

GROSS FLOOR AREA

7,250 SQ.FT

102

5.5.3 PROGRAMMATIC FORM ANALYSIS

Fig 519: Programmatic Form Analysis- Based on Area and Spatial Proximity

103

104

5.6 CONCEPT DEVELOPMENT

The cultural center design is based on the hierarchy of spaces in a traditional Indian home. The typical layout is based on a central community space, in most building translated as a courtyard. In Indian design philosophy, courtyard is considered the most effective device to create a â&#x20AC;&#x153;world within a worldâ&#x20AC;? experience. It forms an introverted space that draw activities to occupy within

Courtyard Celebration of life

Joint family system

and develop over time. This concept is further developed in the culture center.

Hospitality

The concepts of Vaastu are then applied to the site and the programs organized on site based on the cardinal directions.

Fig 520: Courtyard- Spatial Philosophy

105

Hierarchy of spaces

Common Utility Space Common Utility Space

Bedroom

Bedroom Courtyard

Bedroom

Private Quaters

Courtyard

Private Quaters

Public Interaction Space Public Interaction Space

Fig 521 : Courtyard- Spatial Layout of Traditional Indian Houses

106

N WATER & ETHER

E AIR & WATER FIRE & ETHER

AIR

NW ETHER

SE FIRE WATER, AIR & EARTH FIRE & EARTH

W EARTH

S Fig 522: Vaastu Principles for Site

107

COMMON INTERACTION SPACE

GRAND

WELCOMING

DAYLIGHTING

COLOR

INTERACTION

Fig 523: Concept Development

108

Horizontal Spatial Organization Exploratory Spaces

109

Restricting Height To 4 Floors From Ground For A Welcoming And Intimate Expression

Fig 524: Conceptual Transition of Space

110

5.6.1 CONCEPT DEVELOPMENT- STORYTELLING THROUGH SPATIAL NARRATIONS

Storytelling through built spaces is primarily possible

defined path of movement that defines the story of the

through its spatial transition. One way to achieve this is

temple. If the choice of movement is added this concept,

to disparate the visual and physical axis of movement.

it helps prompt a kinetic perception to space. Through

Instead of a linear path of movement from point A to

this progression of spaces the user can experience varying

point B, the path can be divided into section by taking

vistas, changing proportions and explore different stories.

sharp turns and creating corners. This path can be further developed by adding physical barriers along with open

This can even be brought about the advancement through

spaces such that the point of destination is always visible

levels. The entire experience is then further exaggerated

but the user gets to experience various evolutions to reach

by introducing the play of light and shadows.

that destination.

The path of movement is an important mark of storytelling. Movement allows for time to overlay the spatial experience. â&#x20AC;&#x153;While indirect path of movement creates a sense of discovery, the increased length of path also helps in conditioning the mind.â&#x20AC;?- Yatin Pandya

If you take the example of an Indian temple it has a strict

111

Fig 525: Storytelling through Exploratory Spaces

112

Fig 526: Storytelling through Central Open Courtyard

Fig 527: Storytelling through Light and Shadows

113

Fig 528: Spatial Experience

114

115

116

Fig 601: Sanskritiaalya- Exterior View

117

118

Central courtyard as interaction space for the users.

Defining a central organising space that connect the individual programs to the narrative of the whole building.

Compartmentalizing the form into four divisions to define spaces along the cardinal directions.

Vehicular Circulation: Service

Vehicular Circulation: Users

Pedestrian Circulation: Street Level

Pedestrian Circulation: Highline

Orienting the building form to face the cardinal angles to implement â&#x20AC;&#x153;Vaastuâ&#x20AC;? princples.

Height restricted to five stories above the ground level and three stories level of Highline, for a warm intimate environment.

