Undergraduate Thesis report- jiGYANsa: A Learning Center and Incubator

TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING KATHMANDU ENGINEERING COLLEGE

jiGYANsa: A LEARNING CENTER AND INCUBATOR

By SHREYA SINGH BAE/71036

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR OF ARCHITECTURE

DEPARMENT OF ARCHITECTURE KATHMANDU, NEPAL

December, 2019

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CERTIFICATE

This is to certify that this thesis entitled “jiGYANsa: A Learning Center and Incubator” submitted by Shreya Singh B.Arch. 71036 has been examined and it has been declared successful for the partial fulfillment of the academic requirements towards the completion of the Degree of Bachelors of Architecture of Institute of Engineering, Tribhuvan University.

Yours Sincerely,

……………………………

Asso. Prof. Sweta Shrestha Thesis Supervisor

Recommending Approval

…………………………...

Asso. Prof. Sweta Shrestha Thesis Co-ordinator

…………………………….

Asso. Prof. Kailash Shrestha Head of Department

Date: ………………………

To, The Chairman and Members of the Jury Department of Architecture Pulchowk Campus, Institute of Engineering Tribhuvan University Dear Sir/Madam, In compliance with the requirement of the course V Year Architectural Design Thesis (AR851) for the Bachelor in Architecture degree, I hereby respectfully present my thesis for evaluation and approval.

Project Title:

jiGYANsa: A Learning Center and Incubator

Project Location: Bhutpurwa Sainik Sangh, Pulchowk

Very respectfully yours,

…………………………

Shreya Singh B.Arch. 71036 (Thesis Candidate)

Recommending Approval

……………………………

Ar. Chandralekha Kayastha External Jury Member

………………………………

Asso. Prof. Dr. Sanjay Uprety Jury Member

……………………………….

Asso. Prof. Dr. Sanjay Uprety Thesis Chairman

……………………………

Asso. Prof. Sweta Shrestha Thesis Supervisor

…………………………

Prof. Dr. Sudha Shrestha Head of Department

DECLARATION I hereby declare that the work presented in this thesis is solely my work and that to the best of my knowledge this work is original, except where indicated by references to other authors. No part of this work has been submitted for any other degree or diploma. I hereby give approval for my thesis, to be available for photocopying and understanding that any reference to or quotation from my thesis will receive an acknowledgement.

…………………………

Shreya Singh December 2019

Terms and definitions Collaboration: the action of working with someone to produce something.

Learning centre: A learning center is a self-contained section in which students engage in independent and self-directed learning activities.

Incubator: Facility established to nurture young (startup) firms during their early months or years.

Co working space: Co working is a business services provision model that involves individuals working independently or collaboratively in shared office space.

Makerspace: a place in which people with shared interests, especially in computing or technology, can gather to work on projects while sharing ideas, equipment, and knowledge.

Prototype: a first or preliminary version of a device or vehicle from which other forms are developed.

Accelerator: A business accelerator is a program that gives developing companies access to mentorship,

investors

and

other

support

that

help

them

become

stable,

self-

sufficient businesses.

Start-ups: A startup is a young company founded by one or more entrepreneurs in order to develop a unique product or service and bring it to market.

Start-up eco- system: A startup ecosystem is formed by people, startups in their various stages and various types of organizations in a location (physical or virtual), interacting as a system to create and scale new startup companies.

Catalyst: A catalyst is an event or person causing a change.

Millennials: a person reaching young adulthood in the early 21st century.

Brain drain: the emigration of highly trained or qualified people from a particular country.

i

Abstract "Collaboration has no hierarchy. The Sun collaborates with soil to bring flowers on the earth."

- Amit Ray The world is changing. It no longer works in the traditional terms but is rather trying to adapt new ways and incorporating it in the daily activities. Where, “Collaboration� is the new trendy term, the people are trying to bring something of their own through collaborative approaches rather than working for other people in a 9-5 job under higher authorities but on their own terms.

But this concept in not only limited to millennials or youths who have an interesting mindset.

It has also engraved the minds from a young age through out of school learnings that has helped them in the future to be a better learner and implementer. Also, the elderlies who stay at home and are in deep need some kind of interaction of their crafts to shine. They need to keep their bones moving and such spaces help them fulfill this purpose.

Basically, a learning center and incubator is a catalyst or an atomizer that makes people hurl and strive together to bring out their best outputs. The center provides spaces, necessary tools, spaces for learning and growing together so that the people of the community or the city can come together to bring out something bigger. It helps retain the population that are so engraved in the idea of settling abroad in search of better opportunities. By providing opportunities in the home country, such mindsets can be changed.

The research and design was carried out in a sequential method in which the literature review of such spaces were conducted and the standards were studied and on its basis various cases were taken and studied on which provided the necessary information in standards and practical approaches that were implemented in the cases that brought us to its analysis and finally the conclusions and recommendations that were implemented in the conceptualization and design development to bring out the final outcome.

This whole process provided the realization of need of such learning centers and incubators for such ideas in Nepal where they exist but in a non-substantial manner where the reach is very minimum. The center aims for the city but can be prototyped in every state so that every corner of the country is well equipped with the necessary spaces and tools to nurture the minds which have greater potentials.

ii

Acknowledgements “Life is not a solo act. It's a huge collaboration, and we all need to assemble around us the people who care about us and support us in times of strife.”

-

Tim Gunn

Collaboration is a word I have been stressing on since the beginning of the journey of Thesis.

And here we are at this phase where all I have learned is how important collaboration is and the people who have been a part of this amazing journey.

I would like to express my sincere gratitude to Department of Architecture, Kathmandu Engineering College, Kalimati for providing this opportunity to perform and pursue my thesis project on “jiGYANsa: Learning Center and Incubator”. These phases of learning, researching and designing have given me deep understanding of the project and increased my zeal and enthusiasm towards it.

I would like to acknowledge my deepest gratitude towards Asso. Prof. Sweta Shrestha; a mentor, a guide and a supervisor for believing in me and providing constant guidance, support and inspiration throughout this process.

I am also thankful to Ar. Susan Vaidya and Ar. Neha Suwal for inspiring me in the process and helping me with the necessary ideas and resources. My gratitude also belongs to the officials from the various National Cases. I would like to thank Mrs. Bahar Kumar of Nepal Communitere, Mr. Samaya Khadka of Karkhana, Mr. Saroj Mahato of Bikalpa Art Center, Ms. Lorina Sthapit of Aji’s, Mr. Dev Raj Humagain of Martin Chautari, Mrs. Ashmina Ranjit of Nexus Culture Center, Mr. Tshering Tamang of Innovation Hub, Mr. Mahabir Pun of National Innovation Center and Mr. Aman Shakya of House of Palettes. It is through their generous help and support that the researches could be conducted.

Finally, I would like to thank my father, Mr. Bishnu Dayal Singh, my mother Rita Singh and brother Saurav Singh for being so patient and supportive to me. Also my friends, Aayush Nepal, Anushka Shrestha, Lunibha Manandhar, Ashma Sharma, Sareena Manandhar and Santosh Karki for the help and support. Lastly, so very thankful to juniors Yojana Acharya, Nabin Thapaliya, Anuza Gaire and Ojashwi Shrestha for helping me in the process. This has been a reviving journey and would not have been possible without all the help and support from all the individuals. iii

Table of contents Terms and definitions .................................................................................................................. i Abstract ....................................................................................................................................... ii Acknowledgements....................................................................................................................iii List of Tables ........................................................................................................................... xix 1.

Introduction ......................................................................................................................... 2 Background and Concept ............................................................................................. 2 1.1.1.

Global Scenario of Incubators and Start-ups ........................................................ 3

1.1.2.

Local Scenario of Incubators and Start-ups .......................................................... 3

Inspiration .................................................................................................................... 3 The project ................................................................................................................... 5 1.3.1.

Introduction........................................................................................................... 5

1.3.2.

Justification, Importance and Rationale ............................................................... 5

1.3.3.

Research questions................................................................................................ 6

1.3.4.

Need and importance ............................................................................................ 6

1.3.5.

Target group.......................................................................................................... 6

1.3.6.

Expected output .................................................................................................... 7

Methodology ................................................................................................................ 7

2.

1.4.1.

Literature review ................................................................................................... 7

1.4.2.

Case studies .......................................................................................................... 8

1.4.3.

Spatial requirements of the project ....................................................................... 8

1.4.4.

Methodology chart ................................................................................................ 9

Literature Review .............................................................................................................. 11 Collaborative Spaces .................................................................................................. 11 2.1.1.

Co working space ............................................................................................... 11

2.1.2.

Maker space ........................................................................................................ 18

2.1.3.

General dimension of machines in maker space................................................. 23

2.1.4.

Incubator ............................................................................................................. 24 iv

2.1.5.

Multipurpose hall ................................................................................................ 35

Social Spaces ............................................................................................................. 37 2.2.1.

Library ................................................................................................................ 37

2.2.2.

Restaurants .......................................................................................................... 42

2.2.3.

Studio and Gallery .............................................................................................. 44

2.2.4.

Shops/ Rental spaces........................................................................................... 46

2.2.5.

Open Air Theatre ................................................................................................ 47

2.2.6.

Pavilion ............................................................................................................... 49

2.2.7.

Courtyards........................................................................................................... 49

Other Spaces .............................................................................................................. 50 2.3.1.

Residency............................................................................................................ 50

2.3.2.

Administration .................................................................................................... 51

2.3.3.

Conference room ................................................................................................ 53

2.3.4.

Toilet ................................................................................................................... 53

2.3.5.

Parking ................................................................................................................ 55

Special Considerations ............................................................................................... 56 2.4.1.

Human Centered Design ..................................................................................... 56

2.4.2.

Colour and Psychology ....................................................................................... 59

2.4.3.

Accessibility and Universal Design .................................................................... 61

2.4.4.

Sustainability ...................................................................................................... 62

Lighting ...................................................................................................................... 67 2.5.1.

Lighting design solutions for collaborative workplaces ..................................... 67

2.5.2.

Daylight .............................................................................................................. 67

2.5.3.

Introduction to artificial lighting ........................................................................ 77

Acoustics .................................................................................................................... 78 2.6.1.

Protection against external noise ........................................................................ 78

v

Heating and ventilation .............................................................................................. 78 2.7.1.

Heating................................................................................................................ 78

2.7.2.

Ventilation .......................................................................................................... 79

2.7.3.

Double skin facade ............................................................................................. 80

Structure ..................................................................................................................... 81 2.8.1.

Folded plate ........................................................................................................ 81

2.8.2.

Space truss .......................................................................................................... 82

Services ...................................................................................................................... 83

3.

2.9.1.

Staircase .............................................................................................................. 83

2.9.2.

Ramps ................................................................................................................. 84

Case Study ......................................................................................................................... 86 National Case Study ................................................................................................... 86 3.1.1.

Nepal Communitere ............................................................................................ 86

3.1.2.

Karkhana ............................................................................................................. 96

3.1.3.

Bikalpa Art Center ............................................................................................ 102

3.1.4.

Martin Chautari ................................................................................................. 106

3.1.5.

Nexus Culture Center ....................................................................................... 109

3.1.6.

Innovation Hub ................................................................................................. 113

3.1.7.

National Innovation Center .............................................................................. 116

3.1.8.

House of Palettes, Evoke Cafe.......................................................................... 120

3.1.9.

Aji’s .................................................................................................................. 121

Regional Case Study ................................................................................................ 123 3.2.1.

Friendship Centre.............................................................................................. 123

3.2.2.

T Hub, Hyderabad ............................................................................................ 129

International Case Study .......................................................................................... 134 3.3.1.

Rolex Learning Center ...................................................................................... 134

3.3.2.

Zeimuls, Centre of Creative Services of Eastern Latvia................................... 139 vi

4.

Comparative Analysis ..................................................................................................... 143 General information ................................................................................................. 143 4.1.1.

Inferences .......................................................................................................... 143

Space division (area per person) .............................................................................. 144 4.2.1.

5.

Spaces and inference......................................................................................... 144

Program Formulation ...................................................................................................... 146 Calculation for built up area..................................................................................... 146 5.1.1.

Administration zone: ........................................................................................ 146

5.1.2.

Collaborative zone: ........................................................................................... 146

5.1.3.

Social zone ........................................................................................................ 149

5.1.4.

Accommodation:............................................................................................... 150

Calculation for open area ......................................................................................... 151

6.

