Markaz-e-Shaoor (A Centre for the conscious ) by Shabeeb Bilgrami

MARKAZ-E-SHAOOR (A CENTER FOR THE CONCIOUS)

THESIS REPORT ARCHITECTURAL THESIS -2016 S.SHABEEB RAZA BILGRAMI A/21-06/2009 VTH YEAR B.ARCH, sec- B SCHOOL OF PLANNING AND ARCHITECTURE, DELHI

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

ACKNOWLEDGMENT I would like to express my foremost gratitude to my guides, Mrs. Bashabi Das Gupta and Mrs. Vandana Shourie, for their consistent guidance and support and for channelizing my thoughts in the right direction. I am grateful to my research guide Mrs. Archana Khanna her valuable, timely inputs which added the edge in my work. I am thankful to our studio director prof. M. L. Bahri for his supervision through out the semester.

Insight and Critiques by my seniors and friends (Nitesh Kumar, Amit Chander, Saif Khan, Anam Khan and Shruti Nain) offered a fresh perspective and for that I am grateful. I am also grateful to my juniors (Harkunwar Singh, Vipanchi Handa, Vasanth Mayil, Imdad Barbhuyan and Anshu Pal) for their rigorous efforts, sincerity and patience in helping me complete my work by the end. My deepest gratitude goes to my family for their bolstering support and warmth.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

TABLE OF CONTENT SYNOPSIS......................................................................................................................................................................................................................................................9 साराां श ...........................................................................................................................................................................................................................................................10 CHAPTER 1/THESIS INVESTIGATION............................................................................................................................................................................................................12 1.1 Introduction..................................................................................................................................................................................................................................12 1.2 Intent ................................................................................................................................................................................................................................12 1.3 Proposition........................................................................................................................................................................................................................12 1.4 The Issue ...........................................................................................................................................................................................................................13 1.5 Need Identification............................................................................................................................................................................................................14 1.6 Scope…..............................................................................................................................................................................................................................14 1.7 Limitations.........................................................................................................................................................................................................................14

CHAPTER 2.1/RESEARCH.......................................................................................................................................................................................................15 2.1.1 Areas of Research..............................................................................................................................................................................................................15 2.1.2 The tangibles.....................................................................................................................................................................................................................16 2.1.3 The Intangibles..................................................................................................................................................................................................................20 CHAPTER 2.2/CASE STUDIES........................................................................................................................................................................................................................22 2.2.1 Bharat Bhavan...................................................................................................................................................................................................................23 2.2.2 Helen S. Schafer Poetry Centre.........................................................................................................................................................................................32 2.2.3 Buk Seoul Museum of art..................................................................................................................................................................................................39 2.2.4 Nelson Fine Art Centre......................................................................................................................................................................................................46 2.2.5 Research Matrix................................................................................................................................................................................................................51 CHAPTER 3/DESIGN PROGRAM..............................................................................................................................................................................................................52 3.1 Relationship Diagram........................................................................................................................................................................................................52 3.2 Built Elements...................................................................................................................................................................................................................53 3.3 Area Program....................................................................................................................................................................................................................54 3.4 Bubble Diagram.................................................................................................................................................................................................................57 3.5 Inference and Conclusion..................................................................................................................................................................................................58 CHAPTER 4/SITE INFORMATION.............................................................................................................................................................................................................59 4.1 Site Location......................................................................................................................................................................................................................59 4.2 Site Features......................................................................................................................................................................................................................60 4.3 Master Plan.......................................................................................................................................................................................................................61 4.4 Historic Background..........................................................................................................................................................................................................62 4.5 Site Photographs...............................................................................................................................................................................................................63

CHAPTER 5/DESIGN DETERMINANTS............................................................................................................................................................................ 64 5.1 5.2 5.3

Determinants for the zoning.................................................................................................................................................................................... 65 Determinants for the movement through site......................................................................................................................................................... 66 Determinants for the built........................................................................................................................................................................................ 67

CHAPTER 6/ CONCEPT DEVELOPMENT.......................................................................................................................................................................... 69 CHAPTER 7/ DESIGN DEVELOPMENT............................................................................................................................................................................. 71 CHAPTER 8/ FINAL DESIGN PORTFOLIO......................................................................................................................................................................... 81 JURY COMMENTS........................................................................................................................................................................................................... 99 BIBLIOGRAPHY.............................................................................................................................................................................................................. 100

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

LIST OF FIGURES AND TABLES Fig. 1: News cutting, Taj literature festival Fig. 2: Tangibles and intangibles Fig. 3: Poetic meters Fig. 4: Orthogonal geometry of Taj Fig. 5: Golden ratio of Taj Fig. 6: Orthogonal Geometry Fig: 7: Golden ratio Fig. 8: Poetic meters Fig. 9: Poetic meters Fig. 10: conceptual abstract Fig. 11: Udai Vilas Fig. 12: Nishat Bagh Srinagar Fig. 13: Persian Water chnnels Fig. 14: Fatehpur Sikri Fig. 15: Bharat Bhawan Fig. 16: Helen S. Schaefer Poetry Centre Fig. 17: Buk Seoul Museum of Art Fig. 18: Nelson Fine Art Centre Fig. 19: Court of Antarang Fig. 20: Planters and Sit out Fig. 21: Roopankar Fig. 22: Terrace Fig. 23: O.A.T. Fig. 24: Site Fig. 25: Plan Fig. 26: View from the terrace Fig. 27: Bhairang Fig. 28: Roopankar Fig. 29: terrace Fig. 30: sketch section Fig. 31: Sketch, Helen’s Schaefer building Fig. 32: Eastern entrance

Fig. 33: Library lawn Fig. 34: Play of shadows Fig. 35: Natural light in reading areas Fig. 36: Lecture room- book mark Fig. 37: Library Fig. 38: Connecting Roof Fig: 39: Spill out Fig. 40: Facade Fig. 41: Book mark Fig. 42: Paving texture/ material Fig. 43: Façade- back alley Fig. 44: Roof design Fig. 45: Library court Fig. 46: Book Mark Fig. 47: Concept sketch- plan and section Fig. 48: Book mark Fig. 49: North face Fig. 50: Ground floor plan Fig. 51: Book mark Fig. 52: Furniture Detail Fig. 53: Section A Fig. 54: Section B Fig. 55: Bird’s eye view- Buk Seoul museum Fig. 56: Interior First floor Fig. 57: Interior Ground- entrance lobby Fig. 58: Entrance Court Fig. 59: Massing and façade treatment Fig. 60: Lighting- skylight Fig. 61: Paths and terraces Fig. 62: Basement plan Fig. 63: Ground floor plan Fig. 64: First floor plan

