Context in architecture: Case studies Report by Shreya Tripathi

Context in architecture Summer Architecture tour II Shreya Tripathi A-1904018051

Aim- is to understand the meaning, role and importance of architectural context by

analysing the architecture around us and aquinting ourselves with the evolution process of the approach towards encountering context in the ever changing world.

Objective-

-To aquaint ourselves with the role of context in architecture -To get to know about it’s start, impact on architectural history and evolution -To read and understand the different theories on encountering context -To take up examples from the real world and find connections where and how the use of context make the design better -To rethink how evolution and various form of context has built the neighbourhood around us -To assess to good and the bad points of the designs around us and find design strategies from our neighbourhood for better, more comfortable and environment friendly designs

Methodology

The study based on the research paper chosen, read and reviewed. According to the meaning and understanding given by the paper, case studies were explored and the design was studied to understand the role of context. After exploring the famous examples of context playing a huge role in design, next step was to observe and analyse the world around us to understand the importance of cultural context and how impactful could the history of a place be.

Introduction This report is made taking into account the meaning of context in the two research papers “Analysis of Contemporary Theories When Encountering the Context in Architectural Design” by Pooyan Naghavi and Hamed Mazaherian and “Exploration of Architectural Context from Aesthetics View” by LI Miao respectively. It focuses on the idea of role of context in preserving history of the place with different approaches as given by the different theorists. based on this idea two case studies have been refered to, so as to understand what approach did they use while tackling with that issue and how context played a really important role in doing the same. The two case studies are RAAS resort in jodhpur and Piano pavilion by Renzo piano respectively. the former focuses on preserving the history of the place i.e. Jodhpur while the latter focuses on paying homage and preserving the monumentality of a particular building. hence both the buildings focus on preserving the history of two very different units yet the use of context in both is what makes them similar. After the example study wanted us to find explaination and examples of the given idea in our surrounding area, so that the theories could be connected by our own experiences. hence the last part of the study is a neighbourhood study taking into account our own houses and pointing out conxtextual aspects in the design.

What is context?

Context in general means parts of a speech that comes before or after a word, a phrase, or a sentence and affects its meaning or content, or helps to understand its meaning; and in the term, it is the collection of conditions or facts that covers a particular situation or event. Similarly, the context in the architecture is the same text, design base, and environment in which the architecture is formed and …it includes both form and content or the set of conditions, features, or realities associated with the certain space and time of the site or the desired building. They are not only the physical properties of the environment, but also the social, cultural and economic components. It is the background of certain region (nation, city, scenic zone) which includes physiographic condition, cultural atmosphere, cultural transmission, and social and cultural background. Contextualism: is an interpretation of the whole environment, partial characteristics, or the structure. Specific speaking, it is the correlations between squareness, geography, drainage, plants, street pattern, fundamental space structure, locations of buildings seen from the city, architecture style, and architectural complex features. But this was not what defined context in the start. It evolved overtime. It is mentioned in the paper that the American architect Robert Venturi first brought out the concept of context in the field of architecture in 1950. He discussed the architectural patterns related contextual tendency by standing at the point of criticizing the modernism. But the idea of contextualism started to fail

The reasons for change in the concept of context:

•Most buildings cannot be integrated organically into traditional and non-modern environment, basically speaking, has certain inevitabilities. Modernisms usually pursued uniqueness and innovation and wanted their building to stand out. •It was the time when the whole society has been transforming form industrial society to post-industrial society and People’s life was threatened by environmental contamination, energy dilemma, and so on. So change and innovation were required.

Different theorists had different approach towards encountering context

In all these theories they tried different ways of balancing out context and contrast with the environment. Linda N. Groat- made a system, in which the samples of harmony with the environment were evaluated by rating their values based on Likert Scale in range of one to seven. The highest value represented the replication, while the lowest level it showed the contrast.