5.2.1.

Parking .............................................................................................................. 152

5.2.2.

Open air theatre................................................................................................. 152

5.2.3.

Lotus pond ........................................................................................................ 152

5.2.4.

Contemplation plaza ......................................................................................... 152

Site analysis ..................................................................................................................... 154 Site selection criteria ................................................................................................ 154 General information ................................................................................................. 155 Neighbouring buildings ........................................................................................... 155 Legal Restrictions .................................................................................................... 156 Access ...................................................................................................................... 156 Typography .............................................................................................................. 157 Views ....................................................................................................................... 157 Sun paths .................................................................................................................. 157 Wind patterns ........................................................................................................... 158 Trees and vegetation ................................................................................................ 158 Ecology .................................................................................................................... 158 Site restrictions......................................................................................................... 159 vii

Features .................................................................................................................... 159 SWOT Analysis ....................................................................................................... 159 Overlay analysis ....................................................................................................... 160 Thematic Analysis ................................................................................................... 161 Conceptual zoning ................................................................................................... 162 7.

Conceptual development ................................................................................................. 164 Concept .................................................................................................................... 164

8.

7.1.1.

Design idea ....................................................................................................... 164

7.1.2.

Member’s journey............................................................................................. 164

7.1.3.

Concept in site .................................................................................................. 165

7.1.4.

Conceptual form ............................................................................................... 166

7.1.5.

Conceptual roof and elevation .......................................................................... 166

7.1.6.

Working in angles ............................................................................................. 167

7.1.7.

Conceptual zoning ............................................................................................ 167

7.1.8.

Ideation of spaces ............................................................................................. 168

Design development ........................................................................................................ 170 Architectural design ................................................................................................. 170 8.1.1.

Development in site .......................................................................................... 170

8.1.2.

Planning ............................................................................................................ 170

8.1.3.

Elevations ......................................................................................................... 179

8.1.4.

Building form.................................................................................................... 179

8.1.5.

Design features ................................................................................................. 180

Structural design ...................................................................................................... 183 8.2.1.

Folded plate design and space truss .................................................................. 183

Service and utility .................................................................................................... 184 8.3.1.

Water supply ..................................................................................................... 184

8.3.2.

Calculation for rain water harvesting ............................................................... 186

8.3.3.

Sanitation and drainage..................................................................................... 186 viii

8.3.4.

Storm water management ................................................................................. 187

8.3.5.

Electrical design................................................................................................ 188

8.3.6.

Solar energy ...................................................................................................... 188

Building science and sustainability .......................................................................... 189

9.

8.4.1.

Double skin faรงade ........................................................................................... 189

8.4.2.

Water body........................................................................................................ 190

8.4.3.

Trees and vegetation ......................................................................................... 190

Conclusion....................................................................................................................... 191

10.

Bibliography ................................................................................................................ 192

11.

Appendix...................................................................................................................... 194 Comparative Analysis .............................................................................................. 194 Questionnaire for Case Study .................................................................................. 195 Checklist for Site Analysis ....................................................................................... 196 Design drawings ....................................................................................................... 198

ix

List of Figures

Figure 1-1 the concept of collaboration ...................................................................................... 2 Figure 1-2 Global scenario of incubators and startups ............................................................... 3 Figure 1-3 Local scenario of startups and incubators ................................................................. 4 Figure 1-1-4 Methodology Chart ................................................................................................ 9 Figure 2-1 New ways of working/ people and change ............................................................. 11 Figure 2-2 various activities depending on its module ............................................................. 12 Figure 2-3 spatial distribution of spaces ................................................................................... 13 Figure 2-4 pattern of movement with added function .............................................................. 14 Figure 2-5 Pattern of movement ............................................................................................... 14 Figure 2-6 Circulation diagram of co working space ............................................................... 15 Figure 2-7 Daily activities density at different times of the day .............................................. 15 Figure 2-8 Standard dimension for workstation ....................................................................... 16 Figure 2-9Standard dimension for single and shared table ...................................................... 16 Figure 2-10 co working layouts ................................................................................................ 17 Figure 2-11 Standard for Workplace planning ......................................................................... 17 Figure 2-12 Circulation............................................................................................................. 18 Figure 2-13 circulation layout and dimensions ........................................................................ 18 Figure 2-14 space layout for makerspace ................................................................................. 19 Figure 2-15 storage ways in makerspace .................................................................................. 20 Figure 2-16 general dimensions for circulation space .............................................................. 20 Figure 2-17 laser cutting machine dimensions ......................................................................... 23 Figure 2-18 3D printing modules ............................................................................................. 24 Figure 2-19 CNC machine ........................................................................................................ 24 Figure 2-20 location proximity ................................................................................................. 25 Figure 2-21 general dimensions for solitary workspace ........................................................... 26 x

Figure 2-22 general dimensions for independent office module .............................................. 27 Figure 2-23 general dimensions for co working module .......................................................... 29 Figure 2-24 features of co working module ............................................................................. 30 Figure 2-25 informal meeting area ........................................................................................... 31 Figure 2-26 large classrooms .................................................................................................... 32 Figure 2-27 break room ............................................................................................................ 33 Figure 2-28 organization of spaces ........................................................................................... 35 Figure 2-29 general layout of multipurpose hall ...................................................................... 36 Figure 2-30 Functional layout of a medium sized library ........................................................ 37 Figure 2-31 Aisle dimensions ................................................................................................... 40 Figure 2-32 Floor area for individual workstation ................................................................... 41 Figure 2-33 Minimum distances between the table .................................................................. 41 Figure 2-34 Minimum free space in reading area ..................................................................... 41 Figure 2-35 Bookshelf for children .......................................................................................... 41 Figure 2-36 Height of four shelf unit for small children .......................................................... 41 Figure 2-37 Individual workstation dimensions ....................................................................... 41 Figure 2-38 Workstation dimensions ....................................................................................... 41 Figure 2-39 Shelf unit for children ........................................................................................... 41 Figure 2-40 Shelf unit for adults ............................................................................................... 41 Figure 2-41 Height of five shelf unit ........................................................................................ 41 Figure 2-42 basic layout for restaurant ..................................................................................... 42 Figure 2-43 layout arrangement and densities .......................................................................... 43 Figure 2-44 booth layout .......................................................................................................... 44 Figure 2-45 furniture anthropometry ........................................................................................ 44 Figure 2-46 Art and design studio general layout .................................................................... 44 Figure 2-47 booth layout .......................................................................................................... 46 Figure 2-48 general layout of the shops ................................................................................... 46 xi

Figure 2-49 circulations in shops.............................................................................................. 47 Figure 2-50 open air theatre ...................................................................................................... 48 Figure 2-51 section of open air theatre ..................................................................................... 48 Figure 2-52 pavilion ................................................................................................................. 49 Figure 2-53 courtyard ............................................................................................................... 50 Figure 2-54 different types of residency layouts ...................................................................... 51 Figure 2-55 space relationship in offices .................................................................................. 51 Figure 2-56 furniture layouts in offices .................................................................................... 52 Figure 2-57 conference room.................................................................................................... 53 Figure 2-58 toilet stall elevation and plan ................................................................................ 54 Figure 2-59 turning radius for cars ........................................................................................... 55 Figure 2-60 90 degree and angled parking ............................................................................... 55 Figure 2-61 Definitions of Human Centered Design ................................................................ 57 Figure 2-62 Uses of Human centered design ............................................................................ 58 Figure 2-63 the design process: Human centered design ......................................................... 59 Figure 2-64 accessible door handle .......................................................................................... 61 Figure 2-65 ramp design for accessibility ................................................................................ 62 Figure 2-66 accessible toilet layout .......................................................................................... 62 Figure 2-67 elements of green building design ........................................................................ 63 Figure 2-68 permeable paving section ...................................................................................... 63 Figure 2-69 examples of porous pavings .................................................................................. 64 Figure 2-70 BIPV working methodology ................................................................................. 65 Figure 2-71 elements of passive solar design ........................................................................... 66 Figure 2-73 Building orientations and daylight considerations ................................................ 69 Figure 2-74 Orientation of building on axis for optimization of daylight ................................ 69 Figure 2-75 Glazing per area .................................................................................................... 70 Figure 2-76 high performance glazing ..................................................................................... 70 xii

Figure 2-77 skylight .................................................................................................................. 71 Figure 2-78 Figure showing how light travels through tubular daylighting device ................. 72 Figure 2-79 Daylight redirection through light shelves ............................................................ 72 Figure 2-80 Solar shading device ............................................................................................. 73 Figure 2-81 Schematic view of integrated venetian blind/electric lighting system ................. 73 Figure 2-82 Daylight optimized interior design ....................................................................... 74 Figure 2-83 use of solar energy for heating .............................................................................. 79 Figure 2-84 double skin facade ................................................................................................ 80 Figure 2-85 temperature difference in the interior and exterior ............................................... 81 Figure 2-86 folded plate section ............................................................................................... 82 Figure 2-87 space truss member ............................................................................................... 83 Figure 2-88 staircase sizes and occupancy ............................................................................... 83 Figure 2-89 types of ramps ....................................................................................................... 84 Figure 3-1 Nepal Communitere ................................................................................................ 86 Figure 3-2 Location map of Nepal Communitere..................................................................... 87 Figure 3-3-3 Murals in Veneer house ....................................................................................... 88 Figure 3-4 cargo blocks ............................................................................................................ 89 Figure 3-5 horizontal and verical planning of Nepal Communitere ......................................... 89 Figure 3-6 site plan of Nepal Communitere ............................................................................. 89 Figure 3-7 courtyard of Veneer house for informal meetings and gatherings .......................... 90 Figure 3-8 ground floor plan of Cargo Block ........................................................................... 91 Figure 3-9 cargo block housing multipurpose hall and architect's office ................................. 91 Figure 3-10 co working space used for many flexible spaces .................................................. 92 Figure 3-11 maker space with double height for fume and noise reduction ............................ 92 Figure 3-12 multipurpose hall .................................................................................................. 92 Figure 3-13 courtyard for informal gatherings and events ....................................................... 93 Figure 3-14 cargo bar................................................................................................................ 93 xiii

Figure 3-15 pantry .................................................................................................................... 94 Figure 3-16 landscaping in cargo bar ....................................................................................... 95 Figure 3-17 location map of Karkhana ..................................................................................... 97 Figure 3-18 karkhana ................................................................................................................ 97 Figure 3-19 vertical and horizontal planning of Karkhana ....................................................... 98 Figure 3-20 inventory room ...................................................................................................... 98 Figure 3-21 plan of inventory room.......................................................................................... 99 Figure 3-22 plan and section of makerspace ............................................................................ 99 Figure 3-23 makerspace ............................................................................................................ 99 Figure 3-24 meeting hall ......................................................................................................... 100 Figure 3-25 office for creative works ..................................................................................... 100 Figure 3-26 multipurpose hall ................................................................................................ 100 Figure 3-27 landscape in Karkhana with stone and grass paving ........................................... 101 Figure 3-28 location map of Bikalpa Art Center .................................................................... 103 Figure 3-29 organic development of Bikalpa Art Center ....................................................... 103 Figure 3-30 planning of Bikalpa Art Center ........................................................................... 104 Figure 3-31 studio with the cafe ............................................................................................. 104 Figure 3-32 gallery of Bikalpa Art Center .............................................................................. 104 Figure 3-33 integration of trees and plants with the built environment ................................. 105 Figure 3-34 location map of Martin Chautari ......................................................................... 107 Figure 3-35 planning of Martin Chautari ............................................................................... 107 Figure 3-38 reading room ....................................................................................................... 108 Figure 3-36 library .................................................................................................................. 108 Figure 3-37 multipurpose hall ................................................................................................ 108 Figure 3-39 chautari of Martin Chautari ................................................................................. 108 Figure 3-40 Front lobby and cafe of Nexus Culture Center ................................................... 109 Figure 3-41 Upcycled wall ..................................................................................................... 110 xiv