Fig 602: Site Development

119

Fig 603: Site Circulation

W. 1

WEST SIDE HIGHWAY

8TH

W. 1

7TH

10’ 0’

STR

EET

STR

EET

100’ 50’

1000’

Fig 604: Site Plan

120

BASEMENT LEVEL 2

FIRST FLOOR- STREET LEVEL

BASEMENT LEVEL 1

SECOND FLOOR

Fig 605: Floor Plans

121

THIRD FLOOR- HIGHLINE LEVEL

FOURTH FLOOR

FIFTH FLOOR Fig 606: Floor Plans- Egress Diagram

122

Fig 607: Elevation- South Side

123

Fig 608: Section- Longitudinal

124

DETAIL A

FIFTH FLOOR: 63’0” DETAIL B

FOURTH FLOOR: 48’0”

DETAIL D

THIRD FLOOR: 33’0”

SECOND FLOOR: 18’0” DETAIL C

MEZZANINE FLOOR: 7’6”

Fig 609: Detail Section

125

FIRST FLOOR: -3’0”

Fig 610: Detail

126

Fig 611: Approach

127

128

Fig 612: Into the Courtyard

129

Fig 613: Roof Garden

130

Fig 614: Views

131

132

If people came to know where my kingâ&#x20AC;&#x2122;s palace is, it would vanish into the air. The walls are of white silver and the roof of shining gold. The queen lives in a palace with seven courtyards, and she wears a jewel that cost all the wealth of seven kingdoms. But let me tell you, mother, in a whisper, where my kingâ&#x20AC;&#x2122;s palace is. It is at the corner of our terrace where the pot of the tulsi plant stands. The princess lies sleeping on the far-away shore of the seven impassable seas. There is none in the world who can find her but myself. She has bracelets on her arms and pearl drops in her ears; her hair sweeps down upon the floor. She will wake when I touch her with my magic wand and jewels will fall from her lips when she smiles. But let me whisper in your ear, mother; she is there in the corner of our terrace where the pot of the tulsi plant stands. When it is time for you to go to the river for your bath, step up to that terrace on the roof. I sit in the corner where the shadow of the walls meet together. Only puss is allowed to come with me, for she know where the barber in the story lives. But let me whisper, mother, in your ear where the barber in the story lives. It is at the corner of the terrace where the pot of the tulsi plant stands.

Fig 615: Poem- Fairyland

133

FairyLand Rabindranath Tagore

Fig 616: Courtyard

134

135

136

137

Sanskritiaalaya started as a quest to provide a cultural

“As spatial designer, what is of relevance to an architect is to

release to a largely unnoticed community. This evolved

learn from such historic architecture the generic principles

into a search of a solution to prevent one of the greatest

of space organization that render then timeless. Correlation

architectural style in the world from disappearing. What

between spatial attributes and human behavior, induced

resulted was the proposal to introduce Indian design

largely through perception of the space construct, helps

methodologies as a design philosophy to the global market.

the space designer interpret, extrapolate and apply the principles of space organization in a changed time and

This is a step forward in design. In our rush to modernize

space, rather than replicate form, context, material,

our life and define spaces using advanced technology,

technology, styles, and “-isms” which are ossified in history.”

we somehow forget the core principle that create timeless spaces. Architecture should evoke emotions and define

- Yatan Pandya

life. Although traditional styles have well thought methods of achieving this, this argument was not about recreating the same structure. Indian architecture is not about it looking Indian, but it is the sense of place. An attempt to amalgamate the two was tried through Sanskritiaalaya and through that reawaken a forgotten past.

138

139

140

Cooper, Ilay and Dawson, Barry, Traditional Buildings

of India, New York: Thames and Hudson, 1998.

Sen,

Principles

Indian

Architecture:

timeline study of her contribution to global patterns of civilization, Cygnos, May, 2011, (accessed September

Freeman, Michael, India Modern, Boston, Tuttle

Publishing, 2005

Emmauel, M. Rohinton,

An Urban Approach to

Climate Sensitive Design: Strategies for the Tropics, New York, Spon Press, 2005

23, 2015).

Blanca Margarita PeĂąa Cea, Interweaving

Communitie: A Center of Cultural Exchange for the Hispanic Community of Central Florida, SCAD Architecture Thesis, 2013, (accessed September 29,

Peter Gast, Klaus, Modern Traditions: Contemporary

2015).