Muge Rıza- Uniformity, Continuity, Juxtaposition, and Non-contextual. he defined the contextual coordination by taking into account criteria such as spatial qualities (placement and mass) and visual qualities (Boundary, proportionality, rhythm, and materials) with a combination of Uniformity, Continuity, Juxtaposition, and non-contextual elements. Michael Davies Preservation Alliance •Pastiche Approach -replication of apparent factors and current order. •Traditional approach -quotes from the past and continue in contemporary times. •An Arrogant Approach- confident and doesn’t pay attention to the historical context •Subtle Approach 1.Literal Replication- This approach is conservative, with the least possible intervention. 2.Invention within A Style- to use the similar or close relationships without replication of the properties of the environment 3.Abstract Reference- this approach creates a dialogue into the context, taking into account the abstract alternative 4.Intentional Opposition- This approach consciously has a contradictory view of the context. Jorg Kurt Grutter Consistency Contrast Confrontation In this way the paper states that a variety of relationships can be found in relation to the context but there should be a balance between context and contrast or else recognition of new and old structures is impossible; it would not harmonize itself with the natural changes of time, facilities, needs, requirements and conditions of the day. Grutter says that When a building is constructed in a natural environment, it is supposed that a building should be added to the nature, but a new landscape shall be created, even the construction of a building in the context and historical context does not mean the full alignment of the building with the environment,

Case study

Raas, Jodhpur by Lotus Praxis Initiative

Piano pavilion by Renzo Piano 5

CASE STUDY 1: RAAS, JODHPUR RAAS is a 1.5-acre property uniquely located at the base of the Mehrangarh Fort. The brief was to create a luxury boutique hotel with 39 rooms in the context of the Old city quarter of Jodhpur. The property was inherited with three beautiful period structures (17th-18th century) set in a large courtyard. Designed by Studio Lotus + Praxis Inc., the central idea was to make the old buildings and the expanse of the courtyard as anchors for the RAAS experience. The new buildings are placed into the site to serve as framing elements and as contemporary counterpoints to the site and the fort. Luxury is infused into the project through authenticity both in terms of materials and workmanship.The complex is made up of 3 newly restored 18th century structures and 3 new modern buildings. Most of the hotels in Jodhpur are in the palaces, but RAAS is situated in the city. It is situated in the prestigious north-eastern quarter of the walled city, in the very shade of mehrangarh’s victory palace and gate. Jodhpur’s red sandstone unites the new with the old, reflecting the walled city around it becoming an oasis with it. Materials include hand cut stone, poured in situ pigmented cement terrazzo on floors, walls and as furniture. Locally-crafted furniture and cabinets have been created in sheesham (a local Indian hardwood). These simple materials were then worked on by a team of craftsmen to hone and transform into something extraordinary. This transformation is what imbibes a sense of luxury to the hotel.

Unlike the usual contemporary practice, Ambrish Arora and Rajiv Majumdar of Lotus decided to restore and readapt these old structures instead of demolishing them to give way to newer buildings.

The idea was to retain a sense of connection with the old city and yet create the feeling of being in an oasis within the hustle and bustle of things. The core concept was to offer the visitors a tactile, sensual and authentic experience of living within the historical context of the old city of Jodhpur. This guided the planning and placement. The monochromatic palette of the local Jodhpur sandstone in its varying hues and textures used at Raas visually connects the hotel with the majestic Mehrangarh Fort at the backdrop Jodhpur’s red sandstone unites the new with the old, reflecting the walled city around it becoming an oasis with it.

A connection between the new and the old

The complex is made up of 3 newly restored 18th century structures and 3 new modern buildings. The buildings that were restored couldn’t accommodate the hotel so they became public buildings. So they wanted the main focus to be on the restored buildings so the new hotel building was made in such a way that it became the second gate and the other two new buildings which were behind the restored building, became the canvas for the restored buildings.

Passive cooling

Inspired by the age old double skinned structures of the region, (the traditional stone latticed jharokha forms of Rajasthani architecture – which perform multiple functions of passive cooling and offering privacy to the user) these buildings act as lanterns framing the site.

Use of light to create drama

The drama of the stone jaali (lattice) is heightened by the fact that these panels can be folded away by each user to reveal uninterrupted views of the fort, or can be closed for privacy and to keep the harsh Jodhpur sun out.

All the rainwater runoff from the buildings and rest of the site is being harvested through pits that are an integral part of the landscape.100% of the wastewater generated is reused at site using a Sewage treatment plant.The fact that Jodhpur is one of the sunniest cities in India has been harnessed and all hot water in guest rooms is solar heated. The air-conditioning system is Variable Refrigerant Volume based, which is amongst the greenest technologies available currently for air conditioning and enjoys a Platinum LEEDS rating.