Figure 3-42 location map of Nexus Culture Center................................................................ 111 Figure 3-43 horizontal and vertical planning of Nexus Culture Center ................................. 111 Figure 3-44 outdoor events area ............................................................................................. 112 Figure 3-45 location map of Innovation Hub ......................................................................... 114 Figure 3-46 zoning of IHub .................................................................................................... 114 Figure 3-47 plan of Innovation Hub ....................................................................................... 115 Figure 3-48 seminar hall ......................................................................................................... 115 Figure 3-49 library .................................................................................................................. 115 Figure 3-50 reading area ......................................................................................................... 115 Figure 3-51 location map of National Innovation Center ....................................................... 116 Figure 3-52 National Innovation Center ................................................................................. 117 Figure 3-53 planning of National Innovation Center ............................................................. 118 Figure 3-54 outdoor area ........................................................................................................ 119 Figure 3-55 entrance to House of Palettes .............................................................................. 120 Figure 3-56 interior seating and painting space of House of Palettes .................................... 120 Figure 3-57 plan and furniture layout ..................................................................................... 120 Figure 3-58 The members of Aji's in their abode making products ....................................... 121 Figure 3-59 Friendship Center ................................................................................................ 123 Figure 3-60 the roof of Friendship Center showing the interplay of mass and void .............. 124 Figure 3-61 inside looking at the outside with the courtyard in view .................................... 124 Figure 3-62 block division ...................................................................................................... 125 Figure 3-63 plan of Friendship Center.................................................................................... 125 Figure 3-64 section ................................................................................................................. 125 Figure 3-65 training pavilion .................................................................................................. 127 Figure 3-66 green roof creating another landscape ................................................................ 128 Figure 3-67 lobby of T Hub .................................................................................................... 129 Figure 3-68 T Hub .................................................................................................................. 130 xv

Figure 3-69 lobby ................................................................................................................... 131 Figure 3-70 co working space................................................................................................. 131 Figure 3-71 space for informal gatherings.............................................................................. 132 Figure 3-72 incubator ............................................................................................................. 132 Figure 3-73 Rolex Learning Center ........................................................................................ 134 Figure 3-74 Plan of Rolex Learning Center ........................................................................... 136 Figure 3-75 spatial design and form formation ...................................................................... 136 Figure 3-76 floor and ceiling assembly .................................................................................. 137 Figure 3-77 building envelope designed to maintain acoustics .............................................. 138 Figure 3-78 Zeimuls, Center of Creative Services ................................................................. 139 Figure 3-79 Architectural Expression of Zeimuls .................................................................. 139 Figure 3-80 angular planning of Zeimuls ............................................................................... 140 Figure 3-81 blended green roof in the natural landscape ....................................................... 141 Figure 6-1 site location factors ............................................................................................... 154 Figure 6-2 panoramic view of site .......................................................................................... 155 Figure 6-3 site surrounding to south ....................................................................................... 155 Figure 6-4 site surrounding to north ....................................................................................... 155 Figure 6-5 site surrounding to east ......................................................................................... 156 Figure 6-6 site entrance .......................................................................................................... 156 Figure 6-7 noise direction ....................................................................................................... 156 Figure 6-8 access .................................................................................................................... 157 Figure 6-9 site section ............................................................................................................. 157 Figure 6-10 winter and summer solar direction ...................................................................... 158 Figure 6-11 wind pattern ........................................................................................................ 158 Figure 6-12 existing trees in the site ....................................................................................... 158 Figure 6-13 SWOT Analysis .................................................................................................. 159 Figure 6-14 overlay analysis ................................................................................................... 160 xvi

Figure 6-15 sun shadow fallouts in site .................................................................................. 161 Figure 6-16 human activity map ............................................................................................. 161 Figure 6-17 Lower and upper level conceptual zoning .......................................................... 162 Figure 7-1 Member's journey ................................................................................................. 165 Figure 7-2 Ideating the journey in the site .............................................................................. 165 Figure 7-3 form of the learning center and incubator ............................................................. 166 Figure 7-4 conceptual elevation derived from the roof .......................................................... 166 Figure 7-5 conceptual zoning ................................................................................................. 167 Figure 7-6 ideation of spaces .................................................................................................. 168 Figure 8-1 Zoning and development in site ............................................................................ 170 Figure 8-2 plan of Administration block ................................................................................ 171 Figure 8-3 3d view of Administration block .......................................................................... 171 Figure 8-4 plan of restaurant................................................................................................... 171 Figure 8-5 3d view of restaurant ............................................................................................. 171 Figure 8-6 3d view of function area of multipurpose hall ...................................................... 172 Figure 8-7 plan of multipurpose hall ...................................................................................... 172 Figure 8-8 3d view of Incubator block ................................................................................... 172 Figure 8-9 plan of co working space ...................................................................................... 173 Figure 8-10 3d view of incubator block from the service entrance ........................................ 174 Figure 8-11 plan of startup offices.......................................................................................... 174 Figure 8-12 plan of incubator ................................................................................................. 174 Figure 8-13 plan of library ...................................................................................................... 175 Figure 8-14 3d view of Makerspace ....................................................................................... 175 Figure 8-15 plan of Makerspace ............................................................................................. 175 Figure 8-16 plan of lower level Makerspace .......................................................................... 176 Figure 8-17 plan of studio....................................................................................................... 176 Figure 8-18 3d view of Accommodation block ...................................................................... 177 xvii

Figure 8-19 plan of accommodation block in different levels ................................................ 177 Figure 8-20 ramp access to the building ................................................................................. 178 Figure 8-21 section of universal toilet .................................................................................... 178 Figure 8-22 plan of universal toilet ........................................................................................ 178 Figure 8-23 Elevation with material detail ............................................................................. 179 Figure 8-24 final form of the learning center and incubator .................................................. 180 Figure 8-25 front plaza with the name sculpture .................................................................... 180 Figure 8-26 front plaza ........................................................................................................... 180 Figure 8-27 Army Memorial Plaza ......................................................................................... 181 Figure 8-28 Army Memorial Plaza with the story telling area ............................................... 181 Figure 8-29 Contemplation plaza ........................................................................................... 181 Figure 8-30 Lotus pond onlooking the Makerspace ............................................................... 181 Figure 8-31 Lotus pond onlooking the OAT .......................................................................... 181 Figure 8-32 Murals on the wall in the front plaza .................................................................. 182 Figure 8-33 plant wall and creepers along the shaded pathway ............................................. 182 Figure 8-34 structural skeleton of the buildings ..................................................................... 183 Figure 8-35 structural diagram of Makerspace with column and plates connection .............. 183 Figure 8-36 structural connection detail of folded plate ......................................................... 184 Figure 8-37 booster pump....................................................................................................... 185 Figure 8-38 working diagram of water supply to the building floors..................................... 186 Figure 8-39 section of perveous surface ................................................................................. 187 Figure 8-40 recharge pit section ............................................................................................. 187 Figure 8-41 position of BIPV in the buildings ....................................................................... 188 Figure 8-42 working of double skin facade in different conditions ....................................... 189 Figure 8-43 section of Makerspace with the double skin facade............................................ 189 Figure 8-44 trees in front of the makerspace shading the direct sunlight ............................... 190

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List of Tables Table 1-1 data of unemployment in Nepal ................................................................................. 5 Table 2-1 Typical space required in a packed layout ............................................................... 21 Table 2-2 Artificial lighting: Typical requirement ................................................................... 22 Table 2-3 general depth of the office ........................................................................................ 51 Table 2-4 lighting and ventilation levels in offices .................................................................. 52 Table 2-5 vehicle dimensions and turning radius ..................................................................... 55 Table 2-6 parking standards...................................................................................................... 55 Table 2-7 color and psychology chart ...................................................................................... 60 Table 2-8 Lighting requirements in office spaces according to different activities ................. 67 Table 2-9 Intensity of sunlight in different conditions ............................................................. 67 Table 2-10 glazing to wall ratio ................................................................................................ 69 Table 3-1 Nepal Communitere: allocation of spaces ................................................................ 94 Table 3-2 Karkhana: allocation of spaces ............................................................................... 101 Table 3-3 Martin Chautari: Allocation of spaces ................................................................... 108 Table 3-4 IHub: Allocation of spaces ..................................................................................... 115 Table 3-5 National Innovation Center: Allocation of spaces ................................................. 118 Table 3-6 the entrance and double height ceiling with meeting room ................................... 118 Table 3-7 space allocation ...................................................................................................... 127 Table 3-8 Rolex Learning Center: allocation of spaces.......................................................... 137 Table 5-1 Program formulation: administration zone ............................................................ 146 Table 5-2 Program formulation: collaborative spaces- ground floor: co working space ....... 147 Table 5-3 Program formulation: collaborative spaces-plan at level 0- start up offices .......... 147 Table 5-4 Program formulation: collaborative spaces-first floor- incubator .......................... 147 Table 5-5 Program formulation: collaborative spaces-ground floor- Makerspace ................. 148 Table 5-6 Program formulation: collaborative spaces-plan at level 0- Makerspace .............. 148

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Table 5-7 Program formulation: collaborative spaces-first floor- studio ............................... 149 Table 5-8 Program formulation: social spaces- library .......................................................... 149 Table 5-9 Program formulation: social spaces- restaurant ..................................................... 149 Table 5-10 Program formulation: social spaces- restaurant ................................................... 150 Table 5-11 Program formulation: accommodation- ground floor .......................................... 150 Table 5-12 Program formulation: accommodation-first and second floor ............................. 151 Table 5-13 Program formulation: accommodation-top floor ................................................. 151

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CHAPTER 1: INTRODUCTION Shreya Singh |71036|

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1.

Introduction Background and Concept

Behind every problem are a handful of potential solutions. The most appropriate solution is typically a hybrid of several ideas merged together. Collaboration helps to nurture association between these ideas. If everyone on your team brainstormed in a bubble, the end result would be a dozen or so okay ideas, none of which gel to create a complete solution. By breaking down walls and opening doors, team can make associations and connections between threads of thoughts. (smartdraw, 2019) Business incubators differ from research and technology parks in their dedication to start-up and early-stage companies. Research and technology parks, on the other hand, tend to be large-scale projects that house everything from corporate, government or university labs to very small companies. Most research and technology parks do not offer business assistance services, which are the hallmark of a business incubation program. However, many research and technology parks house incubation programs.

Incubators sometimes call themselves accelerators instead, often when they’re geared toward jumpstarting businesses that are more developed. (shodhganga, 2019)

Figure 1-1 the concept of collaboration

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1.1.1. Global Scenario of Incubators and Start-ups Today, technology entrepreneurship is a global phenomenon with start-up ecosystems emerging world over. Start-ups are growing at the rate of 5x compared to 15 years ago, as per the Economic Survey 2015-2016.

Most active start-up ecosystems are Silicon Valley, New York City, London, Singapore, Bangalore, Moscow, Paris, Chicago, and Berlin. Start-ups are one of the major drivers of job opportunities and economic growth. Venture capital-backed enterprises like Uber, Airbnb, Snapchat, Flipkart, and Xiaomi have taken the market by storm, giving rise to whole new industries determining the way we live and work today.

Figure 1-2 Global scenario of incubators and startups

This growth trend is encouraged by 3 major factors: 

Private market investors are more willing to invest in high-growth start-ups.



Buyers (consumers/enterprise) are more open to purchasing products from start-ups



Multiple cost effective, selling channels platforms to reach potential buyers

1.1.2. Local Scenario of Incubators and Start-ups Every year many new and young entrepreneurs coming up with new innovative ideas since last seven-eight years so that the start-up scene in Nepal has changed significantly.

And it is estimated that about 60’s number are in the pace of successful start-ups in Nepal. It can also be said as these are the companies which are running in good profit.

Inspiration One of the inspirations was generated from self-experience where someone like me would try doing something different, being an entrepreneur or starting something of their own derived from one’s hobbies and interests but the society and family as barriers Shreya Singh |71036|

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for there is no similar platform to these. The new minds are in dire need of any platform that encompasses their passion as much as they do.

The inspiration generated from the growth of various social groups in social media who worked in areas relating to art, technology and design working independently only crossing paths occasionally in events as collaborators or stall holders but not working together. Also working with some of them, made me realize the potential of the present generation. Like in other countries where the universities have incubators to educate their students to generate ideas and work accordingly in the real world, what if we had

JHIMIKKA

Figure 1-3 Local scenario of startups and incubators

something similar as a non- profit development or profit development or even as a part of the institution.

Some of the inspiring organizations and groups are Nepal Communitere, Karkhana, Quixote’s Cove, Jhimikka, Kaalo.101, Maker valley, Kayo, Pinches art core, etc.

