15ARC10.1 ARCHITECTURAL DESIGN PROJECT THESIS 2019-2020
INDO FRENCH KALATHÉQUE
THESIS REPORT JUNE 2020 A project report submitted in partial fulfilment of the requirements for the degree of BACHELOR OF ARCHITECTURE (B.ARCH.)
by SHABNAM A K
R V College of Architecture
(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109 JANUARY- JUNE 2020
R V College of Architecture
(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109
DECLARATION
I, SHABNAM A K, USN , 1RW15AT087 hereby declare that the Thesis Titled INDOFRENCH KALATHÉQUE submitted by me, in partial fulfilment of the requirement for the award of Degree of Bachelor of Architecture as per the university norms, to R V COLLEGE OF ARCHITECTURE, BENGALURU, is a record of my original work with credits given for information collected from any other source.
SHABNAM A K
R V College of Architecture
(Affiliated to Visvesvaraya Technological University, Belagavi) Site CA-1, Banashankari 6th Stage, 4th Block, Near Chikagowdanapalya Village, Off Vajarahalli Main Road, Bengaluru, Karnataka 560109
CERTIFICATE This is to certify that the thesis project entitled INDO - FRENCH KALATHÉQUE is a bonafide work carried out by SHABNAM A K, 1RW15AT087 towards partial fulfilment of the requirements for the Degree of Bachelor of Architecture JANUARY TO JUNE 2020. We recommend that the thesis be placed before the examiners for their consideration for the award of Bachelor of Architecture Degree.
GUIDES: Ar. Bakul Jani
Dr. OM PRAKASH BAWANE Principal R V College of Architecture BENGALURU
Ar. Seema Anand Ar. Sundeep Nagaraj Ar. Vagish Naganur
EXAMINERS: SIGNATURE DATE
INTERNAL
EXTERNAL 1
EXTERNAL 2
Acknowledgements To my parents who sat through the endless chaayas and procrastination, to my friends who made this tireless journey fun, mentors who did their best through zoom calls and that anna who helped gather information from this site I hadn’t much access to, I dedicate this thesis. Here goes my thesis in the time that has been mentioned too much.... *drumroll* Corona time.
designing an Tamil - Franco cultural center through adaptive reuse of an old port in Pondicherry
TA B L E
OF
C NTENTS
Chapter 1 Introduction to the project Chapter 2 Methodology Chapter 3 Typology & Case studies
Alembic Industrial Heritage and Re-Development, Baroda Cinnamon, Bangalore Transport Museum, Budapest Moderna Museet Malmรถ, Sweden Bharat Bhavan, Bhopal
Chapter 4 Standards and general systems
Auditorium Amphitheatre Music, Dance, Drama/Theatre studios Art gallery Library
Chapter 5 Background study
History of Pondicherry City planning Social division, culture & events Landmarks History of port
Chapter 6 Program development Chapter 7 Adaptive reuse study Chapter 8 Site & contextual analysis Chapter 9 Design development Program zoning Spatial organisation Adaptive reuse strategies Volumetric explorations Design drawings 3d visualizations
Chapter 10 Bibliography & references
Chapter 1 Introduction to the project Pondicherry is a melting pot of rich cultural heritage, a free-spirited seaside town where all Tamilians aren’t Indians and just not all foreigners are tourists! The city owes its eccentric character to its colonial history of Portuguese, Dane, Dutch and most importantly, French rule. Pondicherry has an interesting cross-cultural history and its architecture gives it a unique identity. The old town of Pondicherry is a showcase of the two distinct architectural styles - French and Tamil and the hybrid Franco-Tamil. The French quarter has buildings inspired by the European classical style whereas the buildings in the Tamil quarter are in the vernacular style of Tamil Nadu. The city also has a spiritual side to it owing to the experimental town of Auroville and presence of ashram. The topic of sustainability is at the forefront of current international discussions. The rising importance placed on green practices has been prompted by the rapid depletion of natural resources, and the increased human interference in the natural climatic balance. Some of the available statistics indicate that the construction and operation of the built environment accounts for: 12-16 % of fresh water consumption; 25% of wood harvested; 30-40 % of energy consumption; 40% of virgin materials extracted and 20-30% of greenhouse emissions. Meanwhile, within Auroville, several research institutes are continuously working on innovative processes to reduce energy and water use by modifying and integrating new and existing technologies. Unique experimentations in design, technology and symbolism, and an integration of architecture with nature have been the hallmark of Auroville architecture. Some cities have, unfortunately, decided to adopt a “newer is better” mindset, causing them to discard perfectly fine, usable resources in order to “upgrade”. This thinking has caused major issues for our environment and will continue to do so until we are able to see value in materials as they age. Adaptive reuse is a great example of how individuals can prove to the larger group that there are creative options for recycling, reusing, and repurposing already existing resources. Adaptive reuse is the process of converting obsolete uses, while maintaining elements of the original design and structure. This technique preserves the character of
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buildings
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Architectural Thesis 2020 | Shabnam A K
A view of the proposed design time and place, while accommodating changes in demand, technology, tastes, and uses. How do we as architects accomodate a function into an architectural complex not at all built for it? What do we do with wastelands, defunct factories, industries in urban areas grappling for space and land? What can be done with dead large industrial complexes, precious land they occupy, the memory and their history we don’t wish to lose? Project description With this project I aim to design an Indo-French cultural hub in Pondicherry, providing an international platform for Tamil and French cultures, by adaptive reuse of an old port at close proximity to the rich context of White town. Create spaces that cater to the varied art forms, events and festivals that dot the Pondicherian calender. Aim & Objective With this thesis I would like to explore industrial heritage and the process of adaptive reuse by reinvigorating a decaying structure in response to contemporary demands. With the cities growing into urban culture, the need for the growth of a cultural complex and public spaces in the corporate city is often ignored. Therefore, the emphasis is to establish the link between the city and the cultural complex. Also, to generate the new landmark for Pondicherry and to create a holistic environment for learning, teaching and performing arts and spaces. The protection of the cultural heritage should also preserve the particularly sensitive cultural memory, the growing cultural diversity and the economic basis of a state, a municipality or a region. The program is envisioned keeping the aspiration of the union territory of Puducherry seeking for a UNESCO Heritage city tag. Location justification The site is an abandoned old port built in mid 1900s. Nine acres of land lay unused, owned by the port department.It is situated in the strong context of the old part of town, lying sandwiched between a slum colony on its south and white town on the north side. Existing structures on the site include six warehouses, a pier and a defunct railway track passing through the center of the site. The Puducherry Smart city board has proposed for an ‘Urban entertainment village’ in the same site. Shabnam A K | Architectural Thesis 2020
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Chapter 2 Methodology
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Architectural Thesis 2020 | Shabnam A K
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Chapter 3 Typology Study & Case studies I. Alembic Industrial Heritage and Re-Development, Baroda
The Alembic factory is located in the middle of the cityi and along the main railway line of the city of Baroda. In its 112th year of existence, the first-ever Alembic industrial building in Vadodara has seen multiple surgical interventions. Starting from manufacturing penicillin to alcohol. The space within is meant to serve the Alembic Museum, art studios, display and exhibition space with ancillary spaces for a library, AV room, and a cafĂŠ.
Before renovation
The architectural purpose was to approach this as a sculpture is to maintain the true spirit of the building in terms of materials and the physical quality of the space. The only new architectural elements are new partition walls in between studio spaces. The existing building is characterized by arches, which have been blocked. We are opening up as many arches considering the structure of it. The thickness of the main load-bearing walls averages at 0.45m and provides the interior with excellent insulation.
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Architectural Thesis 2020 | Shabnam A K
Typology study Alembic Industrial Heritage and Re-Development, Baroda
They will be using either sandblasting or water jet treatment in order to remove the plaster from the brick. In many areas, the plaster is already peeling off and would like to continue with the same. Another major architectural element is the design of the roof. The trusses are riveted as opposed to being welded.