•The

size of the opening in the jali goes

on increasing as we move higher for better view of the fort and for better cooling. •The jali is openable, it opens up to frame the beautiful view of mehrangarh fort. •Jodhpur is also called the blue city because of the blue coloured buildings. •The material used also adds to the context •Jali is also a part of traditional Rajasthani architecture.

Material- beauty being the skill and care of the craftsperson that has gone in to creating the piece. Materials include hand cut stone, poured in situ pigmented cement terrazzo on floors, walls and as furniture. Locally crafted furniture and cabinets in sheesham (a local Indian hardwood).

CASE STUDY 2: PIANO PAVILLION For architects, Louis Kahn's Kimbell Museum has long been hallowed ground. For Renzo Piano, who designed the museum's first major expansion, it was also an enormous difficulty to overcome. His addition to the museum could be neither too close to Kahn's building, nor too far. It had to solve a parking problem, yet respect Kahn's distaste for cars. At the Kimbell, Piano's first bravura move is, appropriately enough, invisible: a parking structure buried between the two buildings. Until now, most people have entered the Kimbell via its inauspicious back door, close to the old parking lot. Now, visitors will emerge from the new underground lot to behold, across a lovely new lawn, Kahn's main façade—an ideal architectural intervention that makes the Kahn building more itself. The space between the two pavilions is Piano's second invisible masterstroke. Neither too close nor too far, the buildings communicate not with a shout but a harmonious murmur. The building complements the original building. Kahn’s building is introverted while piano’s is extroverted. It is open and accessible and it actually shows Kahn’s building. It is a dialogue with the

12 Louis kahn’s work is known for its monumentality,

achieved through symmetry, the use of simple, often monolith forms, and above all through attention to the light of the sun. light was also a very important central element in Louis Kahn´s philosophy because he regarded it as a “giver of all presences”: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.” (Louis Kahn). For Kahn, light is the maker of material, and material’s purpose is to cast a shadow. And because Louis Kahn believed that the dark shadow is a natural part of light, Kahn never attempted a completely pure dark space for a formal effect. For Kahn, a glimpse of light elucidated the level of darkness “A plan of a building should be read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light.” (Louis Kahn) As a result, the light as a source is often hidden well behind louvres or secondary walls, thus concentrating all attention on the effect of the light and not simply on its origin. His way of honoring materials where often a sign of loyalty, because he wanted that every single component function was clear. When something changed, instead of getting rid of it Kahn celebrated it, instead of hiding difficulties, he magnified them to take possession of them.

Italian architect Renzo Piano (born 14 September 1937) is known for his delicate and refined approach to building, deployed in museums and other buildings around the world. “when you grow up with the idea that building is an art, every time you seem to witness a miracle.” And a key element in these miracles is light, “the most important building material, which is also connected to the water.”

He explains that it is important to understand that art, be it cinema or architecture, is not a predictable act. It is often a bit like looking in the dark: before understanding what will happen, the eyes need the time to adapt. He is an internationally acclaimed architect who focuses on public spaces that promote art and community. Piano's early work is characterized by his literal approach to the importance of community, while his later work focuses on light and space.

Kimbell art museum

Tripartite plan

Piano Pavilion

Kimbell art museum

Piano Pavilion

the profile of repeated cycloid vaults is one of the most immediate formal impression of kimbell museum

Piano pays homage to kahn’s repeated vaults but in a subtle voice,with his gently curved panels of glass that form the roof profile of the pavilion

Kahn uses a system of double column that provide a space between vaulted bay, each column supporting single beamend.

Piano employs a device that makes reference to Kahn’s without imitating him, instead of a double column, piano used double beam resting on single column per pair of beam.

Structure

Kimbell art museum

Courtyards and promenades

courtyard formed by removal of cirtain bays and promenade at the building’s west front provides a shaded buffer between the outside and the inside well.

Parking

The parking was behind the building next to the basement entrance, with the result that most visitors ignored the grand entrance and entered through the basement.

Piano Pavilion

Courtyards and promenades The parking was behind the building next to the basement entrance, with the result that most visitors ignored the grand entrance and entered

Parking One of the major additions was to modify the entrance sequence for visitors who arrived by car. This was accomplished by the excavation of a parking garage under the lawn between the original museum and the piano Pavilion. the stairs and elevator take you to the lobby of the pavilion, which acts as a staging ground for approaching the original museum.