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The project 1.3.1. Introduction Art, technology and design being three different areas of expertise have always been associated with each other. These fields have barely been co- existing in each other’s Universe at the present state of competition between the genres. The Art, Technology and Design Incubator aims at designing and creation of stimulating environment that promotes and accelerates possibilities of new collaborative opportunities with spaces that can be reconfigured to mutable technology and spatial demands. 





Enigmatic questions

Makes solutions

Makes possibilities

 

Typical Institutional Modal for Incubators 

Academic Institutes



Non-profit development



Venture capital firms



For profit development



Combination of these

1.3.2. Justification, Importance and Rationale Nepal has been a developing country since a very long time and still strives for its betterment every single day but has not quite been able to achieve its goal. Although, according to the Central Bureau of Statistics the rate of unemployment has decreased from 3.4 to 3.2, there is a high rate of foreign migration in name of further studies on looking the future prospects.

Table 1-1 data of unemployment in Nepal

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Our country is very rich in human resources and a variety of skills reside within them.

Be it in the field of traditional art and architecture, performing art or even development of new skills within time, the people here have a huge potential of serving themselves rather than being dependent on the foreign trends and dreams. Through the development of technology in such a rapid pace in the past decade, everything now is changing, actually, it’s EVOLVING. All the techniques and methods used in the past have adapted themselves in this fast pace that has brought an overall shift in the paradigm.

So now, there is this need that the time demands. The time has brought us to this state where everything is digitized, everything has grown into this beautiful mess of technology that the time demands it explores more. The Art, Technology and Design Incubator is an incubator and centre for learning for the conventional ideas as well as the contemporaries to grow and become big and sustain themselves.

1.3.3. Research questions 

How does collaborative environment enhance individual’s mind and creativity?



How does incubators and learning centers bring out the best outcomes?



What are the factors required to design a good learning center and incubator?



How does art, design and technology aid in a learning center and incubator?



What are the spatial requirements for learning center and incubator?

1.3.4. Need and importance 

To cultivate knowledge through overlapping information nodes.



To study and design a platform for the young innovative minds to cultivate and grow their ideas and make it bigger through collaborations.



To design place for teaching, learning, practicing and relaxing for the active creative minds.



To learn about the growing trend of start-ups.



To reconnect physical space, knowledge and human interactions through design

1.3.5. Target group The target group of Art, Technology and Design Incubator revolves around: 

Professionals, students and aspirants relating to art, design and technology.

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

People of various age groups from children, youth and elderlies having passion for innovation and ideas to project.



Learners and boomers.



Collaborators, stakeholders and investors.

1.3.6. Expected output An Art, Technology and Design Incubator is a space that promotes self-employment rather than bringing employment to the footsteps of people. Nepal being a country which on a regular basis tackles the major problem of unemployment can greatly benefit from this endeavour which not only concise into the business field but brings opportunities to grow to varied areas of art, technology and design.

Theoretical Understanding and Research findings To initiate the project, it is required to conduct a “Needs Assessment” through review of existing reports and records, interviews with agency personnel, and information gathering among the aspirants in order to prepare a data of the existing endeavours and the future.

Methodology 1.4.1. Literature review The literature review will be done for the basic office spaces and institutes to certain extent to understand the workplaces and learning centres. Also to understand the services, literature review for water supply, HVAC system, electrical system, structure and also landscape is necessary.

Primary Sources 

Mrs. Bahar Kumar, Director, Nepal Communitere



Ar. Susan Vaidya, Team Consultants

Secondary Sources 

Neufert Architect’s Handbook



Time Saver’s Standards



Architect’s Handbook



Related reports and articles



Internet sources, Magazines

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1.4.2. Case studies The Case studies will be carried out to understand 

The entire ecosystem of the entrepreneurship, startups, incubators and innovation center.



The connection and prospect of collaboration between Art, Technology and Design in the present and future scenario of Nepalese economy.



The spatial relationship between various spaces and analysis of the spaces to create a better creative space.

1.4.3. Spatial requirements of the project Collaborative spaces 

Co working spaces



Incubator



Maker space



Multipurpose hall

Social spaces 

Library



Rentable spaces



Restaurants and bars



Gallery



Studio



Performance area



Open and semi open spaces

Other spaces 

Administration



Residency / Air Bnb



Seminar halls



Toilet



Parking

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1.4.4. Methodology chart

Figure 1-1-4 Methodology Chart

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CHAPTER 2: LITERATURE REVIEW Shreya Singh |71036|

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2.

Literature Review Collaborative Spaces

Collaboration is one of the most powerful forces in the workplace. The pooling of skill sets and strengths can lead to improved problem solving, increased productivity, and more creativity. While overall collaboration time has increased by 50% over the last couple of decades, studies suggest that a collaboration-minded approach to workplace design could make that time even more beneficial.

2.1.1. Co working space Co-working is a self-directed, collaborative, flexible and voluntary work style that is based on mutual trust and the sharing of common core values between its participants.

Co-working involves a shared workplace, often an office, and independent activity.

Unlike in a typical office, those co-working are usually not employed by the same organization. Typically, it is attractive to work-at-home professionals, independent contractors, independent scientists or people who travel frequently who end up working in

relative isolation. Co-working is a social gathering of a group of people who are still working independently, but who share values and who are interested in the synergy that can happen from working with people who value working in the same place alongside each other. Co-working offers a solution to the problem of isolation that many freelancers experience while working at home, while at the same time letting them escape the distractions of home. It generally costs money in the form of membership dues, though some spaces are free of charge.1

Figure 2-1 New ways of working/ people and change

1

Foertsch, Carsten (2011-05-11), "What is Coworking and its cultural background?"

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2.1.1.1. Needs and Activities 

Physical needs: space, light and view, ventilation, temperature, acoustics, furniture and equipment, ergonomic comfort



Psychological needs: interaction, proximity, stimulation, peace, privacy, confidentiality, security, territoriality, status& image



Solo activities: writing, drawing, telephoning, selling, dealing, thinking, reading, filing, computing, researching



Group activities: mentoring, counselling, monitoring, interviewing, meeting, team working, brain storming, informing, briefing, conferencing



Congenial activities: mailing, circulating, paper processing, getting supplies, filling, personal care, coffee-making, brown-bagging, working launches



Socializing: eating, entertaining, chatting, smoking, exercising



Collective activities: selling, dealing, researching, filing

Figure 2-2 various activities depending on its module

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2.1.1.2. Organization of space We define a space as an activity area with a boundary. It may contain several different activities, either simultaneous or sequential; and its boundary may be more or less substantial. Ease and speed of response to change is now a central design criterion.

Businesses must change in order to survive; processes must change and with them workers’ roles and relationships. So too must spaces, in order to accommodate the new ways of working. New patterns reverse the old. Workstations are becoming single purpose, and fitted to the task: both for solo activities, small rooms for quiet discussions, and tele-conference rooms. Libraries, conference rooms and cafeterias, on the other hand, are now used for wide range of activities. It comes back to economy; workstations must be tailored to support excellent performance; and large spaces cannot sit idle for long parts of the day. (politesi, 2019) Dividing spaces needed by an organization into: - Primary: The principal workspaces - Circulation: Spaces to do with movement around the office.

- Support / Service: Spaces containing functions to do with operation and maintenance of the building or containing functions that support the work of whole organization.

- Social: Spaces containing functions to do with non-work activities of the occupants

Figure 2-3 spatial distribution of spaces

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2.1.1.3. Movement The Functional and psychological needs of movement are interwoven, and are best looked at together; as are the needs of the individual and of the organization. Patterns of movement: The star, the grid and the ring are the principal patterns of physical movement in an office the first two can be three dimensional, but the last only relates to single floors. Their characteristics are: 

Star: Centralized / Orientation good / access good at the center, but poor at the periphery / only one choice of route / easy to control and make secure / major meeting point at the center / isolating, the linear building with a spine is a simplified star.



Grid: Decentralized / Orientation poor /access equality good everywhere / multiplicity of routes / hard to control and secure / variety of meeting points / integrating.



Ring: Peripheral / Orientation reasonable / access moderately good everywhere / choice of two ways round / relatively easy to control and secure / ring itself is a linear meeting zone /semi integrating / if combined with several links between floors, takes on some of the characteristics of the grid pattern

Figure 2-5 Pattern of movement

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Figure 2-4 pattern of movement with added function

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2.1.1.4. Planning Fitting an organization into a building means approaching the problem from two directions simultaneously: how much space do a certain number of people need (additive approach), and how many people can the buÄąlding hold (subtractive).

Figure 2-6 Circulation diagram of co working space

a. Spaces for Collective Work Much individual work in offices is found in shared spaces. Many pool areas are private to an organization but others, such as a secretarial area outside a group of executive offices, have a public face. b. Group Spaces These are the heart of any business. They are where people meet to talk, listen and together create and implement solutions to the job in hand. They can be open or dedicated to an enclosed room.

-

Meeting Points

-

Team Spaces

-

Boxes

-

Meeting rooms

-

Presentation rooms

Figure 2-7 Daily activities density at different times of the day

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c. Spaces for Solitary Work The places people need when working alone have particular characteristics.

Reflective tasks want no distractions: people nearby can be a disadvantage. The solitary worker is more aware of physical comfort. So good environmental conditions, and the right equipment and furniture, are particularly important, especially for repetitive work. 

Workstations: The setting of desk and chair had remained remarkably unchanged for last 150 years. Workstations need space for the works; furniture and equipment. Space means room to carry out tasks, convenient access to storage and freedom to move without bumping into things.



Transient Space: “Hoteling” and “Touch-down desk” have created a new form of workstation. These shared desk are used by shift works those dropping by the office for a short while and free-range workers who are probably part of a team.



Booths: As it is for general and transient use, it can be minimal in size and without permanent storage. It may not even contain a PC or telephone. It may not even contain a PC or telephone. It is either fully enclosed.



Private Offices: At one level the office is a workstation with walls round it; at another it is the imposing throne room of the chief executive.

Figure 2-9Standard dimension for single and shared table

Figure 2-8 Standard dimension for workstation

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Figure 2-11 Standard for Workplace planning

Figure 2-10 co working layouts

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Figure 2-12 Circulation

Figure 2-13 circulation layout and dimensions

2.1.1.5. Circulation Long, straight circulation paths provide maximum efficient and optimum organization; however, they can also appear tunnel-like. This is particularly true if the paths are narrow. To provide maximum efficiency and at the same time create an interesting and aesthetically appealing space, the part should be modified to create irregularities.

Circulation is the area required to connect functional spaces in the office. In closed plan, circulation comprise the corridors through the space; in open plan, it is the paths through the workstations. The tree basic types of circulation are primary, secondary and tertiary.

Circulation path widths should be considered carefully to create totally clear and unobstructed space. Generally, the wider the circulation path, the more spacious and comfortable the plan will appear and feel. Conversely, overly wide circulation paths unnecessarily consume space and decrease planning efficiency. Ideally, the main circulation paths should be at least 150cm and should never be narrower than 120cm.2 2.1.2. Maker space Makerspaces are modern workshops where students can create projects they are passionate about in an environment that fosters and encourages learning through experimentation. Through the kinds of hands-on learning offered by makerspaces, students are able to deepen their understanding of higher-level concepts, allowing 2

Ergin, D, 2013 / 2014, Politecnico di Milano, p 51

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lessons to leave more of an impact. When used correctly, makerspaces can inspire cross-disciplinary projects that are tied to standards and deeply engage students in learning.

Makerspaces are defined more by what they enable than what they actually look like.

A makerspace can take many forms, from a mobile cart loaded with crafting supplies to a room full of computers, tools, and tables. Makerspaces are a combination of a traditional lab, art room, shop and conference room, where hands-on learning takes place and people are encouraged to collaborate to turn ideas into reality. Makerspaces are all about getting hands-on and creating real-world projects using the tools and expertise on hand.

Design guidelines for makerspace 

Identify the ethos



Design for flexibility and adaptability



Furniture with wheels



Generous power



Makerspace type and material usage



Create safe space for exploration

Figure 2-14 space layout for makerspace

a. Siting This will depend on type of work being done. Light work associated with graphics, silver and jewelry, photography and fashion may be placed on a higher floor; metal, wood and plastics workshops, where large machines may be installed, are best sited on ground or basement levels.

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Good workshop layout must conform to work flow and safety.