Programmatic diagram
Many of the trusses were in great condition. Only a handful of the trusses required strengthening. The existing exterior roof material is of Mangalore tiles. These terracotta tiles are battered and have to be removed. New Mangalore tiles installed with added insulation above the top-chord of the truss. They are very keen to leave the purlins and rafters exposed to express the quality of the structure that it once was. The re-development of the industrial area will see major interventions in other parts of the campus. Shabnam A K | Architectural Thesis 2020
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II. Cinnamon, Bangalore
1892
During the Great Famine 1876-78, the miserable condition of the orphans prompted Rai Bahadur Arcot Narrainswamy Mudaliar to set up an orphanage.The foundation stone for the orphanage was laid on 23rd November 1892. He offered to support 40 to 50 orphans and secure the lives of these children. They were fed and clothed in the orphanage.
1892
Now known as Cinnamon, offers beautiful prêt clothing and home decor. It houses one of the finest Indian design labels such as Pero, Aavaran, Vivek Narang and Eko to name a few. As a boutique this has taken it one step forward, turning its beautiful courtyard as a gateway to a bunch of other boutiques it hosts. At the heart of the courtyard is Cafe Cassia.
Over the years due to various occurrences, the structure has been affected: • Accumulation of dry leaves and seeds from the surrounding trees etc along with rain water getting blocked due to choking of the rain water spouts. • Growth of moss & seeds & dust / soil particles / lime particles from the waterproof top layers etc lead to germination of peepal tree, in the cracks of these layers. With the growth of the tree, the roof started splitting. • Ingress of water & moisture into the walls softened the mud mortar and the walls. • The wooden beams and rafters in touch with the moisture started rotting, especially in the joints to the wall. This also led to the bending of wood, thus decreasing the support the roof. • The soil condition had repercussions over the 120 years, firstly the soil due to extreme clay content is prone to textural slippage and also more prone to expansion and contraction of volume due to change in sub soil moisture. The foundation was fractured and the corners of the building began separating from the main body elevations of the building. 7
Architectural Thesis 2020 | Shabnam A K
Typology study Cinnamon, Banaglore
In response to the multitude of factors affecting the structure various steps were taken. Some of the important ones to note were: • • • • • • • • • • •
Underpinning of foundation Stitching wall cracks with steel Bridging wall cracks with stone slabs Grouting of cracks Replacement of rafters that were considerably damaged by identifying each and every element in the roof structure Capping of damaged ends of beams and rafter Working out a steel prop system to uphold the major roof support elements (such as the main wooden beams). Removal of plaster and waterproofing layer, to touch up in same material / mix as original for the exterior in order to prevent entry of moisture to the mud mortar within the wall courses Gravity lime grouting of all cracks in the madras terrace slabs and additional SS layer lime plaster across such conditions above. Reworking of all rain water down take spouts and all valleys & ridges on the roof surface Maintaining all ornamental features, as per original design.
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Typology study Cinnamon, Bangalore
• Steel prop system to support the main wooden beams.
• Exposed brick work at junctions to enhance the essence of the old structure.
• Exposed steel stitches to strengthen the cracks
• Braided wires for the exposed service system
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Architectural Thesis 2020 | Shabnam A K
III. Transport Museum, Budapest
As the new home for one of the oldest transport museums in Europe, the proposed project will be sited in a former railway yard, using the idea of ground transportation as a central organizing principle. The design de-familiarizes ground by excavating, lifting, and cutting to produce unexpected environments. DS+R will be working with Hungarian partner Teampannon to bring the new Transport Museum to life. The project aims to preserve the historic structures while reviving them for community use. The site’s vast footprint, unique spatial organization and impressive industrial monuments all present a unique opportunity to have a great impact on the city. The design aims to showcase the beauty of this historic site with modern means and contemporary architectural concepts.
The Museum of Transport previously left its former home in Varosliget, and the government of Hungary decided to relocate the museum to a seven hectare area located in a Kőbánya, a former industrial area in Budapest. The design features a new Forecourt that will include outdoor galleries, a picnic area, bosques, a café, a children’s playground, and outdoor spaces for the community use of the Törekvés Cultural Center. The museum’s collection will also spill out into the Forecourt: locomotives and carriages will be displayed in a series of breakout vitrines at the western facade of the Gallery Hall, blurring the line between the museum and the public realm.
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IV. Moderna Museet Malmรถ, Sweden
1901
2009
A starting point was that a new art museum, a public and cultural building, represents a rare opportunity to create a new node within the city, the urban balance is changed and the neighborhood develops. In Malmรถ, in the south of Sweden, there was also the possibility to, starting from the industrial architecture of the former Electricity plant dating from the year 1900, create a new art museum with an informal and experimental character that would complement the main museum in Stockholm. The greatest challenge posed by the project was the need to adapt the existing industrial brick building to current climatic and security requirements to comply with the highest international standards for art exhibition spaces. It soon became clear that in reality what was needed was a building within a building, a contemporary addition within the existing shell. This radical reconstruction not only provided a challenge, but also gave the opportunity for something new. Original Purpose
Electricity Plant Building(John Smedberg) New Purpose
Museum 2009(Tham & Videgรฅrd Arkitekter)
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Architectural Thesis 2020 | Shabnam A K
Typology study Moderna Museet Malmรถ, Sweden
Seen from the exterior a new extension marks the arrival of the new museum. The extension provides a new entrance and reception space, as well as a cafeteria and a new upper gallery. Its perforated orange faรงade both connects to the existing brick architecture and introduces a contemporary element to the neighbourhood. The perforated surface gives the faรงade a visual depth, and is animated through the dynamic shadow patterns which it creates. The ground floor is fully glazed so that sunlight is screened through the perforated faรงade.
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V. Bharat Bhavan, Bhopal
Overview Designed by Indian architectural luminary Charles Correa, this multi-arts center first opened its doors in 1982. More than thirty years later, it continues to house a variety of cultural facilities and play host to multitude of arts events. The design of the complex is a product of Correa’s mission to establish a modern architectural style specific to India and distinct from European Modernism. Drawing on the plentiful source material provided by the rich architectural heritage of his home country, at Bharat Bhavan Correa produced a building for the modern era which manages to also remain firmly rooted in the vernacular traditions of India’s past.
Program requirements: Permanent museum, Open air amphitheatre Restaurant Store Special exhibition area Library Toilet
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Green room Indoor theatre Auditorium Workshop Office. Workshop studio Ticket counter
Architectural Thesis 2020 | Shabnam A K
Typology study Bharat Bhavan, Bhopal
Circulation
Spatial organisation
The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. The dialogue between these two components creates an ebb and flow of energy around the complex, in what Correa described as a “Ritualistic Pathway”.
It has a series of terrace gardens which cascade down till the lake. The visitors enter at the highest level and walk down the pedestrian spin, flanked by a pattern of courtyards in order to reach different parts of the complex. It houses an art gallery, fine arts workshop, an oat, a studio theatre, an auditorium, amuseum of tribal and folk art, libraries of Indian poetry, classical as well as folk music.