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig. 65: Second floor plan Fig. 66: Central court- Nelson fine art Centre Fig. 67: Nelson Fine Art Centre- Arizona Fig. 68: Internal Light Play Fig. 69: Light shelves within stairs Fig. 70: Day- shaded alley Fig: 71: Night- lit alley Fig. 72: Bird’s eye view Fig. 73: Play of light through corridors Fig. 74: Auditorium Fig. 75: Geometry of light Fig. 76: The different realms Fig. 77: Bubble Diagram Fig. 78: Google Earth image- Site Fig. 79: Context Fig. 80: Connecting Roads Fig. 81: Flood Plane analysis- Bit map Fig. 82: Climate Study Fig. 83: Agra Masterplan 2001-2021 Fig. 84: Historical map Agra-Lucy Peck Fig. 85: Main Street Agra (Sketch) Fig. 86: The Taj- clicked around early 1900s Fig. 87: Eba Koch’s tags on the Taj and context Fig. 88: The river being used as a transit route Fig. 89: Site photo Fig. 90: Mehtab Bagh and its current state Fig. 91: Site photo from the bank of Taj Fig. 92: Site photo Fig. 93: photo of Taj from the site Fig. 94: Zoning Fig. 95: Major circulation paths Fig. 96: Site Surrounding

Fig. 97: Annual wind direction in % Fig. 98: Conceptual sketches Fig. 99: Spatial hierarchy Fig. 100: River edge Fig. 101: Bazaar Fig. 102: water channels through courts Fig: 103: Terrace gardens Fig. 104: Use of levels Fig. 105: Design development 1- model Fig. 106: The Grid Fig. 107: -Design development 2- plan at lvl -3000 Fig. 108: Level + 4200 Fig. 109: Level + 900 Fig. 110: Schematic section through the courts Fig. 111: Schematic site section (design development 2) Fig. 112: Design development 3 (site plan) Fig. 113: Design development 3- 3d view (residential wing) Fig. 114: Design development 3- 3d view (educational wing ) Fig. 115: Design development 3- 3d view (site) Fig. 116: Design development 4- figure ground Fig. 117: Design development 4- site plan Fig. 118: Design development 4- 3d section Fig. 119: Design development 4- 3d view Fig. 120: Design development 4- 3d view Fig. 121: Design development 4- 3d view Fig. 122: Final design - land use pattern Fig. 123: Final design - primary Axes Fig. 124: Final design - greens Fig. 125: Final design - nodes Fig. 126: Final design - courtyards Fig. 127: Final design - water channels Fig. 128: Final design - Site plan

Fig. 129: Library block terrace plan Fig. 130: Library block ground floor plan Fig. 131: Library block elevation Fig: 132: Library block section Fig. 133: Auditorium ground floor plan Fig. 134: Auditorium first floor plan Fig. 135: Auditorium roof plan Fig. 136: Auditorium section Fig. 137: Auditorium elevation Fig. 138: Education Centre ground floor plan Fig. 139: Education Centre first floor plan Fig. 140: Education Centre elevation Fig. 141: Education Centre section Fig. 142: Model photo- credit Vipanchi Handa Fig. 143: Model photo- credit Vipanchi Handa Fig. 144: Model photo- credit Vipanchi Handa Fig. 145: Model photo- credit Vipanchi Handa Fig. 146: Model photo- credit Vipanchi Handa Fig. 147: Model photo- credit Vipanchi Handa Table 1: Poetic meters Table 2: Bharat Bhavan area program Table 3: Case study parameters Table 4: Design Area Program Table 5: Beaufort wind record for Agra

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

SYNOPSIS Agra is synonymous with the Taj Mahal. The city in todays date is finding it hard to uphold an identity which stands independent of the Taj. A city which was once the capital of this country for more than 60 decades is now reduces to a 2 nd tier city with not much to offer apart from what its heritage holds. Everything that happens in Agra is about the Taj, be it the Taj Mahotsav or the Taj literature festival etc. This city at one point of time was a major contributor in the fields of art and culture but today all that remains of it is in the archives of our nation. This thesis aims to rejuvenate Agra as a city where Art and Culture can flourish and bring about a sense of consciousness amongst the people of Agra as well as provide something more for the visitors to this city. â&#x20AC;&#x2DC;Markaz-E-Shaoor- A Centre for the Consciousâ&#x20AC;&#x2122; does not aim to compete with the Taj but instead compliment the monument by attempting to improve the sensitivity, intellectualism, sense of interpretation, values, ethics and attitude of the society.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

साराां श आगरा की पहचान ताज महल है l आज यह शहर अपने आप को ताज से अलग कर अपनी पहचान बनने में असमर्थ नज़र आता है l यह शहर जो कभी ६० दशक तक इस दे श कई राजधानी रह चूका है वह अब केवल एक द्वितीय स्तर का शहर बन कर रह गया है जो आज अपनी इद्वतहाद्वसक सांम्पद्वि के द्वसवा कुछ और कास नहीां रखता l जो कुछ भी आगरा में होता है वह केवल ताज के नाम पर होता है चाहे वो ताज महोत्सव हो या ताज सांस्कृद्वत मेल अत्याद्वद l यह शहर एक समय पर कला व साद्वहत्ये के योगदान में एक महत्वपूर्थ भूद्वमका द्वनभा चूका है परन्तु आज इस शहर से इन छे त्ोां से कोई खास ररश्ता मौजूद नहीां. इस अधययन का उदे श्ये आगरा को द्विर से कला व साद्वहत्ये के दामन से जोर्थ न का है l 'मरकज़-इ-शऊर- जागरूकता के द्वलए एक केंद्रे ' का मकसद इस शहर के लोगोां को कला और साद्वहत्ये के करीब लाकर उनके अांदर एक जागरूकता पैदा करने का है l यह केंद्र इस शहर को ताज के अल्वा एक ऐसी अद्वतररक्त जगह दे ना चाहता है जहाां पयथटक आकर समय द्वबता सके l इस अधययन का मकसद ताज महल से प्रद्वतस्पधाथ का नहीां बल्कि यह कोद्वशश करने का है की द्वकसी प्रकार यह केंद्र इस शहर के बौल्किक स्तर को बढ़ावा दे सके द्वजससे वह के समाज में नै रां ग व समझ उत्पन हो सके l

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

PART-1: DESIGN INVESTIGATION CHAPTER 1: AN INTRODUCTION TO THE THESIS CHAPTER 2.1.0: AREA OF RESEARCH CHAPTER 2.2.0: CASE STUDIES CHAPTER 3: PROJECT DETAILS CHAPTER 4: SITE ANALYSIS CHAPTER 5: DESIGN DIRECTION

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-1

INTRODUCTION TO THESIS

Introduction The evolution of human settlement dependents upon the level of consciousness (‘shaoor’) embodied in that society. The ability to understand and interpret is the proof of one’s consciousness. An art form intrigues the ability to interpret and understand, hence one can say that an art form can be a medium to reflect consciousness. Poetry as one of the art form has been a part of the society from the earliest of the times. Poetry and the society have evolved with each other through time, it has always been a medium of expressing the most complex and deepest of meanings in the fewest of lines. It’s shear simplicity is its quintessential character which hits one’s consciousness in the strongest of manner. Poetry and architecture have come across each other several times in the past, be it a building translating the lines of a poem or a poem stitched around the lines of a built environment. According to architect Ben Jacks, the two art forms are similar because of their interest with form, their use of meter or structure, and their stance toward their environments—poets such as William Wordsworth, for example, went into nature for inspiration, and, similarly, architects are often inspired by places. Both poetry and architecture, Jacks says, involve our perception and how that perception is translated into a created, or built, environment. Architects like Peter Zumthor have kept poetry intricately weaved into their designs, he has exploited the material, texture, light quality, sounds, temperature and all other aspects of a built environment to produce a rhythm between the experiencer and the experience. The relationship between these two fields of expression is such that it neither can be read nor be seen but only felt and remembered.