Figure 2-16 general dimensions for circulation space



Figure 2-15 storage ways in makerspace

Provide ample space round machines and for gangways to allow necessary movement without incursion on workspace.



Non-slip floor finishes should be specified.



A workshop technician should be able to survey the whole area from a partially glazed office.



If each student is provided with sets of tools, space for individual lockers is needed in the workshop area.

b. Health and safety This is particularly important where machinery is in use

- e.g. wood and

metalworking or in darkrooms etc. where chemicals are used. Protective clothing, goggles etc. must be available in sufficient numbers and safety procedures must be clearly displayed. c. Ancillary accommodation This will include offices for teaching staff, common room (consider for both staff and students), toilets and possibly showers. Ancillary areas may include printing and reprographic equipment, either housed in a studio or, if sophisticated or large scale, sited in a separate area. Computer-aided design and drafting equipment is usually located in separate computer areas, use being shared with other disciplines.

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Table 2-1 Typical space required in a packed layout



Washing and toilet facilities Legal requirement is simply that adequate and conveniently accessible washing facilities are provided and maintained.



Lockers For clean trades, one locker/person must be provided; for dirty trades one double locker/person, to keep work and street clothing separate.



Changing areas The minimum changing area is 0.5 m/person.

d. Building environment Rising energy and labor costs make the building environment an increasingly important contributor to operating costs and productivity. Factors to be considered in providing good conditions at the workplace include: 

Dust and fume extraction



Ventilation in hot weather



Heating in cold weather



Natural and artificial lighting



Noise control.

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i.

Ventilation and heating As a rough guide for ventilation, 5W person can be used. The conventional air change rate of 1-1.5 air changes per hour may result in more than 50 times this requirement, wasting much energy.

Recommended temperature levels are: 

Sedentary work 19°C



Active (bench) work 16°C



Very active work 13°C

ii.

Natural lighting Demand for natural roof lighting influences the selection of roof structure.

Compared with the insulated roof without any openings, 20% glazing will increase both heat loss (by up to four times) and ventilation demand through solar gain: in highly serviced environments uncomfortable glare can result from pipe runs crossing bright roof lights. Outdoor illuminance varies between 5000 and 25000lux from overcast to sunshine conditions in temperate climates.

Therefore, a 3% daylight factor (DF) will provide the equivalent of 150-7501ux at the workplace; 10% roof glazing will result in an average DF of about 5%.

Flank glazing must be carefully designed to avoid glare, particularly at high level. Natural lighting in warehouses can be a positive disadvantage, sunlight raising the temperature and causing package fade.

iii.

Artificial lighting Table 2-2 Artificial lighting: Typical requirement

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iv.

Noise control Noise is a major pollutant and limit on working efficiency: it can cause damage to hearing. There is also human sensitivity to vibration: when vibration frequency exceeds approximately 20-30 Hz it passes into the audible range (i.e. the vibration will be heard as sound). For maximum levels in the workplace.

Reduce noise at source by design of equipment, screening and enclosure. 

Reduce vibration at source by mounting machinery on resilient pads or special foundations.



Reduce noise before it reaches the workplace by absorption (walls, roofs and pendant absorbers) and/or by modifying background noise.



Reduce noise effect by isolating workers in noise reducing enclosures.



Escaping noise can also be troublesome outside the building so place external plant away from direct lines with surrounding users and screed suppress the source.

v.

Waste removal Contact the local authority or specialist firm to agree optimum method of disposal. Materials can include: paper and card; plastic bags and foam infill; metal containers; glass. Some materials may need to be sub-divided (e.g. plastics and aluminiudsteel cans). A compactor may be required. Waste collection must be near where the materials are generated. Contaminated or toxic materials may require a license from the local authority.

2.1.3. General dimension of machines in maker space a. Laser cutting machine Laser Cutting is a non-contact process which utilizes a laser to cut materials, resulting in high quality, dimensionally accurate cuts. The process works by directing the laser beam through a nozzle to the workpiece. A combination of heat and pressure creates the cutting action.

Figure 2-17 laser cutting machine dimensions Shreya Singh |71036|

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JIGYANSA: LEARNING CENTER AND INCUBATOR

b. 3D Printing machine 3D printing or additive manufacturing is a process of making three dimensional solid objects from a digital file. The creation of a 3D printed object is achieved using additive processes. In an additive process an object is created by laying down successive layers of material until the object is created.

Figure 2-18 3D printing modules

c. CNC Machine CNC Machining is a process used in the manufacturing sector that involves the use of computers to control machine tools. Tools that can be controlled in this manner include lathes, mills, routers and grinders. The CNC in CNC Machining stands for Computer Numerical Control.

Figure 2-19 CNC machine

2.1.4. Incubator These are spaces aimed at hosting recently created companies in their germinal phase. The objective of business incubators is to support the companies hosted to be

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JIGYANSA: LEARNING CENTER AND INCUBATOR

able to successfully overcome the first years of activity and to thus improve the survival of companies in the territory.

In addition to a quality space in which to locate their company temporarily at a subsidized price, business incubators offer many other added value services, such as support and follow-up to business projects (project incubation), training actions, networking activities, support to management and internationalization programs. These services are aimed at an area that goes beyond the companies hosted in them, to reach the rest of the newly created companies in the territory.

Business incubators offer different forms of hosting, from renting a workplace in a shared space (co working) through to renting one or several modules as independent offices. Within the business incubator concept, and from an architectural point of view, we should distinguish between two building types: 

Sectorial services companies’ incubators —in other words, specialized in sectors of specific activities such as technology-based ones, food and agriculture, and so on— or general ones.



Industrial, sectorial or general business incubators.

2.1.4.1. Location As an attractor, the incubator: 

Has the ability to transform the place in which it is placed,



Once introduced, it can act as a catalyst for other public and private operations.

Figure 2-20 location proximity

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JIGYANSA: LEARNING CENTER AND INCUBATOR

Proximity 

Proximity to commercial axes, restaurants, bars, etc.



Proximity to the town council economic development offices



Proximity to research and higher education centres



Proximity to business associations, chambers of commerce and other economic development stakeholders



Proximity to business areas in the city, office blocks and business centres



Proximity to other facilities or administrative businesses of interest to the companies (diba, 2019)

2.1.4.2. Programmed spaces a. Individual work area 

Description: This is the space that a standard office workspace occupies —an equipped table— also equivalent to a meeting space for a 3-4 people or a small documentation archive.



Dimensions:

-

Approximate surface area: between 7 and 9 m2.

-

The work area for one person corresponds to a square of some 2.7- 3 m per side making up an area of between 7.3 and 9 m2. This is the surface area considered necessary to host a comfortable personal workspace plus the corresponding room for circulating to make it into a pleasant area.



Fittings: That the work area must be able to contain standard office furniture: worktable (1.80×80 cm minimum), a chair, drawer units and some shelves.

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Figure 2-21 general dimensions for solitary workspace

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JIGYANSA: LEARNING CENTER AND INCUBATOR



Characteristics: It is recommended that each area should have natural daylight, even though it may be indirect, and comply with the optimum comfort parameters with respect to artificial lighting and air conditioning.

In addition, each area should have an electricity supply and basic voice and data telecommunications services. (diba, 2019)

b. Independent office module 

Description: This is an independent space designed to accommodate a single company and suitable for two or more people to work in, in collaboration. The modules are areas mainly designed for individual work, as group work and meetings should be held in the shared and communal spaces planned by the centre.



Users: Business people and staff of the companies hosted in the incubator.



Dimensions:

-

Approximate surface area: between 14 and 52 m2 (from 2 to 6 individual workspaces).

-

The modules can be, and in fact it is recommended that they should be, different sizes. It is a good idea to size them according to the individual work areas that make up the interior. The proposal is, as a minimum, three basic module sizes, which will be combined to a greater or lesser proportion in keeping with the strategy of the center.

-

In large incubators and executive suites, larger modules can be considered.

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Figure 2-22 general dimensions for independent office module

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JIGYANSA: LEARNING CENTER AND INCUBATOR



Fittings: There are two options: that the furniture should be owned by the incubator or that the company should provide it. In the first case, the use of the incubator is more flexible and the internal movements between modules are very simple (only paper documentation and computers needs to be transferred in the case of a move). However, this first option makes it difficult for companies to configure their own“image” .By contrast, the second case allows them to customize the spaces. Intermediate alternatives can be studied, such as setting up only a certain percentage of the modules or establishing certain regulations and aesthetic criteria in the incubator regulations.



Characteristics:

-

In the first place, the modules are spaces designed for everyday work and, as such, they must be comfortable. Consequently, it is necessary to ensure access to daylight and natural ventilation as much as possible, pleasant proportions and good acoustics; they must also have suitable air-conditioning, electricity, artificial lighting, and etc. fittings.

-

They must also be flexible to facilitate group work or company growth. In the project, one should observe the possibility of being able to group modules together with the aim of forming larger units

-

It would be a good idea for the divisions between modules to be opaque so that the companies can use them for fittings and customize them; this opacity will also serve to prevent uneasy visual communication that can lead to distractions.

-

Conversely, each module must enable a high degree of interaction with the communal spaces and the spaces for relating with others to guarantee the inherent objective of creating a network in the incubator.

-

This feature can become a "showcase" focused out towards the communal circulation spaces. The showcase allows the work that the company develops to be permanently on display and, at the same time, to improve the transparency and connectivity between the workers of the incubator. It also limits the work area without making it opaque, meaning that it turns it into a space that enables the products or services that the company hosted in the centre offers to be visible.

-

A place should be envisaged for the identification of the company (logo, sign, etc.) on the side of the module facing the circulation spaces and communal spaces. (diba, 2019)

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c. Co working module 

Description:

-

This is a workplace intended for the temporary hosting of self-employed workers or micro companies, which mainly only require one workspace. These business people coexist with other professionals sharing an incubator room.

-

However, one or more workspaces can be rented at the same time, with a maximum of 2 to 3 workspaces per company. Depending on the centers, coworking of sole proprietorship companies is segregated from coworking of companies with two or more workers.

-

This kind of space is not found in executive suites.



Users: Professionals and micro companies hosted in the incubator.



Dimensions:

-

Approximate surface area: between 28 and 72 m2 (from four to eight individual work areas).

-

Larger surface areas may be accepted, with more individual work areas, in rooms that have good acoustics and have soundabsorbing features in the walls, ceiling and/or furniture.



Fittings:

-

Coworking is a plug and play space and, therefore, it must be completely fitted out.

-

Usually, coworking spaces require a generous worktable (minimum 1.80 x 80 cm), a chair, a cupboard that can be locked and a drawer unit; it is important that the table should be an office table (with a channel for cables, plugs and other connections, etc.).

-

With respect to computers, the center also provides (either free or with a charge) a shared computer and telephone.

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Figure 2-23 general dimensions for co working module

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JIGYANSA: LEARNING CENTER AND INCUBATOR

-

When distributing the furniture in coworking spaces, two different strategies applied: grouping the workspaces to favor networking or giving each area a certain degree of intimacy with features at half height, which favors concentration



Characteristics:

-

As in the case of independent modules, in co working modules, people work every day, meaning that they must be comfortable spaces.

Therefore, they should always guarantee, as much as possible, access to daylight and natural ventilation. It is important, above all, to have a room with good acoustics, meaning that it is advisable to use sound-absorbing materials on the walls and the ceiling.

-

All the workspaces must be equipped with a connection to the electrical supply, telephone and data services and Wi-Fi technology.

-

As these spaces must be able to adapt to the needs that arise over time, it is recommended to provide them, if possible, with technical flooring, which will offer great flexibility when carrying out temporary modifications to the distribution of workspaces. This need may arise, for example, if a micro company with two or more people joins.

In the diagram, you can see how three work areas can be created with a simple reorganization of the furniture.

-

By their very nature, coworking modules are fully compatible with clear divisions that let the

Figure 2-24 features of co working module

activity that is taking place inside be seen.

-

In addition, users of coworking modules, born facilitators, are usually those who make the greatest use of the areas in the center for relating, meaning that it is even more necessary to provide these spaces with transparency and, at the same time, to carefully study how they will be placed with respect to other units of

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JIGYANSA: LEARNING CENTER AND INCUBATOR

use, in such a way that the coworking atmosphere spreads to the rest of the center.

-

A place should be envisaged to identify the companies on the façade of the module, facing the circulation spaces and communal spaces.