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Chapter 4 Standards and general systems AUDITORIUM DESIGN REQUIREMENTS
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Architectural Thesis 2020 | Shabnam A K
Standards and building systems Auditorium, Amphitheatre, Art Gallery, Design, dance and drama studio
AMPHITHEATRE DESIGN REQUIREMENTS
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DANCE STUDIO REQUIREMENTS As per NDTA- National dance teachers association, UK are as follows. All form of dance including indian dances are included in this: 1. Floor area • The amount of floor area required depends upon three factors: • Number of participants taking part in activities • It would be unwise to allow more than 18 participants at one time • A useful rule of thumb is provide a minimum of three square metre for each participant of primary school age and five square metres for those in the secondary and tertiary age range. • Studios have been built with variety of shapes, ovals, circular with curving walls. Such spaces have limitations; for many dance activities it is necessary to be able to locate front and for this reason rectangular space is most useful • 10m x 9m is the minimum size, providing space for eighteen adults to take part in any dance type and providing appropriate dimensions for chorographic work without a feeling of being cramped. 2. Vestibule •
A space of 6-12 sqm within the dance studio but separated from the dance studio floor and act as entrance via entrance of the studio. • It accommodates space for any musical instrument device, visitor space and locker space. 3. Studio height • The height of the studio relates to the circulation of the fresh air and to the opportunity to jump and lift. • A plentiful supply of fresh air is necessary for the dancer to replenish energy quickly. But beyond the physiological need the dancer performs best with a sense of being able to expand into space. • Physically it is important to have a headroom so that the dancer never feels inhibited in achieving height. The opportunity for one 17
dancer to stand on the shoulders of another and raise his/her arms in the air, makes a height of atleast 3.5m ideal. This height gives an appropriate sense of spaciousness. 4. Sound • It is important that sound accompaniment is heard properly and with clarity within the studio but it is essential that it does not contaminate adjoining the workspaces. • Sound insulation is a primary structural consideration. Cavity walls are invaluable and these may have baffling material enclosed or on the surface. Inner and outer doors should be close-fitting and solid, with spring closures, and the space between such doors needs to be properly baffled. • Within the space excessive reverberation from hard surfaces needs to be avoided. Partial walls curtaining has acoustics as well as aesthetic value. 5. Interior design A complete wall of mirror up to the height of 2200mm, in which all participants can easily observe the dance image, is ideal. Mirror should have curtaining which is independent of other curtaining, to cover them. 6. Floor surface • The floor area is most important attribute for the dancer. Every step and jump is responded to by the quality of the floor underfoot. Every dancer step or jump on an unyielding surface wears down the resilience of the body and brings the risk of injury, and the prospect of long term damage, closer. • The ideal is a fully sprung floor permanently laid and exclusively used for the purpose of dancing. • Smooth wooden floor is suitable for barefoot dancing. Adequate steps should be taken to eliminate the introduction of grit on the floor as this will cause damage to the surface.
Architectural Thesis 2020 | Shabnam A K
MUSIC STUDIO REQUIREMENTS
DRAMA STUDIO REQUIREMENTS
The requirements of a music studio is similar to that of dance studio. The music studio classroom needs better acoustics and sound insulation though. The requirements for good rehearsal facilities are: • Good sound insulation • Sufficient amount of absorption • Special requirements for the instruments need to be met like floor and reflecting wall etc • Other environmental controls are needed (ventilation, lightning, temperature)
As per time savers standard, a large drama studio is generally divided into 3 parts:
1. Acoustics • Suitable reverberation time for music rehearsals ranges between 0.6 and 1 second. There are two ways to reduce the reverberation time of a room: either the sound absorption must be decreased or the volume must be decreased. Increasing the sound absorption in a classroom is generally easier to achieve than reduction in volume. • Small music room vary in size and accommodate diverse group ranging from a solo instrumentalist to small music ensembles. Louder instruments need larger rooms. As music students can spend up to 40 hours per week in music practise and rehearsal rooms, these rooms are very important in the daily activity in the music. • Although rooms with non parallel walls, flooring and ceiling are preferred for music rooms, to maximise the utilization of the available space, the rooms are normally designed rectangular in size with floors and ceiling perpendicular to walls. Curved walls are not recommended for small rooms to avoid focussing and undesirable effects. • By controlling the ambient echoes in your music room, you deliver back superior sound quality. Acoustic panels, wall or ceiling mounted, can be introduced in the music studio for the purposes of capturing and converting the echoes from your room. Whether your music room is for teaching, recording or performing, the acoustics inside the room will reach premium quality once the level of reverberation is under control.
Shabnam A K | Architectural Thesis 2020
• A raised platform acting as a stage • Some fixed sitting on an inclined floor accommodating about 30 students, with chairs equipped with movable table arms. Within some individual teaching practises the area might be preferred with a flat floor with movable chairs • A flat floor area between the two which acts as the playing area for rehearsal, demonstration etc. the total length of the room in this case is about 20m. For practical reasons these large studios are also used for performances for small scale production. • A drama studio needs a working space of 120–150m², with an area for performance of about 90m² • The shape of the room isn’t essential, but it must be possible to vary the shape within the volume which can be achieved by curtains suspended on tracking • the design should provide at least one exit to the open air; two may be needed to meet health and safety requirements • The studio requires green room or dressing room in all cases along with the storage for props and costumes. • The stage depth should be at least 4m and height over it more than usual classroom height. • For smaller studios the seating area is omitted. The studio requires green room or dressing room in all cases along with the storage for props and costumes.
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LIBRARY REQUIREMENTS
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Architectural Thesis 2020 | Shabnam A K
DRAWING STUDIO REQUIREMENTS
ART GALLERY REQUIREMENTS • An art museum or art gallery is a building or space for the exhibition of art, usually visual art. • To show the art and painting, institution should provide protection against damp, sunlight and dust. • Exhibits should be displayed in such a way which allows the public to view them without effort. • The normal human angle of vision starts from 27 degree up from eye level • For a standing person, pictures should be hung 10m away with the top not more than 4.90m • above eye level and the bottom about 70cm below.
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Chapter 5 Background study I. HISTORY OF PONDICHERRY
TIMELINE OF PONDICHERRY’S HISTORY
Pondicherry is one of the historical cities of India. As a matter of fact, it is much older than some of the other historical cities of India such as Shahjahanabad and Jaipur. However, the notable difference between them is that unlike these historic cities, Pondicherry was a port city, and it was colonial.It boasts of an extremely fascinating and dynamic timeline, scattered with remnants of what is a long period of shifty reign. The Tamilians who were native to this small oval-shaped patch of land of about 20 square kilometres experienced a major change in their economy, society, and culture as the Dutch traders set foot in the city in the early 1600s.
Portuguese set up a factory
Phulchery (Mughal records)
Pallava dynasty
Pandya dynasty
Chola dynasty
Sultanate of Bijapur
Vijayanagara empire
Source : Pondicherry, that was Once French India by RaphaĂŤl Malangin
Puducheria
Danes setup factory
Dutch buy textiles
Dutch rule
Podechery (Dutch map)
French rule
First French settlement
Poelisjeri
Pre-colonial history
A weaving and fishing village before Dutch arrived 21
Architectural Thesis 2020 | Shabnam A K
Background study History
Fort Louis in present day Puducherry was constructed around the year 1709. It was built on the French plan. The fort was designed by an engineer, de Nyon, and had a pentagonal shape. It boasted five bastions and a couple of gates and had underground chambers to store arms, ammunitions and other commodities.
Source : Pondicherry, that was Once French India by RaphaĂŤl Malangin
Pondicheri
Town razed to ground
British rule
French rule
British rule
French rule
Town reconstructed
French rule
Shabnam A K | Architectural Thesis 2020
British rule
French rule
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Background study City planning
L A N D U S E
E V O L U T I O N
City Planning
2.1694 Design of a large new town, with a very regular geometric layout, rectangular blocks of houses, seperated by staright streets, intersecting at right angles.
Since the beginning of time, the French town has a noteworthy geographical feature- a canal cutting right through the site of habitable land which makes up the city of Pondicherry. This fact is worth remembering because it plays an enormous role in the planning of the historical city. As it gained reputation for trade, it turned into an important port city. Traders from lands far and wide crossed the great waters and banked upon the mighty and highly temperamental tides along the rocky seashore of Pondicherry. The number of merchants escalated quickly, and soon there was a need for foreign colonies on the Indian Territory. Although the traders wanted to expand business prospects in the local markets, they wanted their families to stay safely away from the native population while inside the city. Hence, the role of the previously mentioned canal came into play. As it ran essentially parallel to the coast, the colonial settlement happened strictly in the portion of land enclosed by the sea on one side and the canal on the other. The native Tamil population was, resultantly, pushed to the other side of the canal. As time advanced, this canal got established as a strict line of control in the city, with occasional connections between the two parts. The disparity between the lifestyles of the two almost-halves of the same city was astounding! It is as if the canal is not a geographical feature dividing a city into two, but a thin line of connection between two parts of the world, extremely opposite in every respect.