Intent Considering the significance of consciousness in a society, this thesis aims at finding a way to give a physical form to a certain level of consciousness and in order to do so it questions that, If there is a relationship between consciousness and poetry (as an art form) then, can architecture enhance the coherence between the two?

Proposition In India the culture of poetry has been a part of all the realms of the society, be it the raw folk poetry of the rural areas or the fine refined court poetry or the poetry of the religious epics like Mahabharata or the spiritual poetry of the sufi saints . At one point of time places like Delhi and Lucknow (Awadh) have been the major contributors in bringing the Indian poets on an international platform. The major source of the documentation of this art form have been the courts of the medieval period. So this makes Delhi and Lucknow the two obvious centres for poetry in India but what is interesting to note is that the poets who delivered their poems to these courts drew inspiration from the areas around these places. There are a list of places that have added to the richness of the court poetry and one of these unsung places is Agra.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Agra as a city may not be as old as Delhi but has seen no less than what Delhi has. It’s been the major governance zone for numerous dynasties for a substantial amount of time, has seen the political hustle bustle and its cultural fabric has been built and rebuilt a number of times. This flux translated into a very rich mix for the bazar poetry famous in the regions in and around Agra. The prose and the poems of the local craftsmen. The poems being born from the continuously changing scenarios. The stepping in of Sufism with Salim Chisti settling at the outskirts of the city. Its urban fabric being dictated by various rulers in their own ways with power, beauty, culture. Agra saw it, absorbed it but could it contain it? Abu Talib Kalim (A famous court poet of the 17th century) says in his Shah Nama: (translation by S.A.R. Bilgrami) “it is a world of peace and safety In each of its corners is a Cairo and a Damascus. A world has been placed in the city who sees Agra has seen the world.” This clearly tells a tail about Agra as a city being as rich as the cultural capitals (Cairo and Damascus) of that time. Does it still stand true?

The Issue: What is Agra Today? What is the first thing that strikes one’s mind when he/she thinks of Agra, undoubtedly the Taj Mahal and everything else is secondary. The Taj has become one of the faces of India and no doubt it beautifully sums up the spectrum of this country in its white. Unfortunately the city and the people of Agra have started taking the Taj for granted, today it’s their pride per say but in reality the city has not been able to give back much to Taj in return to what Taj gave to the city. It’s time that the city wakes up and proves itself worthy of the various monuments it holds within, including the most glorious Taj. Agra is in need to connect with its rich past and develop an intellect to respond to it. The urban fabric of the city has enough examples in place for architects and planners to revitalise this historic city and give its existence a new meaning within the background of its exotic past. This thesis is a small step towards the same.

Fig: 1

source: Hindutan Times (24th Feb 2016 )

Though there are initiatives being taken by the literary society of this country but yet these art and cultural festival still highlight the Taj more than the city it exists in. The title “Taj Literature Festival” in itself makes a person wonder what would happen to Agra if we take away the Taj Mahal from it? More over these festivals happening in the five star hotels with exclusive gatherings, talk about the disconnect they have from the general publics, Yes they are valuable attempts towards keeping a certain culture alive but how alive it is if it is disconnected with the world around it? MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016 13

Need Identification: Considering poetry as an art form (which always remained in the shadows of this city), a potential means of developing the social fabric of the city, there is a need of a poetry rejuvenation centre, which attempt to provide a place, a rendezvous point if you must, for the poets in this country, it aims to revive the culture and art of poetry and facilitate for those who want to nurture this art in them.

Scope: There has to be a focus on all the areas and facilities that can help people understand, experience and appreciate poetry in all its forms. In order to do so the project must fulfil certain criteria, it needs to serve as an education centre for the research and development in the field of poetry, it needs to offer a place for poets and artists all over the world to come and stay in order to exchange their knowledge and further enrich the already rich resource of poetry in this city, it has to prove itself as a place of dialogue between the poets and the local people in order to engage the local people with this particular heritage, it has to remove the exclusivity of poetry and make it available and eminent to the local people so that it can serve as a facility to aggrandize the local intellect. The project has to have the scope for other art forms to interact with poetry and make its existence more dynamic. Art forms like sculpting, painting, drama, music, can be involved in the same. The task for the design is to represent the values, ethics, and attitude of poetry through its architecture and exalt the understanding of it. This project would hope to add on a cultural riches of a particular kind and equip the city with an art form always know but unnoticed.

Limitation: There are certain challenges that this thesis will have to face on its way to completion. The ways in which it can add inclusivity to the whole project and yet maintain a particular sense of privacy for the poets. The project has to translate and connect the soul of poetry with the body of architecture. It has to remain sensitive towards its context and yet mark a sense of a new beginning, creating just enough ripples.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-2.1

RESEACH

THE AREAS OF RESEARCH As discussed in the previous chapter this thesis is an attempt to materialize a relationship between poetry and architecture so that the combination of the two can intrigue the experiencer towards a different level of consciousness. There exist two realms in which both these forms of expression can communicate with each other as well as the experiencer.

1) The Tangible : this deals with recognizing the rhythm and the grammar of poetry on one hand and on the other the architectural geometry so that one can try and draw certain parallels between the two. 2) The Intangible: it deals with emotions, expressions, experiences, interpretation and understanding of architecture and poetry. This thesis tries to reflect upon this relationship, both objectively and subjectively.

MARKAZ-E-SHAOOR

Fig: 2

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

THE TANGIBLE REALM This deals with finding a physical connect between the two art forms, the tangibles that can help one overlap architecture with poetry. According to architect Ben Jacks, the two art forms are similar because of their interest with form and their use of meter or structure.

Poetic Meters

Architectural Geometry

Poetic meters: In poetry, meter is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. Across all languages the poetic meters can be classified into two major groups. 1) Qualitative : with stressed syllables coming at regular intervals. 2) Quantitative: here patterns were based on syllable weight rather than stress. Some of the most common poetic meter in most of the languages are given below. Here “x” is the unstressed syllable and “/” is the relatively stressed syllable.