Complementary features: Concentration box:

-

Coworking modules can be complemented with a small adjoining box for times when a certain degree of privacy is essential (important calls, need for special concentration, etc.).

-

This box —with an area of 8 to 10 m2 and equipped with a table for meetings of three to four people— should be multipurpose: in some cases it will cover this need for privacy and in others it can become a room for meetings or group work. (diba, 2019)

d. Informal meeting area 

Description:

-

They are small open or semi-open spaces for spontaneous meetings of two to four people.

-

They are areas that are suitable for non-confidential conversations that encourage meetings and relations between the business people hosted in the incubator.

-

They are used on a first-come, first-served basis, without reservation or additional cost.



Users: Business people and staff of the companies hosted in the incubator, staff from the center and clients.



Dimensions: Approximate surface area: between 7 and 9 m2.



Fittings:

-

Attractive, informal furniture (armchairs, stools, etc.), which are, at the same time, comfortable.

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Figure 2-25 informal meeting area

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JIGYANSA: LEARNING CENTER AND INCUBATOR

-

It is recommended that there should be some areas of this kind in diverse locations —related to the work modules— and with different furniture configurations.



Characteristics:

-

They can be opened up to the common circulation space or break area, but they should be minimally confined to guarantee the privacy of people who meet in them.

-

It is recommended that they should be well lit, pleasant areas.

-

They can be informal spaces located outside (terraces, courtyards, accessible flat roofs, etc.). (diba, 2019)

e. Large classroom 

Description: This is a space designed for offering training sessions, with a maximum capacity of 30 people. It is mainly used by the center to offer training sessions to the business people that are hosted in it, and to the business people in the territory, but it can also be open for external use (or for use by the companies hosted in it) through being rented by the hour.



Users: Business people and staff of the companies hosted in the incubator, staff from the center, clients, participants at training events and entrepreneurs.



Dimensions:

-

Approximate surface area: between 63 and 81 m2.

-

By incorporating a mobile acoustic board, it can be subdivided into two spaces

Figure 2-26 large classrooms

destined to more modest training sessions or meeting rooms.

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

Fittings:

-

Flexible furniture, adaptable to different configurations (conventional meetings, classrooms, horseshoe-shaped tables, etc.). It should have all the resources permanently available (projector, computer, laser, loudspeaker system, etc.) to be able to hold conferences and similar events.

-

This is a space suitable for expressing the brand of the center, without including logos or branding, but including the features that characterize it in the furnishings and decoration.



Characteristics:

-

They must be closed spaces which are acoustically well insulated.

-

They must have access to natural daylight, but a system should be planned to obtain low levels of lighting. We recommend that there should be different possibilities for artificial light and independent control of the air conditioning.

-

They must have several points of connection to the electrical network and access to the center’s data network (by means of Wi-Fi or cable).

-

They involve groups of users who are not familiar with the center, therefore they should be close to the entrance and to the reception, with simple, short routes.

-

They must have a sufficiently large adjoining space for the moments before or after the events (for receiving visits, information, presenting products, coffee breaks, etc.). Proximity to the entrance and/ or spaces for circulating and meeting others considerable

avoids having to

communal

space

just

assign a for

this

complementary, non-continuous use and gives greater visibility to the events. The dimensions of these spaces are similar to those of the room (same simultaneous capacity). f. Break room 

Description:

This is a space designed for leisure time and the relaxation of business people and their staff during working hours, although sometimes it can be converted into an area for contact and informal meetings.

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Figure 2-27 break room

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JIGYANSA: LEARNING CENTER AND INCUBATOR

-

It can act as a catalyst to generate other unregulated meetings.



Users: Business people and staff of the companies hosted in the incubator, staff from the center and clients.



Dimensions:

-

Approximate surface area: between 30 and 36 m2.

-

The number of rooms is established according to the size of the center. We recommend at least one break room per center and per every 30 hosted companies.



Fittings: Casual and comfortable furniture that combines areas of armchairs with tables and chairs is recommended.



Characteristics:

-

The break room must be distinguishable from the circulation areas, but it need not be a completely closed off feature. Separating the circulation areas from the break rooms will not enable the former to generate activity, which will reduce the interaction between people in the break rooms. Therefore, it is a good idea that break rooms and circulation areas should not be separately specified.

-

By its nature, the break room must be identifiable as such, and be concentrated in one or two places in the building, in keeping with its size.

-

Since it is a place to relax, it must be pleasant, with natural daylight and suitable air conditioning. Well-lit spaces encourage people to relax, to answer a call, to hold an informal meeting, etc. (diba, 2019)

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2.1.4.3. Organization of spaces

Figure 2-28 organization of spaces

2.1.5. Multipurpose hall A large Multi-Purpose Hall is the center of considerable activity and has facilities for indoor events, meetings and performances. Other things which must be considered while looking for a multipurpose hall is to check if it can be available for any purpose like college events, sports events, business meetings public gatherings or political events.

2.1.5.1. Design considerations In the following, some of the main design considerations for the small halls will shortly be described. This paper will focus on the considerations related to the volume of the hall and the variability of the acoustic conditions. a.

Hall volume

Traditionally, the volume of a space for acoustic music will be given as volume per seat. This will typically be in the range of 10 – 12 m3 /seat, even up to 14 m3 /seat in some of the modern vineyard halls. As the small hall typically will be used with the same size orchestra as in a large hall, it is sensible to define the necessary volume per musician, not seat. The typical number used in recent designs are 100 m3 /musician, implying that the “standard” size romantic symphony orchestra requires a volume on 9000 – 10000 m2 , independent of the seat count in the hall.

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As the floorplan is set by the seating, this will typically lead to quite high halls, with heights in the 15 - 17 m range. b.

Stage

The stage size is set by the maximum size of the orchestra. As many of the halls are also used for theater and opera, the basic area of the stage is not a problem, however achieving the sufficient reflecting surfaces for an acoustic orchestra is difficult to combine with the requirements for theatre staging. One of the typical problems are the overhead reflectors needed for orchestra ensemble reflections, in particular when using the volume calculation described above. These will normally be in the way of theatre lighting bars and other rigging. In other words, it is essential to design a system where the reflectors are easily removed for other performances and put back in the correct place for acoustic music. Another typical problem is the need to remove all of the theater curtains used for drama and similar performances, when the hall is used for acoustic music. This will normally be done using curtain parking or pockets which are closed off. Also the side stage and back stage areas will need to be acoustically closed off for acoustic music. In many cases it is however sufficient to use an “acoustic shell� or separate reflectors standing around the orchestra.

Figure 2-29 general layout of multipurpose hall

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c.

Variable acoustics

Variable acoustic conditions are essential for any kind of multipurpose hall. Even the latest dedicated concert halls have some variable acoustic to accommodate different types of orchestra music.

The different schemes for variable acoustics can roughly be divided into two types: 

Variable absorption



Variable volume (sea-acustica, 2019) Social Spaces

2.2.1. Library A library is a collection of sources of information and similar resources, made accessible to a defined community for reference or borrowing. It provides physical or digital access to material, and may be a physical building or room, or a virtual space, or

both. A

library's

collection

can

include books, periodicals, newspapers, manuscripts, films, maps, prints, documents, microform, CDs, cassettes, videotapes, DVDs, Blu-ray

Discs, e-

books, audiobooks, databases, and other formats. Libraries range in size from a few shelves of books to several million items.

In

Latin

and

Greek,

the

by Bibliotheca and Bibliothēkē (Greek:

idea

of

βιβλιοθήκη):

a bookcase is derivatives

represented of

these

mean library in many modern languages, e.g. French bibliothèque.

Figure 2-30 Functional layout of a medium sized library

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2.2.1.1. Space requirements a. Entry/access areas 

One main entrance and two others are required, preferably separate:



Main entrance foyer/lobby: (190m2) should be clear and inviting, and be sufficiently spacious to cater both for visitors who have a specific destination and those who may wish to wander around.



Public out-of-hours entrance: must provide a short and secure access route from the street to the meeting rooms etc. It could be combined with the main entrance, but a lift solely for out of hours use is not acceptable.



Staff/service entrance: to be a safe and secure area, particularly for staff leaving after dark. Queuing space should be allowed for 40 people to wait (at 0.5 m2/person, 20m2 is required).

b. In-counters (51m2) There will be one central counter for the whole building, after which customers either will move to other departments, move to customer reception, or leave.

Peak hourly levels of customers are approximately 250-300, with a peak hourly level of returns of approximately 1000 items. Space is required for three staff plus computer terminals for customers. The layout must allow for clear and direct flows. c. Out-counters (38m2) All items issued or renewed will be from the out-counter and there may be more than one, depending on overall layout. Note that some customers may wish to return to other areas of the library (e.g. the coffee bar) after visiting the out counter. Peak levels are as for the in-counter. Space is required for two staff plus computer terminals for customers. The layout must allow for clear and direct flows: in particular, customers not wishing to borrow items must be able to avoid becoming involved with this area. d. Library returns bin This is required in the entrance area for returns during times when the library is closed. It must be a secure unit.

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e. Self-issue terminals The space required is 3 m2/terminal and at least three terminals are required at various points in the library. f. Smartcards The inclusion of a ‘smartcard’ system is increasingly likely, to allow customers to pay for services (e.g. photocopying, overdue charges, borrowing videos, etc.).

The machines will be located throughout the library. g. Admin and staff accommodation In addition to a general admin office space of roughly 53 m, provision will also include the following. h. Enquiry desks These should ideally be located so that they can service more than one department at quiet times or during staff shortages. i. Librarian’s office (20m2) The base for the manager in charge of the whole building, the room must be close to the administrative support and interview rooms. Apart from everyday managerial tasks, the room will be used for small discussions with up to two people and project work. j. Library manager‘s office ( 13m2) This includes one office for two assistants, shared desk, and also room for small meetings of one to three people. Privacy is necessary, although easy access/overview is required for counters and customer services. The office should be located near the branch library. k. Delivery area (16m2) There will be a daily ‘in’ delivery of boxes containing: books from this library, but returned to other libraries; books requested from other libraries; and new books. The ‘out’ delivery will be of books sorted in the sorting office, and books requested by other libraries. This area will also act as a short-term reception and dispatch area for other equipment, furniture, exhibition equipment, etc., and sufficient space should be allowed for this.

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l. Interview room (14m2) To be used by all staff for private meetings, appraisal interviews, meeting the public and recruitment interviews, the room must accommodate up to four people and ensure confidentiality is maintained. m. Local studies reserve stack ( 150m2) Most local studies stock will be reference only, in closed-access storage areas, obtained by staff on customer request: access systems therefore need to be quick and simple. A local studies workroom (38m2) will usually be required adjacent to the local studies area. n. Reserve stacks (155m2) Certain sections of stock will be housed in closed-access rolling stack storage, including: seasonal overflow (fewer items are borrowed during the summer and over Christmas); reference stock; music sets; playsets. The weight of rolling stack storage is substantial and will need to be taken into account in structural calculations. o. Secure area for exhibits A secure storage area is required, with easy access to both the delivery area and the exhibition area.

Figure 2-31 Aisle dimensions

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Figure 2-41 Height of five shelf unit

Figure 2-35 Bookshelf for children

Figure 2-39 Shelf unit for children

Figure 2-40 Shelf unit for adults

Figure 2-32 Floor area for individual workstation

Figure 2-34 Minimum free space in reading area

Figure 2-38 Workstation dimensions

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Figure 2-36 Height of four shelf unit for small children

Figure 2-33 Minimum distances between the table

Figure 2-37 Individual workstation dimensions

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2.2.1.2. Building services Heat reduction is a major problem, and is exacerbated by the use of computers. Airconditioning is expensive and environmentally undesirable and should therefore only be used where essential, natural ventilation being the preferred option (traditional window ventilation, however, can be a security risk).

Service zones are required above ceilings and below floors: ventilation systems, heating and electrical fittings, and information technology units, must be designed to allow flexibility of layout, and must allow for movement of shelving without causing disruption.

Distribution cabling for networked computer systems and terrestrial/satellite aerials also needs to be allowed for.

Noise in libraries is a problem, both from external sources and between different activity areas within the building. Acoustic considerations must therefore be carefully considered.