Kimbell art museum

Filtered daylight from above

The most important experimental aspect of Kahn’s kimbell is ubiquitous presence in the galleries of indirect daylight from above, reflected by the half mirrored aluminium and washed down the curve of vaults.

Piano Pavilion

The gentle twice filtered light from above has many of the qualities of Kahn’s museum

Location: Lucknow, 26.8467° N, 80.9462° sun path diagram december

sun path diagram june

Climate:

Lucknow has an

extreme tropical climate. It falls under composite climatic zone of India. Summers can be quite hot with temperatures rising upto 40-45º C, while winters are cold, with temperatures dipping to 3-4º C. The average annual rainfall is 896.2 millimeters (35.28 in) from the south-west monsoon winds, received mostly during the monsoon season [6]. Major winds are the western prevailing winds from June to September and eastern prevailing winds from September to June.

Architectural

style:

Lucknow is an ancient city, and its presence and significance are ubiquitous throughout Indian history. Right from the eras of Badshahs and Nawabs to the rule of the British Lucknow has occupied quite a prominent place. Lucknow has been famous for its architectural style which is an amalgamation of Indo-Islamic and European style. 1. The orientation of the building should be such that there is maximum heat gain in winters and minimum heat gain in summers. 2. North-east and south-west orientation is preferred in such climate. 3.Windows should cut off the sun in summers and allow its effect in winters. Windows should enhance the air quality. 4.The courtyard planning is mostly is mostly preferred. 5.The openings in the houses are generally larger in size. 6.The cross ventilation is very well observed in the typical dwellings.

18 Screens House / Sanjay Puri Architects in lucknow a residence built keeping in mind the context of the city

The site for this house lies along a busy arterial road and is on the peripheral edge of an extensive plotted development for private homes. The house is planned to allude to the traditional Indian courtyard house in response to the climate of the location. Temperatures in the lengthy summer months are in excess of 35° C, with the sun in the southern hemisphere. The extensive requirements of the 6 bedroom house are interspersed with sheltered open terraces and landscaped gardens around a 2 floor high naturally ventilated courtyard. Patterned screens derived from traditional Indian architecture and the famous Lucknow 'chikan' embroidery sheath outdoor seating areas for each room on the south, west and east sides. These screens provide shelter from the sun, create different light patterns throughout the day and mitigate traffic noise from the busy arterial road on the southern side. Large glass windows on the northern side allow indirect light to infuse the internal spaces of the house. Varying volumetric proportions with differing sectional spaces create an individual identity to each living space with the courtyard cohesively integrating them together. Built almost entirely in raw concrete, a natural palette of sandstone and wood with muted colors, vivid Indian art and landscape are brought together in different compositions in each of the internal volumes.

Gomti nagar, lucknow This case study is concerned with Gomti Nagar peri-urban area of Lucknow Municipal Corporation (LMC). Lucknow is rapidly growing metropolis and capital city of Uar Pradesh state of India. The city is famous for its Nawabi culture and traditional values. Gomti Nagar is located in north-east part of Lucknow Municipal Corporation. It consists of both residential and commercial selements. Gomti Nagar is one of the largest and most preferred commercial destinations in the city along with hectic residential development

Comparison of problems in Gomti Nagar peri-urban area with other part of the cities

The graph number shows that Chowk area has highest built-up in comparison to other areas as this one is older development and quite congested than the Hazaratganj and other new areas, the open space is also very less and that is why this area is very much suffocating than the other areas. The other amenities and facilities are also not good in old areas such as road and basic infrastructures and this may be the reason why people who can afford are moving toward outer periphery along with migrating population

The data shows that all three peri-urban colonies namely Indira Nagar, Nirala Nagar, and the Gomti Nagar are newly developed areas basically after late 1970s and in 1980s in response to the congestion in the central city area, population increase and increasing aspirations of people. These three areas have wider road, better infrastructure, and housing with medium and low density built-up

plan of the neighborhood

The colours and what they symbolize The location Road hierarchy: 30 m wide 24 m wide 18 m wide 12 m wide 9 m wide 7.5 m or 6 m wide

Building Typology Commercial buildings Residential buildings(G, G+1) Empty lands Parks facilities

Location and facilities: Vibhav khand-4, Gomtinagar 2, Lucknow, UP Hospitals Commercial or recreational areas

Plan of the house

Design considerations

Recommendation for composite climate (e.g. Delhi and Gurgaon): 1.Compact form with low S/V ratio is recommended. 2.A square plan with a courtyard would be very effective. 3.A rectangular form with a longer axis along the north-south is the preferred orientation. 4.East and west orientation should be protected by buffer spaces, shaded walls, etc.