Foot type

Style

Stress pattern

Syllable count

3 syllable Anapest

Anapestic

Unstressed + Unstressed + Stressed

Three

Dactyl

Dactylic

Stressed + Unstressed + Unstressed

Three

Iamb

Iambic

Unstressed + Stressed

Two

Trochee

Trochaic

Stressed + Unstressed

Two

2 syllable

Table : 1

source: prof. Rakshanda Jaleel, Jamia university, Literature department

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Examples of the Poetry Meters

The meters with two-syllable feet are (here the bold is the stressed) : IAMBIC (x /) : That time of year thou mayst in me behold. OR Hathon ki lakeeron par mat ja aye ghalib. Kismat unki bhi hoti hai jinke haath nahi hote. TROCHAIC (/ x): Tell me not in mournful numbers

Meters with three-syllable feet are (here the bold is the stressed) : ANAPESTIC (x x /): And the sound of a voice that is still DACTYLIC (/ x x): This is the forest primeval, the murmuring pines and the hemlock (a trochee replaces the final dactyl)

“/” “x”

Iamb Fig: 3

Trochee

Anapest

Dactyl

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Architectural Geometry : Keeping in consideration the site location the two most prominent architectural geometries that become important for this thesis are:

The Geometry of the Golden Mean: where the length ans breath of the rectangle inscribed are in a ratio of 1.618

The Orthogonal Geometry : the geometry of the right isosceles triangle Or known as the geometry of the squares.

Both the above geometries have played an important role in the Mughal architecture that stands right opposite to the site. Taking the example of the Taj Mahal in this case

The Golden Mean used in the elevational design

Orthogonal Geometry in the planning principles Fig: 4

source: archgeom.blogspot.com

Fig: 5

source: archgeom.blogspot.com

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DRAWING PARALLELS:

Orthogonal geometry v/s three syllable meters of poetry

Anapest Fig: 8

Fig: 6

Dactyl

source: Author

source: archgeom.blogspot.com

Golden Ratio v/s two syllable meters of poetry

Iamb Fig: 9

Fig: 7

source: www.fractalenlightenment.com

Trochee

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

THE INTAGIBLE REALM The subjectivity of a poem lies in its ability to generate imagery, emotions, memories through the play of words. The existence of multiple interpretations in certain scenarios opens the world of imagination in poetry and these qualities are what every piece of architecture aspires to have in its self. The way poetry generates an experience through words, architecture can do that through design. As a poem evokes a separate emotion in every reader, architecture can also behold separate memory for each experiencer. To relate the intangibles of poetry to architecture one has to study the different qualities of different spaces, memory generation through architecture, mood modulation through special design, the hierarchy between the built and unbuilt, the relationship developed between the nodes and the axis. Fortunately all the above characters of the architectural built are present in the Mughal architecture in some form or the other.

Fig: 10

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

The challenge that lies ahead is to convert these intangibles into an architectural language that shows, it has developed from its historic past and is ready to formulate a new identity so that it can act as a bridge between the past and the future.

Fig: 11

Fig: 12

source: www.prismma.in/category/design-guide

source: www.nativeplanet.com â&#x20AC;ş Jammu and Kashmir â&#x20AC;ş Srinagar

Fig: 13

source: www.pinterest.com/johanbackman/islamic-garden

Fig: 14

source: exploreindiadestinations.com/agra

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-2.2

CASE STUDY

THE FOLLOWING CASES HAVE BEEN TAKEN IN CONSIDERATION FOR STUDY AS THEY ALL DEAL WITH SOME TANGIBLE AS WELL AS INTANGIBLE ASPECTS OF THE RESERCH. THE 4 CASES TAKEN ARE:

1) 2) 3) 4)

BHARAT BHAVAN- BHOPAL, MADHYA PRADESH HELEN S. SCHAEFER POETRY CENTRE- TUCSON, ARIZONA BUK SEOUL MUSEUM OF ART- SEOUL, SOUTH KOREA NELSON FINE ART CENTRE- TEMPE, ARIZONA

Fig: 15 source: www.pinterest.com/pin/550846598152095559

Fig: 16 source: www.archdaily.com/163571/university-ofarizona-poetry-center-line-and-space

Fig: 17 source: www.e-architect.co.uk â&#x20AC;º Korea

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 18 source: www.pinterest.com/pin/175147872978721797/

BHARAT BHAVAN (Primary case study)

ARCHITECT: CHARLES CORREA LOCATION: BHOPAL COMPLETION YEAR: 1981 THE SITE: Fig: 19

source: Author

It started in 1975 and completed by 1981,reflects the idea of a maze or progression, combining it, respecting the landscaping of site.

The site for this art or cultural center is on a gently sloping plateau overlooking the lake in Bhopal. The natural contours of the site has been taken to create the sunken courts and terrace garden.

The buildingâ&#x20AC;&#x2122;s terraces and courtyard with progression through space gives feel of maze or puzzle, where parts are casually revealed and complexity of internal paths acts like village layout, in a way building reflects the Bhopal's own organizational layout. Fig: 20

Fig: 21 source: www.pinterest.com/pin/550846598152095559

Fig: 22

source: Author

Fig: 23

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: Author

Site Location of Bharat Bhavan in context to the lake

Fig: 24

source: Google Earth

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

PLAN OF BHARAT BHAVAN

Fig: 25

source: Charles Correa Foundation

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DESIGN ELEMENTS

site is on a gently sloping plateau overlooking the lake such that

o The contours are used in design.

o The natural contours have been used to create a series of

sunken courts and

terrace gardens around which are cultural facilities. o The terraces and

courtyards are connected like a progression

in space, where complex of internal streets acts like a village layout. built with the properties

o Itâ&#x20AC;&#x2122;s a of the unbuilt weaved in so intricately that the transition between the open and close space is so smooth that it is one continuous journey through one space to another. o The view of the lake has been explored in the best manner. The

view of lake is visible

from all possible terraces.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DESIGN ELEMENTS o The materials used are

red sandstone, brick sand and exposed concrete.

o The internal finish is of marble, granite and sand-stone, one of the most commonly used combinations in the Indian architecture for decades now, keeping the building

rooted to its culture.

OAT called Bhairang is located near the lake giving an ideal view for cultural

o The performances.

o The proportions of the building are well ordered, borrowing geometric patterns from Indian cultures making it more relevant to context.

BHAIRANG

VIEW FROM ONE OF THE TERRACES Fig: 26

source: Author

Fig: 27

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 28

source: Author

Fig: 29

source: Author

Upper lake Site section Bharat Bhavan towards the lake Fig: 30

source: Charles Correa Foundation

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

AREA PROGRAM COMPONENTS

SPACES

NO. USERS

AREA(SQ. M.)