2.2.2. Restaurants A restaurant or an eatery, is a business which prepares and serves food and drinks to customers in exchange for money. Meals are generally served and eaten on the premises, but many restaurants also offer take-out and food delivery services, and some

Figure 2-42 basic layout for restaurant

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offer only take-out and delivery. Restaurants vary greatly in appearance and offerings, including a wide variety of cuisines and service models ranging from inexpensive fast food restaurants and cafeterias to mid-priced family restaurants, to high-priced luxury establishments.

Area per person standards 

cocktail lounge (comfortable) 1.8 2.0m2/person



general bar (some standing and on stools) 1.3-1.7m2/person



Traditional restaurant 1.3-1.9 m2/person



Carvery restaurant1 .6m2/person



Specialty/themed restaurant2.0 m2/person



Snack bar service1.5-2.2 m2/person



Cafe service 0.83-1.5 m2/person



Coffee bars 1.2-1 .4m2/person



Self

–service

1.4-1.7m2/person

Figure 2-43 layout arrangement and densities

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Figure 2-45 furniture anthropometry

Figure 2-44 booth layout

2.2.3. Studio and Gallery A design studio or drawing office is a workplace for designers and artisans engaged in conceiving, designing and developing new products or objects. Facilities in a design studio include clothes, furniture art equipment best suited for design work and extending to work benches, small machines, computer equipment, paint shops and large presentation boards and screens.

Studio art, also called fine art, is traditionally defined as art that is enjoyed

visually,

such

as

photographs, paintings, prints, drawings, sculptures or ceramics.

Departments are usually grouped in larger units (e.g. faculties) so that resources can be shared with related disciplines. The layout of any studio is conditioned by type of work being undertaken and Figure 2-46 Art and design studio general layout

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type of supervision required. A selection from the following specialist facilities is a likely requirement: 

Architecture



Drawing and painting: fine art



Graphic design



Ceramics; sculpture



Media studies: video and film



Industrial design: engineering



Furniture and interior design



Theatre and television design



Photography



Silver and jewelry: metalworking



Textile design, both print and weave

Schedule of accommodation will generally include: 

Design studio and display areas



Technical workshop(s)



Admin office



Storage

Design studios General requirements These should be next to appropriate workrooms or workshops and the exclusion of noise and dust should be considered. Storage is needed for large drawings, models, reference books and clothes/protective equipment; lockers should be included, together with equipment for copying drawings and documents, although the latter may be centralized.

Good lighting is essential, both natural and artificial. Roof lights may provide ancillary light; all windows should be fitted with some form of daylight control (e.g. blinds) to prevent glare and possible damage to materials or colors. All surfaces should be durable and easy to clean.

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Display space Traditionally in the studio area, nowadays this space can be varied to include lecture theatres, halls, corridors and entry areas. Note that some specialist display areas will still be required (e g for models, which are often fragile, or film and video, which require low light levels or blackout facilities and additional power supplies etc.).

Figure 2-47 booth layout

Fine art studios Studios for painting and sculpture require large areas. They must have good natural daylight, with high-level windows equal to at least 25-33% of the floor area, and with north or east aspect.

2.2.4. Shops/ Rental spaces A shop is a building or part of a building where goods or services are sold. Shopfront is the facade of a shop. Carefully-designed and well-constructed shopfronts are important features of many buildings and streetscapes.

Figure 2-48 general layout of the shops

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Figure 2-49 circulations in shops

2.2.5. Open Air Theatre 

The size of the theater An outdoor theater can be planned to seat as many as 3,000 spectators without the use of amplification for the actors' voices. What is recommended, however, as an upper limit for the seating, is about 2,500. The suggestions in this outline are scaled for a structure of between 1,500-2,000 seats, which is nearer the ideal.

2.2.5.1. Recommendations a. Stage Recommendations: -

24’x12’

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-

Handrail along rear and sides of stage

Figure 2-51 section of open air theatre

Figure 2-50 open air theatre

b. Seating Recommendations: -

Locate first row 20’ from stage

-

4’ between rows

-

16” from grade to top bench. Three sections with two aisles

c. Sound Recommendations: -

Construct sound/AV room with substantial material such as masonry or stone

-

Sound enhancing system

-

Install conduit between sound/AV room and stage

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d. Lighting/electrical Recommendations: -

Provide low level aisle lighting

-

Provide overhead general lighting

-

Provide directional stage lighting

e. Fire Recommendations: -

Metal or other non-combustible material

-

Minimum of one fire ring

-

Remove all trees within 20’-0� of fire ring

f. Drainage Recommendations: -

Surface drainage preferred

-

Catch basins, area drains and French drains alternate as needed

2.2.6. Pavilion In architecture, a pavilion (from French pavillon, from Latin papilio) has several meanings. In architectural terminology it refers to a subsidiary building that is either positioned separately or as an attachment to a main building. Often its function makes it an object of pleasure.

Figure 2-52 pavilion

2.2.7. Courtyards A courtyard or court is a circumscribed area, often surrounded by a building or complex that is open to the sky. Such spaces in inns and public buildings were often the primary meeting places for some purposes, leading to the other meanings of court.

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Figure 2-53 courtyard

Other Spaces 2.3.1. Residency Artist-in-residence programs exist to invite artists, academicians, curators, to reside within the premises of an institution. Some residency programs are incorporated within larger institutions, such as museums, universities, or galleries. Other organizations exist solely to support residential exchange programs.

Areas -

For one-bed/study space, 9-15 m2

-

two-bed/study space,

-

13-19m2; self-catering unit, total area 16-20m2.

-

Areas may be slightly reduced in family flats to allow more room for amenity space.

-

A shower and WC, if included within individual rooms, will increase the area by approximately 2.5m2.

-

Some rooms should be larger to provide for entertaining and meetings.

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-

A variety of layouts is important to avoid an institutional atmosphere.

Figure 2-54 different types of residency layouts

2.3.2. Administration Office administration is a set of day-to-day activities that

are

related

to financial

planning, record

keeping & billing, personnel, physical distribution and logistics, within an organization. An employee that undertakes these activities is commonly called an office administrator or office manager, and plays a key role in any organizations infrastructure, regardless of the scale.

Table 2-3 general depth of the office

The study indicates the following requirements for floor area and space to operate office equipment (personal floor area + an additional 50cm on all sides)

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Figure 2-55 space relationship in offices

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

office employee 4.50 sq. m



secretary 6.70 sq. m



departmental manager 9.30 sq. m



director 13.40 sq. m



assistant vice president 18.50 sq. m Table 2-4 lighting and ventilation levels in offices



vice president 28.00 sq. m

Figure 2-56 furniture layouts in offices

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2.3.3. Conference room Description: 

This room is only recommended for very large centers or ones that share the building with other facilities.



To optimize it, it should be offered to other companies or to events



That are external to the incubator. Otherwise, we do not recommend



Introducing it into the incubator program.



In incubators in industrial estates, it could be an added value service for the estate.

Users: 

Business people and staff of the companies hosted in the incubator, staff from the center, clients, participants at training sessions and entrepreneurs.

Dimensions: 

Approximate surface area: between 160 and 200 m2, with a capacity for 60 to 100 people.



The space can be subdivided by incorporating movable acoustic partitions and converting it into large classrooms. (diba, 2019)

Figure 2-57 conference room

2.3.4. Toilet There should be separate facilities for men and women. Generally washbasins should be provided in equal numbers to WCs with one for every five urinals. a. Offices and shops No. of persons No. of WCs and basins -

Up to 15: 1

-

16–30: 2

-

31–50: 3

-

51–75: 4

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-

76–100: 5

-

over 100 1 extra for each additional 25

There is no specific requirement for urinals, but if provided men’s facilities may be reduced to: No. of persons No. of WCs and basins -

Up to 20 1

-

21–45 2

-

46–75 3

-

76–100 4

-

over 100 1 extra for each additional 25

b. Restaurants Men Women -

WCs Up to 400: 1 per 100 Up to 200: 2 per 100

-

Over 400: 1 extra for each Over 200: 1 extra for each

-

additional 250 or additional 100 or part thereof part thereof

-

Urinals 1 per 25 persons

-

Basins 1 per WC and 1 per 5 urinals 1 per 2 WCs

2.3.4.1. Designing for disability Toilet stall A 5' x 5' stall is usable by most people and has the following requirements.

1. Stall must be 5 x 5 ft 2. W.C. center line is 1 ft 6 in from side wall 3. 32 in door diagonally opposite W.C. 4. Handrail extends 1 ft 6 in in front of W.C. 1'/2 in O.D., 1 t/2 in from wall, 13 in above seat 5. Standard partition toe clearance

Figure 2-58 toilet stall elevation and plan

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2.3.5. Parking There continues to be an increase in vehicle numbers, with a corresponding demand for facilities to serve the car and the owner: petrol garages, high road service stations, car parks, car showrooms and repair garages.

Table 2-5 vehicle dimensions and turning radius

Figure 2-59 turning radius for cars

Table 2-6 parking standards

Figure 2-60 90 degree and angled parking

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Special Considerations 2.4.1. Human Centered Design Human-centered design (HCD) [also Human-centered design, as used in ISO standards] is a design and management framework that develops solutions to problems by involving the human perspective in all steps of the problem-solving process. Human involvement typically takes place in observing the problem within context, brainstorming, conceptualizing, developing, and implementing the solution.

Human-centered design is an approach to interactive systems development that aims to make systems usable and useful by focusing on the users, their needs and requirements, and by applying human factors/ergonomics, usability knowledge, and techniques. This approach enhances effectiveness and efficiency, improves human well-being, user satisfaction, accessibility and sustainability; and counteracts possible adverse effects of use on human health, safety and performance.

Human-centered design builds upon participatory action research by moving beyond participants' involvement and producing solutions to problems rather than solely documenting them. Initial stages usually revolve around immersion, observing, and contextual framing in which innovators immerse themselves with the problem and community. Consequent stages may then focus on community brainstorming, modeling and prototyping, and implementation in community spaces. Further, human-centered design typically focuses on integrating technology or other useful tools in order to alleviate problems, especially around issues of health. Once the solution is integrated, human-centered design usually employ system usability scales and community feedback in order to determine the success of the solution. [3] Human-centered design (HCD) is also known as “people-centered design”, “usercentered design (UCD)”, ‘person-centered design’, and “user/client-oriented design”.

Innovating for people: Handbook of human-centered design methods. (2012). Pittsburgh, PA: LUMA Institute, LLC. 3

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Figure 2-61 Definitions of Human Centered Design

2.4.1.1. Features of Human Centered Design It’s Empathetic Human-centered design begins from a deep understanding of the needs and motivations of people—the parents, neighbors, children, colleagues, and strangers who make up a community.

It’s Collaborative.

Several great minds are always stronger than just one. Human-centered design benefits greatly from the views of multiple perspectives, and others’ creativity bolstering your own.

It’s Optimistic.

Human-centered design is the fundamental belief that we can all create change—no matter how big a problem, how little time, or how small a budget. No matter what constraints exist around you, designing can be a powerful process.

It’s Experimental.

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by doing. It gives you the confidence to believe that new, better things are possible and that you can help make them a reality. (AN INTRODUCTION TO HUMAN CENTERED DESIGN) 2.4.1.2. Uses of Human Centered Design

Products

Spaces

Service

System

Figure 2-62 Uses of Human centered design

Products When people think of design, they often first think about expensive, stylish products.

But thoughtful product design is just as important in social innovation. Not only are all people deserving of well-designed products, but challenges that arise when there are limited resources, services, or infrastructure require new approaches and elegant solutions.

Spaces Physical environments give people signals about how to behave and influence how they feel. By rethinking the design of hospitals, classrooms, public transportation, banks, libraries, and more, we can create new experiences and interaction in these spaces.

Human-centered design can help make the emotional parts of a space as important as the functional.

Service For a service to be effective, it needs to be considered from end-to-end: from how it’s advertised to how it’s delivered. For a service to have the desired impact, it’s essential to gain a deep understanding of the people you will be serving—not only what they need and desire, but what limitations they face, what motivates them, and what’s important to them.

System Designing systems is about balancing the complexity of many different stakeholder needs with the needs of the social enterprise. For example, if you were designing a new Shreya Singh |71036|

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type of school, there are the needs of the students, parents, staff and faculty, community, and perhaps investors. System design often involves setting high-level strategy such as stating visions, priorities, policies, and key communications around these ideas.

2.4.1.3. The Design Process The human-centered design process has three phases. And each of these phases moves between the tangible and the abstract. 