1.Before Dutch arrived Primarily, a weaving and fishing village.
3.1705 French executed Dutch plan.
old
The grand canal French town Orthogonal pattern of streets Beach promenade
4.1880 Grid pattern proposed by Dutch in 1694 according to prevailing caste system.
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PUBLIC
RESIDENTIAL
COMMERCIAL
AGRICULTURE
Tamil quarter
SITE
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Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
The Social Division, Culture and Events The fortified town, planned on a grid pattern in oval shape, encompasses two different partsTamil and French, divided by the canal. The Tamil town in turn has an intimate fabric of Hindu, Christian and Muslim quarters. The French town has structures in the European classical style comparable to the Parisian villas of the “Hotel particular” (urban upper middle class in France) while the buildings in the Tamil have a strong vernacular influence of surrounding Tamil Nadu. The two contrasting styles, existing side by side, have influenced each other, resulting sometimes in a unique blend of European and Tamil architectural patterns, reflecting the crossculture impact and giving the built from a certain “Pondicherry-ness.”
F R E N C H
Q U A R T E R
HINDU
TA M I L CHRISTIAN
FRENCH
MUSLIM
SITE
T A M I L
Q U A R T E R
The French quarter has buildings inspired by the European classical style.In French quarter each building with different design – the interior of the building with its colonade, portico, porch and garden made with total privacy from the street outside.
In contrast, the Tamil houses can be said to be ‘extrovert’ with their verandas (thalvaram) with sitting platforms (thinnai) opening on to the street, welcoming neighbors and passes by for a chat or visit.
French houses one can say are more “introvert” the massive gate being the connection between the inside and outside.
While the entrance verandas are very welcomed, they also preserve the privacy of the inner house as only family and close friends are allowed inside.
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Background study The Social Division, Culture and events
Example of French colonial house Source : INTACH
During the times when Pondicherry was rebuild neoclassicism was the popular building style in France. This style was also adopted in the colonies, often with a few minor adaptations to the local climate. Nearly all colonial buildings in Puducherry have been built in this style.
S T Y L E
E L E M E N T S
The most recognizable feature of classical buildings is the use of simple geometric forms such as triangles, squares and circles. Neoclassical buildings use the same forms, trying to mimic the ancient buildings. An example of the use of triangles is the pediment, the triangle on top of the entrance.
The Pantheon is from the classical times (built around 110AD), the plans for the capitol building are from 1793 and the Ayi Mandapam was constructed during the reign of Napoleon III (1852-1870). Both show typical pediment, pillars to support the structure and an entablature (the horizontal band on top of the pillars). The second vital style element is symmetry. 25
Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Besides these two vital style elements, there are a number of other elements that can be observed in Puducherry. The streetscape in the Ville Blanche is characterized by INTACH (2004) as following:“...continuous wall to wall construction, full or partial street frontage, high garden walls, elaborate gateways, and solid walls divided into smaller panels by the use of verticals (pilasters) and horizontals (cornices). These street façades are usually plain and austere, enhancing the effect of the straight and perpendicular grid plan of the town. The exterior wall panels feature flat or segmental arched windows with bands and louvred wooden shutters. In the case of two storied buildings wooden balconies supported on wrought iron brackets are common. The building composition is completed by a continuous parapet usually decorated with loopholes or terracotta pot balusters, or curved. In the case of important buildings decorative features and end ornaments are commonly used.” One last style element is the colour of the buildings, many buildings are painted bright white but others are painted in creamy yellow, terracotta or other mild colours. TAMIL-FRANCO STYLE Some buildings in the Ville Noire are influenced by the building style of the French, they employ a number of style elements, while still maintaining their typical Tamil looks. These buildings are often quite large and appear to have been owned by upper-caste Tamils. Normally the ground floor of these buildings is traditionally Tamil with a veranda connected with the verandas of adjacent buildings. The Tamil people spent many hours on these verandas, chatting with acquaintances, observing street life and the men of the house tended to sleep on them at night. The first floor has some neoclassical style elements, such as pillars, louvred wooden shutters before large windows or a parapet. Unlike the buildings in the Ville Blanche, the creators of Franco-Tamil buildings did not care about style conventions and only adopted those style elements they appreciated. Shabnam A K | Architectural Thesis 2020
A prominent citizen’s house in the ‘black’ township in late 19th century Source : INTACH
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Background study The Social Division, Culture and events
Tamil and French style windows
There are over hundreds of heritage building in Pondicherry, in which many variety of doors & windows can be seen. In French quarter gates & doors are of different designs and no two gates & doors are exactly the same, whereas most French windows are similar and elaborate size however with individual variations. They are made of bricks. In Tamil quarter doors are similar, but windows are different. Windows placed near thinnai & door, are mostly flat with teak wood frames set into the walls.Tamil windows particuarly francotamil windows feature many beautiful ornamental plaster decorations. This edition is intended in illustrating such windows of Pondicherry. Source : PondyDoorways
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Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Tamil and French style doors
Door are similar to windows – featuring high and arched or flat with bands, splayed jambs with masonry rebate and louvered or paneled wooden leaves. Some doors have a second operable shutter with canework that cuts off vision and ensures privacy while allowing enough light and ventilation. Doors are fixed by hinges directly from the wall and fastened by long brass or wrought iron bolts. Strong crossbolts and in some cases hotels in the jambs are provided to accommodate wooden cross bars for secure closing. Entrance doors are finely carved and the elaborate frames are made of many layers of wood. The shutters are thick and often of two pieces – the front one with carved cut-out and the rear one just plain. The doors are fixed to the frames by iron hinges. There is a surprising consistency in the carving pattern of these doors. The relief on top the door frame has symbols pertaining to the community of the owner. Source : PondyDoorways
Shabnam A K | Architectural Thesis 2020
28
Background study The Social Division, Culture and events
Streetscapes of Pondicherry
Tamil and French streetscapes Source : INTACH, Pondicherry
The French streets are usually characterized by continuous wall to wall construction, full or partial street frontage, high garden walls, elaborate gateways, and solid walls divided into smaller panels by the use of verticals (pilaster) and horizontals (cornices). These street facades are usually plain and austere, enhancing the effect of the straight and perpendicular grid plan of the town. The exterior wall panels feature flat or segmental arched windows with bands and louvred wooden shutters. In the case of two storied buildings wooden balconies supported on wrought iron brackets and common. The composition is completed by a continuous parapet usually decorated with loopholes or terracotta pot baluster, or curved. In the case of important building decorative features and end ornaments are commonly used.
The Tamil streets are mainly characterized by the thalvaram (Street verandah with platform and lean-to-roof over wooden posts) – a social extension of the house – and a thinnai (semipublic verandah space with masonry benches for visitors). These talking streets, so called because of their intimate scale and interactive nature, are typical of the vernacular Tamil architecture (also to be found in Kumbakonam, Tanjore, Chidambaram, Srirangam, Mylapore), and the entire street stretch is homogenous because of the use of connecting elements like lean-to-roofs, cornices (horizontals), pilasters or engaged columns (verticals) and ornamental parapets. These Tamil building usually feature a combination of flat and pitched roofs.
Source: INTACH, Pondicherry
29
Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Clockwise from top: Kalatheeswaran Koil Street, Calve Suppraya Chetty Street, Rue Cazy, Lal Bahadur Shastri Street, Rue Mahatma Gandhi, Rue Nidarajapayer, Rue Francois Martin & Goubert Avenue.
The houses on Tamil streets are vibrantly coloured with primary shades while the French streets have greys, yellows and pastel shades. Buildings owned by the Ashram are usually painted grey.