ARTS CENTER (admin. Block)

Foyer+ lounge Reception Directorâ&#x20AC;&#x2122;s office p.a. room Accounts Office Toilets Store Lounge+ info desk Conference room-2 Store Pantry Seminar rooms-2 Dance studio-2 Music studio-2 Painting studio Textiles studio Drama studio Lithography studio Photography studio Photography lab. Sculpture workshop Pottery workshop Ceramic workshop Modelling workshop

15-20

50 20 50 15 50

Conference facilities

Studio/ workshops

Table : 2

source: Charles Correa Foundation

REQUIREMENTS/REMARKS

Should have lake view Main office for organizing festival events and activities

20 10 100 75 10 10 150 120 120 60 60 120 60 60 60 120 75 75 75

Used by the centre during festival time and available for hire rest of the year

With attached spill out spaces

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

COMPONENTS

SPACES

NO. USERS

Library

Circulation desk,12 reading carrels, periodicals 20 comp. terminals Stack Room(20000 books) Photocopy Store Office

Exhibition galleries Art galleries

Galleries Security+ office Curatorâ&#x20AC;&#x2122;s room+ office Workshop+ storage

RETAIL Retail shops Restaurants:2

40@20 sq.m. Seating: @2/ppl. Kitchen: @0.8/ppl Service yard: @0.3/ppl

Restaurants:2

Seating: @2/ppl. Kitchen: @0.8/ppl Service yard: @0.3/ppl

Table : 2 (contd.)

source: Charles Correa Foundation

AREA(SQ. M.) 100

REQUIREMENTS/REMARKS Academic zone Desirable-north light

60 150 10 20 20 ____________ 360 650 50 60 100

Includes display galleries for works done in the center.

800

To be developed as a mix of retail

150 60 22

With lake view

100 40 15 ____________ 760

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

COMPONENTS

SPACES

Auditorium(300)

Foyer Admin. Office Rehearsal room Green room Toilets Hall

Theatre(500)

Foyer Ticket office Toilets Office Rehearsal room Dressing room Stage workshop Loading/unloading Projection room Auditorium

NO. USERS

15-20 20-25 20 300

20-25

40 20 40 5

2 500

AREA(SQ. M.)

REQUIREMENTS/REMARKS

250 40 60 60 50 560 ____________ 1000

Should open out into spill out area

350 10 70 50 60 60 60 20 40 800

Special acoustical treatment

No secure area, retail outlets With access to canteen Doors 3-4 m wide, extra height Controlled environment

1560 7100+35% circulation =9785 sq. m. Table : 2 (contd.)

source: Charles Correa Foundation

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

HELEN S. SCHAEFER POETRY CENTRE University of Arizona, Tucson

Space line architects Area: 900sqm Project Year: 2008

source: www.archdaily.com/163571/university-of-arizona-poetry-center-line-and-space

Fig: 31

source: Author

After nearly 50 years of patiently seeking out every new poetry publication, the University of Arizona amassed one of the finest collections of Contemporary Poetry in America. With collection in hand, the University set out to design its new home; a facility for archiving, research, reading, teaching, and contemplation. The University of Arizona's Helen S. Schaefer Poetry Centre was opened to the public as well as writers, faculty and students in October 2008. The building creates a landmark facility where the mission of providing an outstanding research collection, quite possibly the most outstanding collection of contemporary poetry in America, and meeting place for writers and readers of poetry can be fulfilled.

Fig: 32

source: www.ssjcpl.org

Fig: 33

source: www.ssjcpl.org

Fig: 34

source: www.ssjcpl.org

Fig: 35

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: www.ssjcpl.org

Fig: 36

source: www.poetry.arizona.edu/blog

During discussions defining the new facility, it became clear that there were a number of contradictions in the architectural program; the desire to provide a place suitable for active discourse as well as quiet solitude; the ability to enjoy reading in natural light while at the same time offering protection from its destructive nature; intimacy with the books and the reality of the massive presence of 50,000 shelved volumes; and, of course, the desire for security while at the same time making the poetry readily accessible to all who desired to partake. These contradictions inherent with combining a valuable collection with an active university and community resource drove the design concept.

Fig: 37

source: poetry.arizona.edu/

Fig: 38

source: poetry.arizona.edu/

Fig: 39

source: poetry.arizona.edu/

Fig: 40

source: poetry.arizona.edu/

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 41

source: poetry.arizona.edu/

The connection between reader and poetry are overarching in the Poetry Centre’s design. This connection is refined in the plan of the building which is conceived as a “progression towards solitude.” Progression starts at the west with an active and noisy Humanities Seminar Room whose transparent walls can be opened, allowing flexibility within the shaded transition space, and doubling the seating capacity for larger events. Moving east, public functions dissolve into more intimate spaces within the collection -- one finds themselves in the bamboo garden, an outdoor area of solitude and contemplation.

Fig: 42

source: poetry.arizona.edu/

Fig: 43

source: poetry.arizona.edu/

Fig: 44

source: poetry.arizona.edu/

Fig: 45

source: poetry.arizona.edu/

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 46

source: poetry.arizona.edu/

Measures were taken to create a space that was inviting to both the academic community and the public. The shaded transition space welcomes visitors to the building while protecting them from direct sun with a series of roof planes that provide a transition from the hot desert climate to the cool air-conditioned interior. “Sky Holes” puncture the roof to further mediate the transition from the bright exterior to the shaded interior. Additionally, a recessed odium, or small performance theater, is situated under this transition space, and is designed to be usable year-round providing shade in the summer and warming sun in the winter The building is oriented so that southern windows are protected by overhangs which allow daylight into the spaces with no direct sun. The west elevation has minimal fenestrations, providing privacy and a barrier from traffic noise, in addition to mitigating direct solar heat gain which reduces demand on the mechanical system. On the east, a “binary wall” shades the building and bamboo garden while celebrating a line from a Richard Shelton poem (“…you shall learn the art of silence.”) with holes punched out in binary code.

Fig: 47

source: www.archdaily.com/.../university-of-arizona-poetry-center

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 48

source: poetry.arizona.edu/

GROUND LEVEL PLAN

Fig: 49

source: poetry.arizona.edu/

Fig: 50

source: www.archdaily.com/.../university-of-arizona-poetry-center

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 51

source: poetry.arizona.edu/

SECTION A, B

Fig: 52

source: poetry.arizona.edu/

Fig: 53

source: www.archdaily.com/.../university-of-arizona-poetry-center

Fig: 54

source: www.archdaily.com/.../university-of-arizona-poetry-center

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

BUK SEOUL MUSEUM OF ART LOCATION: Seoul, South Korea AREA : 17113.0 SQM PROJECT YEAR: 2013 ARCHITECT: SAMOO ARCHITECTS & ENGINEERS

source: www.archdaily.com/.../buk-seoul-museum-of-art

FROM THE ARCHITECT Relatively lacking cultural facilities, the North-eastern part of Seoul required a new cultural space that would provide citizens with equal opportunities to enjoy cultural lives. Reviving the memories of Nowon which used to be a field of reeds, the design team visualized a cultural hill that would harmonize with the gallery park. Like a serene white mass integrated into the hill, Buk Seoul Museum of Art revitalizes the region which is mostly composed of monotonous high-rises apartments and provides a nature-friendly cultural space in which the green flow of the park integrates with the art museum to become a single entity. In particular, diversified circulation patterns create a space of â&#x20AC;&#x2DC;connectivityâ&#x20AC;&#x2122; where various elements of people, nature, and art converge to create new possibilities in communication & collaborations.