Architecture in India, Berlin, Birkauser, 2007

9. Deependra 5.

Keates, Nancy. Beach house blending. Globe and

mail, October 21, 2011 (accessed September 23, 2015).

6. Author

unknown,Green

Architecture

India:

Combining Modern Technology With Traditional Methods, UN Chronicle, June, 2007, (accessed September 23, 2015);

New

Architecture

and Urbanism: Development of Indian Traditions, Cambridge Scholars Publishing, 2010, (accessed September 30, 2015)

10. Vibhuti

Charkrabarti,

Indian

Architectural

http://unchronicle.un.org/article/green-architecture-

Theory: Contemporary Uses of Vastu Vidya, Curzon

in d ia-combi ni ng - modern- tec hn o l o gy- t r a di t i o n a l -

Press, 1998 (accessed September 30, 2015)

methods/

141

Prashad,

11. William J. R. Curtis ,“Balkrishna Doshi, An

16.

Lauriebaker.net, Architect’s Official Website,

architecture for India”, Rizzoli International, INC. , 1988

Accessed 1 Nov 2015; http://lauriebaker.net/index. php/work/quotes.

12.

M. Susan Ubbelohde, “The Dance of a Summer

Day: Le Corbusier’s Sarabhai House in Ahmedabad,

17. Indian Americans, Wikipedia, Accessed 1

India”, TSDR Volume XIV Number II, 2003

Nov

2015,

https://en.wikipedia.org/wiki/Indian_

Americans#Culture 13.

Spanjers, Kees, Louis Kahn: Indian Institute of

Management, Ahmedabad , Docomomo US, Spring

18.

2009;

http://www.iccofsj.org/Default.aspx

http://www.zsa.nl/publcaties/ALG/Pages%20

Indian Cultural Center, Accessed 1 Nov 2015;

from%20DOCONews.09Spring.pdf 19.

Kanayama Community Center / Kengo Kuma

14. Andrew Kroll. “AD Classics: Indian Institute

& Associates 19 Jan 2012. ArchDaily. Accessed Nov 3

of Management / Louis Kahn” 25 Oct 2010.

2015. http://www.archdaily.com/199706/kanayama-

ArchDaily.

community-center-kengo- kuma-associates

Accessed

Nov

2015.

http://www.

archdaily.com/83697/ad-classics-indian- institute-ofmanagement-louis-kahn/

20.

Maira, Sunaina Marr, Desis in the house: Indian

American youth culture in New York City, Philadelpha, 15. IACC-Indian

American

Cultural

Center,

Temple University Press, 2002

Accessed 1 Nov 2015;http://iacc-nwindiana.org/

142

21. Zaweed, Salim. The Organisation of Space

25.

in Havelis of Rajastan, www. academia.edu, 2014,

Behind

Accessed November 1, 2015, http://www.academia.

Published Oct 20, 2014, Accessed February 27, 2017,

edu/20105532/THE_ORGANISATION_OF_SPACE_IN_

http://desinema.com/hindu-traditions-scientific-

THE_HAVEL%C4%AAS_OF_RAJASTHAN

reasons/

22. Verma,

and

Helweg,

Arthur,

Traditions,

www.desinema.com,

26.. Coomaraswamy, Ananda K, Essays in Indian

immigrant success story : East Indians in America, .

architecture, New Delhi, Indira Gandhi National

Philadelphia : University of Pennsylvania Press, 1990

Centre for the arts in association with oxford university

http://www.shamit.org/Articales/history_of_indians_

press, 1992

in_the_us.htm

Volume XIV Number II, 2003

Lessinger, Johanna. From the Ganges to the

Hudson: Indian immigrants in New York City. Boston: c1995 24. Parvi, Tinaz, Asian Indian Americans, www. eeryculture.com, Accessed February 27, 2017, http:// www.everyculture.com/multi/A-Br/Asian-IndianAmericans.html

143

Hindu

23.

Shamit

Desi Stories, 20 Amazing Scientific Reasons

144