Shabnam A K | Architectural Thesis 2020
30
Background study The Social Division, Culture and events
Timeline of events and festivals
• •
PONDY HERITAGE FESTIVAL INTERNATIONAL YOGA FEST
JANUARY FEBRUARY MARCH
• • •
HERITAGE VEHICLE FEST PHF BIRTH ANNIVERSAY OF MOTHER IN THE AUROBINDO ASHRAM
APRIL MAY
•
JUNE
MASIMAGAM
JULY AUGUST
•
BASTILLE DAY
•
VEERMAPATTINAM CAR FESTIVAL
SEPTEMBER
•
OCTOBER
FRANCOPHONE FEST
NOVEMBER DECEMBER
31
Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Pondicherry heritage festival Jan - Feb
Now in its fifth year, the Pondicherry Heritage Festival continues to celebrate the singular character of this extraordinary town and its environs. Originally conceived as a way of drawing attention to the need to conserve Pondicherry’s outstanding architectural legacy, the festival has expanded its scope to embrace all manner of intangible traditions. We boast a diverse built environment, an idyllic seaside natural setting, a rich spiritual and intellectual history, and fascinating combination of indigenous and imported cultural practices. It is the interplay of these factors that gives Pondicherry its distinctive flavour. • Heritage • Environment • Spiritual / intellectual history • Indegenous / imported cultural practicesv
Shabnam A K | Architectural Thesis 2020
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Background study The Social Division, Culture and events
Veerampattinam car festival August
Veerampattinam village has the history of over 1000 years and is famous for Car Festival celebrated here on the occasion of the six weeks long village temple (Sri Sengazhuneer Amman Temple) festival since the date immemorial. It attracts thousands of people from far and near. Veerampattinam is also famous for Masi Magam (gathering of several deities in front of beach) which is held in February/March of every year. Francophone festival March
This festival features performing arts ranging across theatre, dance, music and elements of circus. The festival takes after the “Les Francophonies en Limousin”, an annual event in Limoges, France, for over three decades that has been bringing together artists sharing their theatrical practice in French-speaking countries. Masimagam festival March
Every year on a full moon day in Maasi- between February and March- the streets bordering Pondicherry’s shoreline turn into an explosion of colour, chatter, religious fervour and a sea of humanity. Deities from temples all around Pondicherry and even neighbouring districts in Tamil Nadu make the long voyage and are taken in procession through the city’s heritage streets right up to the seashore at Vaithikuppam for the annual “theerthavari “ ceremony. Thousands of devotees accompanying the deities pour onto the Beach Road making it into the local holiday that it is. Source:PondyLive Heritage Car Rally Organized by Madras Heritage Motoring Club in collaboration with Department of Tourism, Government of Puducherry. Flamboyant procession of vintage car from Chennai to Pondy. The rally is an annual event organized as a spectacle for the Tourists and Pondicherrians. 33
Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Shabnam A K | Architectural Thesis 2020
34
Background study The Social Division, Culture and events
35
Architectural Thesis 2020 | Shabnam A K
Background study The Social Division, Culture and events
Shabnam A K | Architectural Thesis 2020
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Background study History of port
HISTORY OF PORT There have been at least four ports already constructed in Pondicherry: 1. The Ancient Port (Roman Port) There is evidence of an ancient port town situated on the bank of Ariyankuppam river about eight km south of Pondicherry. This port town has a history that dates back to the second century BC. An excavated ancient port town, Arikamedu had strong trade links with Rome and Greece between 100 BC and 100 AD.
Location of 1866 French port Location of 1962 port ( selected site) Location of current harbour Location of ancient Roman port Map showing location of all four ports
2. The French Port In 1674 Francois Martin, the first Governor, started to build Pondicherry and transformed it from a small fishing village into a flourishing porttown and centre of international trade. By the 20th Century the French port comprised a pier in the Centre of Pondicherry Town. Before World War II the port had more than 150 country boats of 2 ½ ton capacity specially built to operate in open sea conditions. During the Second World War the trade came almost to a standstill and even after the war the trade remained much diminished. The French pier was damaged in a cyclone
in 1952 and was not usable thereafter. The remains of the French port are submerged in the water.
Picture showing remains of pier as seen now
The port office is now a popular cafe named Le cafe, its heritage conserved by INTACH, Pondy.
37
Architectural Thesis 2020 | Shabnam A K
Background study History of port
3. The 1962 New Pier Port (Selected site) In 1962 a New Pier and port was built south of the town. The New pier and its associated 11 Acre walled port land was used to berth small lighters that transhipped goods from ships that lay at anchor off the coast. The associated port has a number of warehouses and two rail sidings that have recently been converted to broad gauge. The New Pier was in use until quite recently. However, the support works to the pier are now severely corroded making the pier unsafe for heavy loadings. The port area is now also therefore largely unused. 4. The current port The current port was built in the early 1990s at Thengaithittu. Site pictures( The 1962 port)
C L I M AT E D ATA
The climate of Pondicherry is classified by the Köppen climate classification as tropical wet and dry (As), similar to that of coastal Tamil Nadu. Summer lasts from April to early June, when maximum temperatures reach 41 °C (106 °F). The average maximum temperature is 36 °C (97 °F). Northeast monsson sets in mid October and the region gets its bulk of rainfall from Oct - Dec. Since the site is on the seaside it is important to keep in mind the effect of wearing and eroding of materials due to the high humidity. The existing steel members show moderate effects of the same. The design conciously avoids use of exposed steel members thus pushing to find better technologies. Shabnam A K | Architectural Thesis 2020
38
Chapter 6 Program development
39
Architectural Thesis 2020 | Shabnam A K
Program development Program
CORE FUNCTIONS HERITAGE LANGUAGE & LITERATURE TAMIL AND FRENCH
ART
VISUAL ARTS & PERFORMING ARTS
FOOD
Shabnam A K | Architectural Thesis 2020
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Program development Area statement
AREA STATEMENT SL. NO A
USE
NO. OF USERS AREA/USER(SQ.M) NO.S AREA(SQ.M) CIRCULATION AREA(SQ.M) TOTAL AREA(SQ.M) INDO-FRENCH CULTURAL HUB PERFORMING ARTS(MUSIC THEATRE AND DANCE)
400
-
1
-
EXHIBITION SPACE/INTERPRETATION
30
1
1
30
9
39
MUSIC STUDIO
30
4
2
240
72
312
DANCE STUDIO
18
9
3
486
145.8
632
DRAMA STUDIO
30
1
-
1
30
9
39
A.TOTAL AREA
2877
APMHITHEATRE
200
AUDITORIUM
500
OPEN AIR PERFORMANCE SPACE(MELA SPACE)
EQUIPMENT ROOM B
C
-
LECTURE HALLS
30
1.85
2
111
33
144
60
3
1
180
54
234
RESEARCH ROOM
15
2
2
60
18
78
B.TOTAL AREA
456
HERITAGE INTERPRETATION
30
1
1
30
9
39
AUDIO/VISUAL ROOM
30
1
1
30
9
39
1
300
90
390
30
1.85
1
55.5
16.65
72
C.TOTAL AREA
540
ART TEMPORARY GALLERY
1
300
90
390
PERMANANT GALLERY
1
600
180
780 195
ART STUDIOS
30
2.5
2
150
45
LECTURE HALL
30
1.85
1
56
16.65
72
D.TOTAL AREA
1437
FOOD COURT/STREET FOOD COUNTER/BACK KITCHEN
30
10
300
150
150
90
390
RESTO BAR
300 E.TOTAL AREA
G
840
ADMIN RECEPTION
2
10
2
40
12
52
MANAGER'S OFFICE
1
12
2
24
7.2
31
STAFF ROOM
6
1.85
2
22.2
6.66
29
MEETING ROOM
8
1.4
2
22.4
6.72
29
TOILETS
1
4.5
10
45
13.5
59
MAINTENANCE STORAGE
10
10
1
10
3
13
F.TOTAL AREA
213 52
COMMON FUNCTIONS TICKETING
4
10
1
40
12
VISITOR'S INFO
4
5
1
20
6
26
ENTRANCE LOBBY/WAITING AREA
30
3
1
90
27
117
HELPDESK
6
1.8
8
RETAIL SPACE
100
30
130
SOUVENIR STORE
50
15
65
CHILDREN'S ACTIVITY AREA
75
22.5
98
CAFETERIA
75
22.5
98
1
45
13.5
59
1
9
2.7
12
G.TOTAL AREA
1063
TOILETS
10
4.5
PRINT SHOP MULTIMEDIA LIBRARY
I
420
160
SEATING
F
203 1500
EVENT SPACE
EXHIBITION ROOM
E
1
LANGUAGE AND LITERATURE
LECTURE HALL D
1
400
PARKING CYCLE
25
0.9
1
22.5
6.75
29
2 WHEELER
50
5
1
250
75
325
4 WHEELER
15
15
1
225
67.5
293
BUS
2
54
1
108
32.4
140
STAFF 2 WHEELER
50
5
1
250
75
325
4 WHEELER
25
15
1
375
112.5
488
I.TOTAL AREA
1600
TOTAL AREA A+..+I
9026
SERVICES + CIRCULATION
1354
TOTAL BUILT UP AREA
10380
EXISTING BUILT 1 WAREHOUSES TYPE1
45.5M X 15.00M X 5.50M
5
3412.5
SQM
TYPE 2
92.0M X 18.00M X 6.50M
1
1656
SQM
102.15M X 15.0M
1532.25
SQM
197.85M X 6.0M
1187.1
2 PIER 300M LONG WORKING END
41
SQM TOTAL BUILT UP (EXISTING)
7788
TOTAL SITE AREA
36091
Architectural Thesis 2020 | Shabnam A K
Program development Area statement
Shabnam A K | Architectural Thesis 2020
42
Chapter 7 Adaptive reuse study • Adaptive reuse refers to the process of reusing an existing building for a purpose other than which it was originally built or designed for. It is also known as recycling and conversion. • Adaptive reuse is an effective strategy for optimizing the operational and commercial performance of built assets. • Adaptive reuse of buildings can be an attractive alternative to new construction in terms of sustainability and a circular economy. • It has prevented thousands of buildings’ demolition and has allowed them to become critical components of urban regeneration. Not every old building can qualify for adaptive reuse. • Architects, developers, builders and entrepreneurs who wish to become involved in rejuvenating and reconstructing a building must first make sure that the finished product will serve the need of the market, that it will be completely useful for its new purpose, and that it will be competitively priced.