Fig: 55

source: www.archdaily.com/.../buk-seoul-museum-of-art

Fig: 56 source: www.archdaily.com/.../buk-seoul-museum-of-art

Fig: 58 Fig: 57 source: www.archdaily.com/.../buk-seoul-museum-of-art source: www.archdaily.com/.../buk-seoulmuseum-of-art

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

SPACE DISTRIBUTION Besides the exhibition galleries which are located on various floors around a central atrium, the basement floor is planned for educational and multipurpose facilities which involve active communication and exchange of ideas with local citizens. On the first floor, library, multimedia facility, exhibition hall for children and teenagers are located for easy access. On the top floors and the rooftop gardens, an outdoor sculpture park is connected directly to the surrounding landscapes to create an extension of the museum into the park

Fig: 60

Fig: 59

source: www.archdaily.com/.../buk-seoul-museum-of-art

Fig: 61

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: www.archdaily.com/.../buk-seoul-museum-of-art

BASEMENT PLAN Education and Multi purpose facilities

Fig: 62

source: www.archdaily.com/.../buk-seoul-museum-of-art

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

GROUND FLOOR PLAN

Fig: 63

source: www.archdaily.com/.../buk-seoul-museum-of-art

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

FIRST FLOOR PLAN

Fig: 64

source: www.archdaily.com/.../buk-seoul-museum-of-art

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

SECOND FLOOR PLAN

Fig: 65

source: www.archdaily.com/.../buk-seoul-museum-of-art

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

NELSON FINE ART CENTRE LOCATION: ARIZONA STATE UNIVERSITY, TEMPE DURATION: 1985/1990 ARCHITECT :ANTOINE PREDOCK

source: www.pinterest.com/pin/175147872978721797/

The design of the arts centre, containing a museum, theater arts and dance departments involved a special attitude toward the desert - much more than simply imposing the building program on the quasi-urban university site. The harsh and relentless desert presence in Arizona is often denied; the prevailing tendency (in terms of development and attitudes toward public architecture) is to convert the desert into a midwestern oasis, to tame the desert

Fig: 66

Fig: 67

source: www.predock.com/NelsonASU/nelson.htm

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

The building defines a journey, a procession; it defines options and potentials rather than particular paths. It is an open matrix of possibilities for engagement both vertically and horizontally. Art galleries extend the procession. They are anchored by exterior terraces for sculpture installations. These terraces are partly shaded by steel-plate trellises. The gallery sequence is open ended; visitors can use the sculpture terraces to explore inside and out, or they can proceed indoors to the large upper gallery, which has the highest ceilings and straddles the main entry.

Fig: 68

source: www.predock.com/NelsonASU/nelson.htm

Fig: 69

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: www.predock.com/NelsonASU/nelson.htm

The poetry of Garcia Lorca describes the desert dualities "sol y sombra." This building acknowledges those aspects of the terrain, both spiritually and physically. Necessary respites from the sun are created by zones of lacy shade, like the patterns palo verde leaves cast on the desert floor. Spiky trellis elements help to cool spaces both cavernous and labyrinthine.

Fig: 70

source: www.predock.com/NelsonASU/nelson.htm

Fig: 71

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: www.predock.com/NelsonASU/nelson.htm

Another journey extends to the sky, via terraces and balconies toward towers that define the west campus entry as a gateway. There is both an ascent and a descent from the middle ground, where the theaters and the theater arts spaces are located. The multiple journeys are possibilities that become trails as each visitor experiences the building.

Fig: 72

Fig: 73 source: www.predock.com/NelsonASU/nelson.htm

source: www.predock.com/NelsonASU/nelson.htm

Fig: 74 source: www.predock.com/NelsonASU/nelson.htm

Fig: 75

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: www.predock.com/NelsonASU/nelson.htm

Table : 3

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-3

PROJECT DETAILS

THE REALMS: The project majorly deals with taking the art of poetry and all the related art fields like painting, sculpting, theater and music to the public, with an aim to generate a certain level of consciousness and intellect in the social fabric of the city. In order to do the same it requires to have a public realm, and educational realm as well as provision of a residential realm for the artist and guests . It shall stands witness to the overlapping ethics, values and attitude of the three realms, and should facilitate for their harmonious existence.

The public realm The residential realm The educational realm

Fig: 76

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Built Elements •

Orientation Centre /information Centre

•

Exhibition Hall with open area for extension

•

interpretation Centre (for various related fields and art forms with poetry)

•

Research and Development unit

•

Library with an archives section

•

Public interaction platform

•

Education Centre and studios

•

Auditorium

•

Residential cottages

•

Recreation of the Mughal gardens and experiential components

•

Recreation of the bazars and local craft activities including market zone and recreational zones with restaurants and cafes.

•

Maintenance and admin block

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Area Program

Table : 4

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Table : 4 (contd.)

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Table : 4 (contd.)

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

The Components Together

BAZAR

BAZAR OTC

AUDI

LIBRARY EXHIBITION SPACE

EXHIBITION SPACE

EDUCATION CENTRE WORKSHOP

WORKSHOP

RESIDENTIAL

Fig: 77

source: Author

RESIDENTIAL

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Inference and Conclusion The journey through the complex has to be a narration of different emotions and experiences all leading to one an other. The complex shall open itself with a porous public realm in the form of a bazar, making the idea of inclusivity prominent at the very beginning. A bazar has always been an ideal example of a cohesive public space hence it needs to have a provision for the informal extension in a certain regulated manner to bring in the complete taste of it. Through the bazar one shall journey into the information cum orientation center. This space shall grow into a built space gradually for the subtle spatial transition to happen, a journey through the open into the semi-open and then the closed. The orientation center will hold the exhibition spaces exhibiting the various art forms in relation with poetry and shall orient the visitor in a particular direction. These exhibits shall then open up into a Oat, available for the public interaction with different artists in the form of talks, poem recitation, ‘kissa goi’ (story telling), music performances, drama etc. The complex has to take a multi axial approach so that the visitor doesn’t walk through one function to another instead wanders and meanders around in the complex with a sense of freedom attached to his/her movement, as freedom is the essence of interpretation. Design has to stay sensitive towards providing the artists with a certain level of exclusivity for their creativity to breath but it shall be done without hampering the inclusive nature of the design, therefore these exclusive spaces have to be accessible but have a character which doesn’t attract a lot of attention. The built has to be intricately weaved with the unbuilt creating a hierarchy of spaces with changing characters to add dynamism to the whole complex. the design has to make sure that it doesn’t remain ocular-centric, instead keep intriguing the various senses of the experiencer. For example: different courts shall have different flowering trees with different fragrances , giving each court a typical smell, The paving textures and materials shall change between different nodes, subtly catering to the sense of touch, Persian water garden use the inverted singing bowls over the running water channels to generate sounds, these sounds change with the changing sizes of the singing bowls, these shall be incorporated in the design along the pedestrian pathways to cater to the sense of hearing. These association are necessary to create in order to generate a set of strong memories and experiences, through the complex. The design should invite the visitor to pause, observe, react, and remember the various experiences through the space. A place full of art and culture and a space embodied with simple yet memorable experiences is ought enhance ones abilities to observe, understand and interpret developing a certain consciousness towards the built environment.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-4

SITE ANALYSIS

Site location : Agra, near Kuchhpura • Site area : 5.5 Hectares • F.A.R.: 100 • Ground coverage: 45% • Height restriction: 7.5 m

site

Fig: 78

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Site Features

Kuchhpura

site

Agra Fort

site

Mahtab Bagh

Taj mahal Fig: 79

•

Site surrounding

source: Author

Fig: 80

Though the city faced a flood situation in 1978, but the site hasn’t had a flood for past 300 years, hence the site is considered to be a safe zone.