SSW

What is already present in the building that relates it with the context? • Balconies 1. Provides open space to not feel claustrophobic 2. Acts as a horizontal shading device for the room windows 3. Helps in bringing the light in the staircase.

•

Compact design

increasing the compactness by the reducing the surface area for the same volume this helps in reducing the heat gain in summers hence increasing.

Bringing the light in the different spaces and protecting the space from excess heat gain and sufficient gain for winters

shafts bring in the natural light and help in ventilation

Natural light entering through balcony into the staircase. Architectural features according to the context that if introduced could save energy and make the space more comfortable • Courtyard effect and cross ventilation through the narrow bays; Minimized isolation using shading and smaller fenestration for ventilation only • letting in more natural light by windows, balconies • stopping excess light by use of jali and shading devices • making thicker walls • providing bigger balconies for better ventilation • providing buffer spaces like varendah

References

• Renzo Piano Pavilion at Kimbell Art Museum. 2014. [Film] Directed by Karissa Rosenfield. s.l.: ArchDaily. • Agrawal, A., 2019. SlideShare. [Online] • Available at: https://www.slideshare.net/AnshAgarwal6/vernacular-architecture-lucknow-chowk • [Accessed 6 june 2020]. • Anon., 2010. LDAonline. [Online] • Available at: http://www.ldaonline.in/doc/LDA/welcome/homepage/DOWNLOADS/20/REVISED_PLAN_VIJAYANT_KHAND.pdf • [Accessed 2020]. • Anon., 2010. studiolotus. [Online] • Available at: https://studiolotus.in/showcase/raas-jodhpur/35 • [Accessed 23 may 2020]. • Anon., 2013. Archdaily. [Online] • Available at: https://www.archdaily.com/423405/raas-jodhpur-the-lotus-praxis-initiative • [Accessed may 2020]. • Anon., 2017. Indian Archirects. [Online] • Available at: https://www.indian-architects.com/en/studio-lotus-new-delhi/project/raas-jodhpur • [Accessed 23 may 2020]. • Anon., 2020. WindFinder. [Online] • Available at: https://www.windfinder.com/forecast/lucknow • [Accessed 12 June 2020]. • Dan Howarth, 2013. Dezeen. [Online] • Available at: https://www.dezeen.com/2013/11/20/renzo-piano-completes-extension-to-louis-kahns-kimbell-art-museum/ • [Accessed 6 June 2020]. • dannatt, A., 2013. Duelling partners at the kimbell art museum Louis kahn vs renzo piano. The Architectural Review, 23 december, p. 11. • Kimbell Art Museum Expansion | Case Study (2016) Amanda fortman. • Kothari, K. C., 2014. Insight story. hospitality project, 14 may, p. 10. • marsh, A., n.d. PD: 3D Sun path. [Online] • Available at: http://andrewmarsh.com/apps/staging/sunpath3d.html • [Accessed 16 june 2020]. • Miao, L., 2012. Exploration of Architectural Context from Aesthetics View, s.l.: Canadian Research & Development Center of Sciences and Cultures. • Mustafa Urgen, 2018. Land and infrastructure development. delhi: InTechOpen. • Pooyan Naghavi**1, H. M., 2019. Analysis of Contemporary Theories When Encountering the Context in Architectural Design, Isfahan, Iran: Bagh-e Nazar. • RAAS, Jodhpur, presentation by ambish arora of lotus. 2012. [Film] India: designboom. • Sledge, D. C., 2001. THE ART OF AMBIGUITY(Experiencing the Kimbell Art Museum), Massachusetts: Massachusetts Institute of Technology. • Text description provided by the architects, 2019. ArchDaily. [Online] • Available at: https://www.archdaily.com/922100/18-screens-house-sanjay-puri-architects • [Accessed 5 june 2020]. • Urban Sprawl: A Case Study of Lucknow City (May. 2015 ) Dr. (Mrs.) Kiran Kumari .