43
Architectural Thesis 2020 | Shabnam A K
Adaptive reuse study Strategies of adaptive reuse
Strategies of adaptive reuse
Shabnam A K | Architectural Thesis 2020
44
Chapter 8 Site L O C AT I O N
The union territory of Pondicherry comprises four enclaves in three South Indian states and includes the seaside towns of Pondicherry and Karaikal in Tamil Nadu, Yanam in Andhra Pradesh and Mahe in Kerala
Neighbouring areas include Villupuram, Vanur, Tindivanam.
45
Cuddalore,
Pondicherry region includes the communes of Ozhukarai, Villianur, Mannadipet and Nettapakkam. They are scattered within the state of Tamil Nadu.
Architectural Thesis 2020 | Shabnam A K
Site Site & contextual analysis
site
Map indicating network, and connections
The yellow boundary represents Puducherry muncipality. The area around the white town is considered for further study as it houses majority of activities, events relevant to the program.
Shabnam A K | Architectural Thesis 2020
46
Site Site & contextual analysis
C O N E X T U A L A N A LY S I S
INDUSTRIAL PUBLIC SPACES
TRANSPORT RESIDENTIAL
COMMERCIAL OPEN SPACES
LANDUSE
M G RO
AD
FIGURE GROUND
RT AV EN GOUBE
GRAND CANA
JN STRE ET RANGAP ILLAI STREET
UE
STREET
L ROAD
VYSIAL
BUSS Y STRE ET
BEAC
H ROA
ONE WAY ROADS
ARTERIAL ROADS
TRAFFIC AND NETWORK
47
D
BUS ROUTES
BUS STOPS
OPEN SPACES
Architectural Thesis 2020 | Shabnam A K
Site Site & contextual analysis
GRADE I GRADE III
GRADE II GRADE IV
HERITAGE BUILDINGS
CHRISTIAN HINDU
MUSLIM FRENCH
SOCIAL DIVISION TAMIL AND FRENCH QUARTERS
INFRASTRUCTURE
Shabnam A K | Architectural Thesis 2020
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Site Site analysis
WHITE TOWN
II. SITE ANALYSIS The site is an abandoned old port built in mid 1900s. Nine acres of land lay unused, owned by the port department.It is situated in the strong context of the old part of town, lying sandwiched between a slum colony on its south and white town on the north side. Existing structures on the site include six warehouses, a pier and a defunct railway track passing through the center of the site.
49
SITE
Architectural Thesis 2020 | Shabnam A K
Site Site analysis
WHITE TOWN
ASHRAM GUESTHOUSE CH BEA
D ROA
RESTAURANTS HOTEL
BEACH PROMENADE EXTENSION
VEHICULAR ENTRY
ELECTRICITY DEPT.
PORT OFFICE PEDESTRIAN ENTRY
EXISTING DEFUNCT RAILWAY TRACK
Connectivity The is connected to the main Beach road by a single 10m wide road. There is an pedestrian entry from the promenade side.
EXISTING WAREHOUSES
SITE PIER
DENSE RESIDENTIAL AREA
0
Shabnam A K | Architectural Thesis 2020
45
90
180m
50
Site Site & contextual analysis
EXISTING STRUCTURE & SITE FEATURES
WAREHOUSE 1 DIMENSION : 15m x 45m NO. OF SIMILAR STRUCTURES : 5 ORIGINAL USE : Warehouse for storage ROOF HEIGHT : 5.5m TRUSS CONDITION : Moderate MATERIAL : Plaster wall, steel truss, cement sheets
EXISTING WAREHOUSE
RAILWAY TRACK
WAREHOUSE 2 DIMENSION : 15m x 92m NO. OF SIMILAR STRUCTURES : 1 ORIGINAL USE : Warehouse for storage ROOF HEIGHT : 6.5m TRUSS CONDITION : Moderate MATERIAL : Plaster wall, steel truss, cement sheets
SITE TEXTURES
PIER
51
Architectural Thesis 2020 | Shabnam A K
Site Site & contextual analysis
EVENTS AND ACTIVITIES ON SITE
Past events on the site included a bike rally and an art gallry conducted by PondyArt. The govt. has proposed for an urban entertainment village on this to increase tourism and develop pondicherry as global tourism destination. Aound the site, one can see vendors, people on evening/morning walks, meditating, people strolling along the beach, and contemplating thus creating a dynamic environment.
Shabnam A K | Architectural Thesis 2020
52
BBQ RESTAURANT
PUDUCHERRY FIRESTATION
FISHERIES DEPARTMENT
SEAG HOT
DIRECTORATE OF PORTS
MAIN GATE
15000
45000
ELECTRICITY DEPARTMENT
DEFUNCT RAILWAY TRACK
18000
W6
+1.5M
+1.5M
W1
15000
45000
+1.2M
92000
OLD ABANDONED BUILDING
+1.5M
W2
+1.5M
+1.2M
GATE
15000
45000
W4 +1.5M
45000
15000
15000
45000
W5
W3
+1.5M +1.5M
NDIA HOSPITAL
ITI FOR WOMEN
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Architectural Thesis 2020 | Shabnam A K
GULLS TEL
+1.2M
UP
UP
+0.0M
VIEWPOINT
-1.5M
+1.2M
PIER
SITE PLAN 0 Shabnam A K | Architectural Thesis 2020
15
30
45
60
75m 54
Site Site analysis
Axonometric view of warehouses on site
Site section along pier
0 55
15
30
45
60
75m Architectural Thesis 2020 | Shabnam A K
Site Site analysis
Site pictures (Clockwise from top): View site from seaside, another view from seaside, existing warehouses as seen from entrance, pier, view from top of pier & view underneath pier.