Avg. Annual Temp. 32.7 oC

Avg. Annual Temp. 30.1 oC

site

The map shows a bit image of the flood plain of Yamuna in the region. It shows the site to be in a region minimum 3mtrs above the water level.

Approach Roads

source: Author

Avg. Annual Temp. 32.7 oC Fig: 81

source: www.floodmap.net

Flood plane analysis

Fig: 82

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Local Area Climate

Master Plan Agra 20012021 The current mater plan of Agra marks the land as a green area. It is declared as a nazrul land by the Agra Nagar Nigam. A nazrul land is a land owned by the government, which is given on lease till a suitable proposal comes up for it. Currently the land is on an extension lease for agriculture. Next to the site is an urban village (Kachhpura), with a with a building typology of G+1, G+2 and maximum G+3

Fig: 83

source: agra-masterplan.com/

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Historic Background • The current site was once a part of a trail of 44 Mughal gardens. • The streets of Agra had a typical typology of a mixed use with mostly the commercial sector at the ground floors and the residential area on the upper floors. Even today this typology is retained in a lot of old city areas.

Fig: 84 source: INTACH Delhi

Fig: 86 source: INTACH Delhi

Fig: 85 source: INTACH Delhi

• The Yamuna was a major transit route for this region of the city. From the fort these Mughal garden were mostly accessed through the Yamuna.

Fig: 87

source: ‘The Complete Taj Mahal’ by Eba Koch

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 88

source: ‘The Complete Taj Mahal’ by Eba Koch

Site Photos

Fig: 89

Fig: 91

source: Author

Fig: 90

source: Author

Fig: 92

source: Author

Fig: 93

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-5

DESIGN DETERMINANTS

THE MAJOR DETERMINIG FACTORS FOR THE DESIGN:

THE RIVER EDGE

HEIGHT RESTRICTION VISUAL CONNECT TO THE AND THE

TAJ MAHAL

OLD FORT THE HISTORIC BACKGROUND OF THE

MUGHAL GARDENS

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DETERMINANTS FOR THE ZONING: 1) 2) 3) 4) 5) 6)

The street edge demands a porous edge looking on to the road for facilitating the concept of “eyes on street”. Keeping the public realm at the center of the complex in order to lay emphasis on its importance. Keeping the education center close to the auditorium and the library, due to overlapping functional requirements. Keeping green open spaces next to the education center to provide the artists with an option of spilling out in isolation . Keeping the residential area at one end of the site for the ease of servicing as well as the availability of a certain exclusivity. Keeping the river edge open for the public with features like a central OAT, the background of which has the Taj on one side and the Old Fort on the other.

7) Providing a dedicated axis to each realm so that each function can be located easily through the large span of the site.

THE POROUS BAZARA EDGE ALONG THE ROAD

RESIDENTIAL AREA WITH ITS EXCLUSIVE ENTRANCE AND EXIT AUDITORIUM GREEN BUFFER

EDUCATION CENTRE

RIVER EDGE OPEN TO PUBLIC Fig: 94

THE OCT WITH EXHIBITION SPACES FOR DIFFERENT ART FORMS

LIBRARY

PROTECTED GREEN BELT MERGING WITH THE EXISTING PROTECTED FORESTS

EDUCATION CENTRE

RIVER EDGE OPEN TO PUBLIC

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DETERMINANTS FOR THE MOVEMENT THROUGH THE SITE: 1. 2. 3. 4.

The major pedestrian entrance is through the bazar on the edge of the site facing the road. The bazar funnels into the a large public plaza which acts as the major most node of the complex. The public movement brakes into three major axis from the entrance plaza. The central axis gradually drops down towards the river through a series of open courts, kunds and baitthaks . It terminates at an OAT which open to a horizon that beholds the Taj Mahal and the Old Fort. 5. The other two axis lead to the river edge via auditorium and education center on one side and the public library and the workshops on the other side. These two axis are the walk to Purana Qila and the walk to Taj Mahal respectively. 6. The vehicular movement is restricted to the road edge of the site in order to prevent the interference of the vehicles in the site. Though the services have been kept in mind and accordingly the functions have been located.

Fig: 95

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DETERMINANTS FOR THE BUILT: Agra being in the hot and dry zone, the climate does play a major roll in determining the design . The average temperature of the city being approx. 32.7 degrees, an open public space is not much inviting if it doesnâ&#x20AC;&#x2122;t cater to regulating the temperature to a comfortable range. For such big a site temperature regulation has to be mostly passive in order to make the campus sustainable.

site

Agra Fort

The strongest possible winds blow from the north-west during summers, the wind temperature are usually high and hence have to be judiciously utilized in the design. a availability clear sky most time of the year makes solar energy a good medium to use to generate energy.

Mahta b Bagh

Taj mahal Fig: 96

source: Author

The natural site slope towards the river can be and should be taken into consideration while planning the design. Due to the close proximity of the Taj Mahal and the Old Fort, a height restriction of 7.5 m is given, which becomes a major determining factor for the design

Table:5

source: gallivare.se/PageFiles

Fig: 97

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

source: gallivare.se/PageFiles

PART-2: DESIGN TRANSLATION CHAPTER 6: CONCEPT DEVELOPMENT

CHAPTER 7: THE FINAL SCHEME

CHAPTER 8: FINAL DESIGN PORTFOLIO

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

CHAPTER-6

Fig: 98

CONCEPT DEVELOPMENT

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 99

source: Author

Fig: 100

source: Author

•

Fig: 101

BUILDING VOLUMES AND THE OPEN SPACES FOLLOWING THE POETIC METERS. ACTIVE RIVER EDGE INTERACTION SPACES AVAILABLE FOR ITS USE. STREET CHARECTER TO BE INTRODUCED INTO THE BAZAR AREA TO KEEP IT AS CLOSE AS POSSIBLE TO THE ORIGNAL CONCEPTS OF THE BAZARS.