+11.9M +10.2M +6.5M +1.2M +0.0M
Shabnam A K | Architectural Thesis 2020
56
Chapter 9 Design
D E S I G N P R O C E S S
The program has been zoned with the core functions Art, Heritage, Language and Food arranged around the existing defunct railway track (repurposed as a sculpture gallery, landscaped walkway)
ADMIN HERITAGE
ART GALLERY
ART CLASSES
PERFORMANCE SPACES
FOOD
LANGUAGE
Core functions
Art
[Visual and performing]
Heritage Language Food
Program zoning
57
Architectural Thesis 2020 | Shabnam A K
Design Design development
S p a t i a l O R G A N I S AT I O N
Adaptive reuse S T R AT E GIE S
Shabnam A K | Architectural Thesis 2020
58
Design Volumetric
Explorations VOLUMETRIC
59
Architectural Thesis 2020 | Shabnam A K
N
Design Volumetric
Shabnam A K | Architectural Thesis 2020
60
PUDUCHERRY FIRESTATION
FISHERIES DEPARTMENT SEAGULLS HOTEL
DIRECTORATE OF PORTS
PARK
ING MANA
GER'S OFFI CE
ADM
RECE
PTION
IN COM MON HALL
WAITI NG AREA
PUBLI C TOILE T
REPURP TRACK OSED RAI LWA
Y
LECTUR
E RO
STAFF TOILE T
OM GALLER
Y
CONF
PANT
EREN ROOM CE
RY
GALLER
INFOR MATIO DESK N
Y
EQUI PMEN ROO T M
AUDIO/V ROOM ISUAL
STAG
E
HER
ITA
VISITO INFOR R'S MATIO N
GE
REPURP
OSED
RAILWAY
UP
DRAM A STUDIO
KID'S
TRACK(S
CULPTU
RE GAL
ATR
COFFE
E SHO
IUM
P
VISITO
R'S INF
DANCE STUDIO
CYCLE
GALLE
ORMA
RY
TION
TRACK
TICKET KIOSK ING
RESEAR
LAN
CH RO
OM
OUTDO READIN OR AREA G
GUA
ENTRY
GE
FROM
BEACH
SIDE
UP
OUTDO READIN OR SPACE G/EVENT
DANCE STUDIO
PARK
LERY)
UP
AUDIO/V ROOM ISUAL
LECTUR
E RO
OM
GALLE
RY
LIBRARY
ENTRAN COURT CE YARD
+1.50M
ART ORMI NG &
REPURP TRACK OSED
VISUA
L
LECTUR
RAILW
E RO
AY
SOUVEN STORE IR
INTERP
+1.35M
PERF
RETATI
RETAIL STORE 1
+1.20M
+0.0M
A
+1.20M
RETAIL STORE 2
UP
OM
ON ARE
UP
+1.95M ART
+1.50M
+1.35M
GALLER
Y
OAT
+1.35M
PERFOR MING ART GALLE RY
VIEWIN
G ARE
UP
MUSIC STUDIO
A
-1.80M
UP
OAT
UP
+1.2M TEMPOR GALLE ARY RY
PERMA GALLERNENT Y
ART
GALLER
Y
UP
UP
MUSIC STUDIO ELEC TRICA ROOM L
MAINT ROOM ENANCE
TOILE
TS
+1.50M
+1.95M TOILET
UP
GREEN ROOM
ART GAL
LERY
SERVIC E & MAINT ROOM ENANCE
UP
-1.5M SERVIC ROOM E SEATIN
G
STAGE
+3.00M
UP
AUD
ITO
RIU
M
UP
UP
TOILET
ENTRAN LOBBY CE
GREEN ROOM
+1.50M
AUDITO ENTRAN RIUM PLAZA CE
TICKET
ING
OUTDO
OR SEA
TING
F O O D CAFETE
+1.35M
RESTOB
RIA
AR
DECK
CHAN GING ROOM S
EN BAR
STOR
AGE
+1.50M
+1.50M
KITCH
FOOD COURT
COURT
YARD FOOD
STALL
1
FOOD
STALL
2
FOOD
STALL
3
FOOD
STALL
4
FOOD
STAL
STAFF
61
L5
TOILE
TS
PUBLI C TOILE TS
Architectural Thesis 2020 | Shabnam A K
DESIGN DRAWINGS
+1.2M
UP UP
VIEWPOINT
M
+1.2M
PIER
GROUND FLOOR PLAN NORTH 0
Shabnam A K | Architectural Thesis 2020
10
20
30
40
50m
62
PUDUCHERRY FIRESTATION
FISHERIES DEPARTMENT SEAGULLS HOTEL
DIRECTORATE OF PORTS
ADM
IN
STOR AGE / EQUIP ROO M MENT
HER LECTUR
ITA
GE
E RO
OM
DN
LECTUR
E ROO
DN
M
COFFE
ATR
E SHO
P
VISITO
R'S INF
IUM
ORMA
TION
GUA
GE
DN
TICKET KIOSK ING
LAN
+1.50M
AR ORMI T NG &
+0.0M
PERF
VISUA
L
+1.20M
+1.20M UP
UP
+1.95M
+1.35M
ART
+1.50M +1.35M
UP
STUDIO
-1.80M
UP
OAT
+1.2M UP DN UP
ART
STUDIO ELECT ROOM RICAL
MAIN TENA NCE ROO M
TOILE
TS
+1.50M
+1.95M TOILET
UP
GREEN ROOM
-1.5M
UP
STAGE
+3.45m
+4.95m
+3.00M
UP
AUD
ITO
DN
RIU
M
+1.95m
UP
TOILET
GREEN ROOM
FOYER VIEWIN DECK G
+6.45M
F O O D
+1.35M DECK
+1.50M COURTY
ARD
63
Architectural Thesis 2020 | Shabnam A K
+1.2M
UP UP
M
+1.2M
PIER
FIRST FLOOR PLAN NORTH 0
Shabnam A K | Architectural Thesis 2020
10
20
30
40
50m
64
PUDUCHERRY FIRESTATION
FISHERIES DEPARTMENT SEAGULLS HOTEL
DIRECTORATE OF PORTS
ADM
IN
HER
ITA
GE
KID'S
LAN
AR ORMI T NG &
GUA
PARK
GE
PERF
VISUA
L UP
UP
UP
OAT
ART UP
UP
AUD
ITO
RIU
M
F O O D
65
Architectural Thesis 2020 | Shabnam A K
UP UP
ROOF PLAN NORTH 0
Shabnam A K | Architectural Thesis 2020
10
20
30
40
50m
66
SECTION CC 1 : 1000
STORAGE
KITCHEN
RESTOBAR
FOOD COURT
ART GALLERY
VISUAL & PERFORMING ART
OAT
SECTION BB 1 : 500
TEMPORARY GALLERY
PERMANENT GALLERY
ART GALLERY
SECTION AA 1 : 250
67
Architectural Thesis 2020 | Shabnam A K
DESIGN DRAWINGS
LANGUAGE
CLASSROOM
ATRIUM
GALLERY
GALLERY
REPURPOSED RAILWAY TRACK
COFFEE SHOP
HERITAGE
CLASSROOM
+9.45M +8.00M +6.20M +4.90M
+1.20M
+0.0M
OAT
Shabnam A K | Architectural Thesis 2020
-1.80M
68
HERITAGE AND LANGUAGE ZONE
GALLERY LECTURE ROOM AUDIO/VISUAL ROOM
INFORMATION DESK
GALLERY
VISITOR'S INFORMATION
UP
HERITAGE
REPURPOSED RAILWAY TRACK(SCULPTURE GALLERY)
ATRIUM
VISITOR'S INFORMATION
TICKETING KIOSK
UP
COFFEE SHOP
LANGUAGE LECTURE ROOM RESEARCH ROOM AUDIO/VISUAL ROOM
LECTURE ROOM
GALLERY
INTERPRETATION AREA
GROUND FLOOR PLAN 0
2
4
6
8
10m
DN
HERITAGE
ATRIUM
VISITOR'S INFORMATION
TICKETING KIOSK
DN
COFFEE SHOP
LANGUAGE
FIRST FLOOR PLAN 0
69
2
4
6
8
10m
Architectural Thesis 2020 | Shabnam A K
HERITAGE AND LANGUAGE ZONE HERITAGE
LANGUAGE
ROOF PLAN 0
2
4
6
8
10m
ADMINISTRATION BLOCK
ADMIN MANAGER'S OFFICE
COMMON HALL
RECEPTION
STAFF TOILET
WAITING AREA PUBLIC TOILET
CONFERENCE ROOM PANTRY
GROUND FLOOR PLAN 0
2
4
6
8
10m
ROOF PLAN 0
Shabnam A K | Architectural Thesis 2020
2
4
6
8
10m
70