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 103

Fig: 102

source: Author

Fig: 104

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

• BRINGING THE WATER INTO THE SITE IN THE FORM OF WATER CHANNELS, WATER CURTAINS, SMALL SHALLOW WATER BODIESY AND MAINTAING A CONTINIOUS FLOW OF RUNNING WATER INTO THESE ELEMENTS • RESPONDING TO THE HISTORIC CONTEXT OF THE SITE SMALL SCALE REPLICA OF THE MUGHAL GARDENS TO BE INTRODUCED IN THE FORM OF TERRACE GARDENS.

CHAPTER-7

DESIGN DEVELOPMENT

DEVELOPMENT -1 The very first concept was a very intuitive, quick massing. The built was aligned in a radial grid In line with shape of the site. The roofs were to be a series of connected terrace gardens. ISSUES: • The built was not aligned in a suitable orientation with respect to the sun. The longer facades faced the west and the east directions. • A radial grid did not respond to the Mughal context. • There was no sequence of the built and the unbuilt. • A completely porous design faced a challenge of multiple axis points making the circulation to scattered and without a character and system attached to it. • The built was too scattered and covered the whole site. • There were no considerations made for the larger blocks with larger foot print area.

Fig: 105

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

THE GRID: • The major problems in concept-1 came across due to choosing a wrong grid and alignment system. • Hence a grid was fixed onto the site. • A octagonal grid of size 10X10m was taken with smaller fragments of 5X5m. • The grid was then aligned at a 45 degree with a central line through the site, making an approx.. Angle of 20 degrees with the north, giving the built an orientation of northeast: south- west and north-west: south-east.

Fig: 106

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DEVELOPMENT -2 Laid on a 45 degree grid, concept-2 was the first thought of concept. The site was divided into three levels 1. Level â&#x20AC;&#x201C; 3000: this level was majorly the vehicular level with a certain amount of built including some open courts and OAT. 2. Level +900: was the upper ground and the plinth level of most of the built. This was the major pedestrian level. 3. Level +4200: majorly the green terrace area with a certain built block with an upper floor or a double height level. The public built was kept at the road edge and at the center of the site, with the residential and educational wing on each side. ISSUES: â&#x20AC;˘ The major issue of this concept was the level -3000 as the site being at the river edge, sinking a major part of the site was not a very practical step for design.

Lvl. -3000 Fig: 107

source: Author

The bazar edge Residential wing

Educational wing Public wing

The river edge Fig: 108

source: Author

Lvl. +900

Lvl. +4200 Fig: 109

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 110

source: Author

Fig: 111

source: Author

Conceptual sections through the site to represent the open and the built at various levels.

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DEVELOPMENT -3 Learning from the issues above, the design was developed to cater to the natural slope of the site. With the built gradually sloping towards the site. It was the first attempt to introduce a tri-axial design. All three axis leading to the ghats, one was aligned keeping the Taj Mahal in the view, other was aligned keeping the Old fort in the view, the central axis was culminated at the OAT with the river as its backdrop. The central axis was a transition between the open, the built and the open again where as the other two axis were straight open axis with changing hierarchies of the built on either side. ISSUES: • The design still lacked a language, an order and a rhythm. • It appeared to be very fragmented and needed a common connecting factor. • The arrangement of the built was unable to enhance the three major axis.

The walk to Taj

The walk to Old Fort

OAT

Fig: 112

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

Fig: 113

Fig: 114

source: Author

The bazar edge

Residential

educational

public

OAT

River edge Fig: 115

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

DEVELOPMENT -4 The total built up was cut down by 25% and a protected green belt was added in order to introduce the idea of a breathing space in contrast to the neighboring urban village of Kuchhpura. The tri-axis were retained but the residential and the educational wings were flipped in order to provide the educational wing with a larger green area to maintain a certain level of peace and isolation around the areas like the library and the poet center. This green zone was developed as a mystical forest with some human interference in the form of sculptors, installation arts and other art pieces at certain intervals. The bazar edge was converted into a semi covered colonnaded bazar with its edge opening onto the road (the â&#x20AC;&#x153;baramdahâ&#x20AC;? concept).

Fig: 116

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

ISSUES: • The central covered exhibition space with a boulevard on top seemed to be an unnecessary design input, where the pedestrian has to climb up a floor to travel through the garden on top and have a view to the Yamuna. • In order to provide each residential cottage with a personal open space the residential wing became too scattered. • The open area on both the sides of the central exhibition space became a secondary transit route with no specific activity attached to it, increasing its chances of becoming a dead zone.

Fig: 117

source: Author

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

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THE FINAL DESIGN HAS TO BE AN EMALGATION OF THE ABOVE DEVELOPMENTS AND HAS TO LOOK FORWARD TO FINDING THE SOLUTIONS FOR THE LISTED ISSUES.

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CHAPTER-8

FINAL DESIGN PORTFOLIIO

DEVELOPMENT -5 The final design was developed keeping in mind all the short comings of the previous designs.

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LIBRARY BLOCK

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TERRACE PLAN

GROUND FLOOR PLAN

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LIBRARY ELEVATION

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LIBRARY SECTION

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RESIDENTIAL BLOCK

MARKAZ-E-SHAOOR - ARCHITECTURAL THESIS 2016

AUDITORIUM BLOCK

GROUND FLOOR PLAN Fig: 133

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ROOF PLAN

FIRST FLOOR PLAN Fig: 134

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AUDITORIUM SECTION

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AUDITORIUM ELEVATION Fig: 137

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EDUCATION BLOCK

GROUND FLOOR PLAN Fig: 138

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FIRST FLOOR PLAN Fig: 139

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EDUCATION BLOCK ELEVATION

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EDUCATION BLOCK SECTION

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JURY COMMENTS

Though the time to allotted to explain the whole design to the external jury was very limited (12 min.) still the jurors were able to grasp the crux of the project with the help of the model and the site plan. The discussion did not go into a lot of detail apart from a few things related to the elevations, design determinants, library block and the Ghat Overall the jury was satisfied with the effort made. One of the jurors did have a different take on the way the Ghat was designed but seemed satisfied with the explanation for why it was design in that particular manner.

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BIBLIOGRAPHY

• Lehman, M. L., 2010. sensingarchitecture.com. [Online] Available at: http://sensingarchitecture.com/1328/what-is-the-role-of-human-memory-in-architecture/ [Accessed 28 jan 2016]. • Levin, D. M., 1993. Modernity and the Hegemony of Viision. California: unversity of California press. • Karen A. Franck, T. v. S. H., 2010. Design through Dialogue. s.l.:John Wiley and Sons publication. • botton, A. D., 2007. The Architecture of happeness. second ed. London: Penguin Books Ltd.. • Calvina, I., 1972. Invisible Cities. Italy: Giulio Einaudi Editore. • Finch, B. J. a. A., 2005. www.poets.org. [Online] Available at: www.poets.org/poetsorg/text/walking-poems-buildings-poetry-and-architecture-collaboration [Accessed december 2015]. • Koch, E., 2006. The Complete Taj Mahal. s.l.:s.n. • Pallasama, J., 1996. The Eyes of the Skin. s.l.:s.n. • Zumthor, P., 2009. Thinking Architecture. s.l.:s.n.

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