ARTS (PERFORMING & VISUAL) LEARNING BLOCK EQUIPMENT ROOM
STAGE STORAGE / EQUIPMENT ROOM
LECTURE ROOM
LECTURE ROOM
DRAMA STUDIO
DN
UP
DANCE STUDIO
DANCE STUDIO
ENTRANCE COURTYARD
M
+1.50
M
+1.50
M
+1.35
ART PERFORMING & VISUAL
ART PERFORMING & VISUAL
GALLERY MUSIC STUDIO
PERFORMING ART GALLERY
ART STUDIO
UP
MUSIC STUDIO
ART STUDIO
DN
ELECTRICAL ROOM
ELECTRICAL ROOM
MAINTENANCE ROOM
MAINTENANCE ROOM
TOILETS
TOILETS
GROUND FLOOR PLAN 0
71
2
4
6
8
10m
FIRST FLOOR PLAN 0
2
4
6
8
10m
Architectural Thesis 2020 | Shabnam A K
ARTS (PERFORMING & VISUAL) LEARNING BLOCK
ART PERFORMING & VISUAL
ROOF PLAN 0
Shabnam A K | Architectural Thesis 2020
2
4
6
8
10m
72
AUDITORIUM
SERVICE & MAINTENANCE ROOM TOILET GREEN ROOM UP
UP
UP
ENTRANCE LOBBY
AUDITORIUM
STAGE
M
+1.50
M
+3.00 UP
TICKETING UP
TOILET
GREEN ROOM CAFETERIA
GROUND FLOOR PLAN 0
2
4
6
8
10m
TOILET GREEN ROOM
+3.45m
+4.95m
UP DN
UP
+1.95m
STAGE
AUDITORIUM
FOYER
VIEWING DECK
M +3.00 M
+6.45
UP
UP
TOILET
GREEN ROOM
FIRST FLOOR PLAN 0
2
4
6
8
10m
AUDITORIUM
ROOF PLAN 0
73
2
4
6
8
10m
Architectural Thesis 2020 | Shabnam A K
FOOD ZONE
M
+1.35
OUTDOOR SEATING
F O O D
RESTOBAR
M
+1.50
FOOD COURT
COURTYARD KITCHEN
BAR
FOOD STALL 1
FOOD STALL 2
FOOD STALL 3
FOOD STALL 4
FOOD STALL 5
CHANGING ROOMS
STORAGE
PUBLIC TOILETS
STAFF TOILETS
GROUND FLOOR PLAN 0
2
4
6
8
10m
F O O D
ROOF PLAN 0
2
Shabnam A K | Architectural Thesis 2020
4
6
8
10m
74
OAT, GALLERY, LIBRARY, RETAIL STORES
OUTDOOR READING/EVENT SPACE
OUTDOOR READING AREA
REPURPOSED RAILWAY TRACK
SOUVENIR STORE
LIBRARY
M
+1.20
RETAIL STORE 1
RETAIL STORE 2
M
+1.20
UP UP
M
+1.95
A R T 1.50M +
-1.80M
M
+1.35
+1.2M
OAT
UP
M
+1.35
UP
UP
ART GALLERY PERMANENT GALLERY TEMPORARY GALLERY
M
+1.50
M
+1.95
SERVICE ROOM
ART GALLERY
GROUND FLOOR PLAN 0
75
2
4
6
8
10m
Architectural Thesis 2020 | Shabnam A K
OAT, GALLERY, LIBRARY, RETAIL STORES
UP
OAT
UP
UP
UP
ART
ROOF PLAN 0
Shabnam A K | Architectural Thesis 2020
2
4
6
8
10m
76
FOOD COURT & RESTOBAR
ARTS (PERFORMING & VISUAL) LEARNING BLOCK
AUDITORIUM
ART GALLERY
LIBRARY
OAT
BI R D’S EY EV I EW
77
Architectural Thesis 2020 | Shabnam A K
ATRIUM
BEACHFRONT DEVELOPMENT
CYCLE TRACK
HERITAGE
KID’S PLAY AREA
Shabnam A K | Architectural Thesis 2020
LANGUAGE
PIER
78
3D VISUALIZATIONS
VIEW OF THE ATRIUM SHOWING REPURPOSED RAILWAY TRACK, TICKET KIOSKS, VISITORS’ INFO AND LOBBY AREA
VIEW OF LIBRARY - OUTDOOR READING SPACE
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Architectural Thesis 2020 | Shabnam A K
VIEW OF OUTDOOR GALLERY
VIEW OF THE REPURPOSED RAILWAY TRACK CREATING PATHWAYS TO CONNECT VARIOUS CORE FUNCTIONS TO CENTRAL PUBLIC PLAZA
Shabnam A K | Architectural Thesis 2020
80
3D VISUALIZATIONS
PICTURE SHOWING LANDSCAPING AND URBAN FURNITURE
VIEW OF DECK OVERLOOKING SEA
81
Architectural Thesis 2020 | Shabnam A K
VIEW OF PERFORMING ARTS CENTER
VIEW OF FOOD COURT AND RESTAURANT
Shabnam A K | Architectural Thesis 2020
82
Bibliography and references
READINGS • • • • • • • • • • • • • • •
Beyond the Boulevards, Aditi Sriram Pondicherry, that was Once French India by Raphaël Malangin, INTACH A House In Pondicherry by Lee Langley http://intachpondicherry.org/About_pondy.php https://www.re-thinkingthefuture.com/article/a-historical-glimpse-into-one-of-indias-oldestcolonial-port-city-of-pondicherry/ http://pondydoorways.blogspot.com/p/architechture.html https://www.pondylive.com/2017/08/fort-in-pondicherry/ http://dspace.pondiuni.edu.in/jspui/bitstream/1/2442/1/T6185.pdf https://www.re-thinkingthefuture.com/article/a-historical-glimpse-into-one-of-indias-oldestcolonial-port-city-of-pondicherry/ https://www.thebetterindia.com/15551/indians-trade-site-with-ancient-romans-arikamedu-travelpondicherry/ https://www.tandfonline.com/doi/full/10.1080/1369801X.2010.516092 https://solenmalrieu.wixsite.com/portfolio/pondicherry-museums https://www.facebook.com/iampondicherryarun/?eid=ARCsLo1L71-mA2R0t2FJZ5POhkvXejs3r hxp7Od8rs5RjOCnWyexNYN50_fhBehUNmK-OEo0zrkfn9_W http://puducherryheritage.blogspot.com/2018/11/senji-fort-from-days-of-jain-saints-to.html http://pondytourism.in/fairs-and-festivals.php?page=2
CASE STUDIES • https://www.archdaily.com/923851/alembic-industrial-heritage-and-re-development-karangrover- and-associates • https://architecturelive.in/industrial-heritage-karan-grover-associates/ • https://www.re-thinkingthefuture.com/architecture/cultural/moderna-museet-malmo-by-thamvidegard-arkitekter/ • https://www.designboom.com/architecture/diller-scofidio-renfro-budapest-hungarian-transportmuseum-02-28-2019/ MAPS • http://ns.itestweb.in/pdy12/comprehensive-development-plan • https://www.colonialvoyage.com/tranquebar-danish-fort-india/historic-map-of-danish-colonytranquebar-and-fort-dansborg-1700s-no-copyright/ • http://puducherryheritage.blogspot.com/
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Architectural Thesis 2020 | Shabnam A K
S C A N F O R P R O J E C T WA L K - T H R O U G H
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