The Discover phase starts by getting out into the world and learning from people.



The Ideate phase is about narrowing down what you’ve learned, and translating those learnings into themes and patterns.



The Prototype phase, where you will rapidly evolve your ideas into tangible designs based upon real feedback.

Figure 2-63 the design process: Human centered design

2.4.2. Colour and Psychology Color is an essential and versatile means of shaping space. It is far more than decoration; it is an aid to interpretation and clarification. Color can confer meaning, context and identity; it can booth support architectural form or subversively work against it.

2.4.2.1. Colour affecting form and spaces -

Colors will shift and become transformed as the light in the room changes throughout the day and night

-

These colors appear different even as the season changes.

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-

Colors of buildings influence our perception of the structures.

-

Colors in interiors affect how we feel, living and working in those spaces.

-

Color can be vibrant and arresting, or calm and soothing, we all are born with our personal response to color.

Table 2-7 color and psychology chart

Regarding the "psychology" of the main colors, the following ideas have been developed: •

Blue: Transmits the feeling of positivity, confidence, and security. It is often used in commercial and business spaces, such as banking agencies, offices and companies.

•

Yellow: Portrays optimism, curiosity, joviality and a bright atmosphere. It is frequently used in commercial spaces or restaurants to gain the attention of pedestrians.

•

Red: This color shows energy, excitement, impulse. Therefore, it is regularly used in commercial spaces, such as stores or fast food outlets, as it portrays a certain compulsivity and consumer desire.

•

Green: Evokes calm, tranquility, serenity and well-being. It is regularly used in spaces associated with health and well-being, such as hospitals and relaxation centers.

•

Orange: The result of the combination of yellow and red, orange projects an idea of intensity, creativity, euphoria, and enthusiasm. It is often used in creative environments, such as offices, studios, and schools. If used together with blue,

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it conveys the idea of impulsivity and trust, and so is adopted by banking agencies and offices. •

Violet: It transmits well-being, calmness, and softness.

2.4.3. Accessibility and Universal Design Considered impairments: -

Wheelchair user

-

Ambulant people

-

Physical impairment

-

Sensory impairment

Approaches: -

Access to building by car

-

Approach routes: ramps and elevators

-

Approaches along the routes, support and handrails

-

Signage

Figure 2-64 accessible door handle

2000x 1500 minimum dimensions to allow maneuvering and reversing; door opens out; alternative door opens in but requires increased space clear of door swing or operation; WC and basin related to allow hands to be washed and dried while still seated; lefthand and right-hand layouts: provide alternatives where possible; refer to detailed guidance or seek advice from building users; -

a1 horizontal and vertical rail

-

a2 drop-down rail (to aid transfer)

-

a3 vertical rail

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-

provide contrast for fittings and rails

Figure 2-65 ramp design for accessibility

Figure 2-66 accessible toilet layout

2.4.4. Sustainability Sustainable architecture strives to build or renovate homes and buildings using a combination of energy-efficient technology, renewable materials, and innovative design. This approach reduces waste and uses sustainable products, which minimizes the environmental impact of a new development. It also affects the long-term environmental consequences by producing energy-efficient buildings.

Ideal green building projects can promote occupant health by using renewable, natural materials, sourcing their own energy and water, and functioning without having an adverse effect on the environment.

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Figure 2-67 elements of green building design

2.4.4.1. Sustainable Approaches a. Permeable surfaces Permeable paving is designed to allow rainwater to infiltrate through the surface, either into underlying layers (soils and aquifers), or be stored below ground and released at a controlled rate to surface water. Permeable paving is used as a general term, but two types can be distinguished: -

Porous pavements, where water is infiltrated across the entire surface (e.g. reinforced grass or gravel, or porous concrete and cobblestones)

-

Permeable pavements, where materials such as bricks are laid to provide void space through to the sub-base, by use of expanded or porous seals (rather than mortar or other fine particles).

Figure 2-68 permeable paving section

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It is most commonly used on roads and car parks, but the measure can also apply to broader use of permeable areas to promote greater infiltration. It can be used in most ground conditions and can be sited on waste, uncontrolled or nonengineere d fill, providing the degree of compaction of the foundation material is high enough to prevent significant differential settlement. A liner may be required where infiltration is not appropriate, or where soil integrity would be compromised.

Figure 2-69 examples of porous pavings

b. Building Integrated Photovoltaic Cell (BIPV) BIPV shall be defined as a photovoltaic generating component which forms an integral and essential part of a permanent building structure without which a non-BIPV building material or component would be required to replace it. The performance of power generation by a BIPV component is deemed to be secondary to the role of being a building material or structural component. BIPV occupies a space in the building design such that, if removed from that space, its absence will be distinct and noticeable.

The definition above does not limit BIPV to enclosing the envelope but rather being integral to the design of a structure.

There are two basic commercial PV module technologies available on the market today: -

Thick crystal products include solar cells made from crystalline silicon either as single or poly-crystalline wafers and deliver about 10-12 watts per ft² of PV array (under full sun).

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-

Thin-film products typically incorporate very thin layers of photovoltaicly active material placed on a glass superstrate or a metal substrate using vacuumdeposition manufacturing techniques similar to those employed in the coating of architectural glass. Presently, commercial thin-film materials deliver about 4-5 watts per ft² of PV array area (under full sun). Thin-film technologies hold out the promise of lower costs due to much lower requirements for active materials and energy in their production when compared to thick-crystal products.

Figure 2-70 BIPV working methodology

c. Passive solar design Passive solar design refers to the use of the sun’s energy for the heating and cooling of living spaces by exposure to the sun. When sunlight strikes a building, the building materials can reflect, transmit, or absorb the solar radiation. In addition, the heat produced by the sun causes air movement that can be predictable in designed spaces. These basic responses to solar heat lead to design elements, material choices and placements that can provide heating and cooling effects in a home.

Unlike active solar heating systems, passive systems are simple and do not involve substantial use of mechanical and electrical devices, such as pumps, fans, or electrical controls to move the solar energy.

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A complete passive solar design has five elements: -

Aperture/Collector: The large glass area through which sunlight enters the building. The aperture(s) should face within 30 degrees of true south and should not be shaded by other buildings or trees from 9a.m. to 3p.m. daily during the heating season.

-

Absorber: The hard, darkened surface of the storage element. The surface, which could be a masonry wall, floor, or water container, sits in the direct path of sunlight. Sunlight hitting the surface is absorbed as heat.

Figure 2-71 elements of passive solar design

-

Thermal mass: Materials that retain or store the heat produced by sunlight. While the absorber is an exposed surface, the thermal mass is the material below and behind this surface.

-

Distribution: Method by which solar heat circulates from the collection and storage points to different areas of the house. A strictly passive design will use the three natural heat transfer modes- conduction, convection and radiation- exclusively. In some applications, fans, ducts and blowers may be used to distribute the heat through the house.

-

Control: Roof overhangs can be used to shade the aperture area during summer months. Other elements that control under and/or overheating include electronic sensing devices, such as a differential thermostat that

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signals a fan to turn on; operable vents and dampers that allow or restrict heat flow; low-emissivity blinds; and awnings.

Lighting 2.5.1.

Lighting design solutions for collaborative workplaces

The workplaces may differ in their layouts, composition and function but the illumination levels required is the same irrespective of the types of the collaborative workplaces. The following is a table of the activity in the workplace and the illumination levels required.

Table 2-8 Lighting requirements in office spaces according to different activities

2.5.2.

Daylight

Daylight is the combination of all direct and indirect sunlight during the daytime. This includes direct sunlight, diffuse sky radiation, and (often) both of these reflected by the Earth and terrestrial objects, like landforms and buildings.

Table 2-9 Intensity of sunlight in different conditions

Sunlight scattered or reflected by objects in outer space (that is, beyond the Earth's atmosphere) is generally not considered daylight. Thus, daylight excludes moonlight,

despite it being indirect sunlight. Daytime is the period of time each day when daylight

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occurs. Daylight happens as Earth rotates, and either side on which the Sun shines is considered daylight. In the practice of architecture, daylighting refers to the use of natural light, be it brilliant sunlight or muted overcast light, to support the visual demands of building occupants.

The science of daylighting design is not just how to provide enough daylight to an occupied space, but how to do so without any undesirable side effects. Beyond adding windows or skylights to a space, it involves carefully balancing heat gain and loss, glare control, and variations in daylight availability. For example, successful daylighting designs will carefully consider the use of shading devices to reduce glare and excess contrast in the workspace. Additionally, window size and spacing, glass selection, the reflectance of interior finishes, and the location of any interior partitions must all be evaluated.

2.5.2.1. Daylight optimization techniques A daylighting system consists of systems, technologies, and architecture. While not all of these components are required for every daylighting system or design, one or more of the following are typically present: a. Daylight-optimized building footprint b. Climate-responsive window-to-wall area ratio c. High-performance glazing d. Daylighting-optimized fenestration design e. Skylights (passive or active) f. Tubular daylight devices g. Daylight redirection devices h. Solar shading devices i. Daylight-responsive electric lighting controls j. Daylight-optimized interior design (such as furniture design, space planning, and room surface finishes). a. Daylight- optimized building footprint

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If possible, the building footprint should be optimized for daylighting. This is only possible for new construction projects and does not apply to retrofits. If the project allows, consider a building footprint that maximizes south and north

Figure 2-73 Orientation of building on axis for optimization of daylight

Figure 2-72 Building orientations and daylight considerations

exposures, and minimizes east and west exposures. A floor depth of no more than 60 ft., 0 in. from south to north has been shown to be viable for daylighting.

A maximum facade facing due south is the optimal orientation. Deviation from due south should not exceed 15° in either direction for best solar access and ease of control. b. Climate-responsive window-to-wall area ratio With the building sited properly, the next consideration is to develop a climateresponsive window-to-wall area ratio. As even high-performance glazing do not have insulation ratings close to those of wall constructions, the window area needs to be a careful balance between admission of daylight and thermal issues such as wintertime heat loss and summertime heat gain.

Table 2-10 glazing to wall ratio

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Figure 2-74 Glazing per area

c. High-performance glazing A high-performance glazing system will generally admit more light and less heat than a typical window, allowing for daylighting without negatively impacting the building cooling load in the summer. This is typically achieved through spectrally-selective films. These glazing are typically configured as a double pane insulated glazing unit, with two 0.25 in. (6 mm) thick panes of glass that are separated by a 0.50 in. (12 mm) air gap. This construction gives the insulated glazing unit a relatively high insulation rating, or R-value, as compared to single pane glass. A low-emissivity coating is also often part of these high-performance glazing units, which further improves the R-value of the unit.

Figure 2-75 high performance glazing

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d. Daylighting-optimized fenestration design In addition to the considerations above regarding windows, a daylightingoptimized fenestration design will increase system performance. The window has two essential functions in a day lit building: 

daylight delivery or admittance



Provision of view to the occupants.

The former dictates a glazing with a very high visible light transmittance (commonly abbreviated as VLT, or Tvis), the latter merely needs to be clear, and, in fact, should have a relatively low Tvis to prevent glare. As a general rule, the higher the window head height, the deeper into the space the daylight can penetrate. Therefore, good daylighting fenestration practice dictates that the window should ideally be composed of two discrete components: a daylight window and a view window. The daylight window should start at 7 ft., 6 in. above the finished floor at a minimum and have a high Tvis (50% to 75%); the view window should be placed lower and have a Tvis of less than 40% in most climates. e. Skylights (passive or active) Many daylighting designs will employ skylights for top lighting, or admitting daylight from above. While skylights can be either passive or active, the majority of skylights are passive because they have a clear or diffusing medium (usually acrylic) that simply allows daylight to penetrate an opening in the roof. They are often comprised of a double layer of material, for increased insulation. Active skylights, by contrast, have a mirror system within the skylight that tracks the sun and are designed to increase the performance of the skylight by channeling the sunlight down into the skylight well.

Some of these systems also attempt to reduce the daylight ingress in the summer months, balancing daylighting with cooling loads.

Figure 2-76 skylight

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f. Tubular daylight devices

Figure 2-77 Figure showing how light travels through tubular daylighting device

Tubular daylight devices are another type of top lighting device. These devices employ a highly reflective film on the interior of a tube to channel light from a lens at the roof, to a lens at the ceiling plane. Tubular daylight devices tend to be much smaller than a typical skylight, yet still deliver sufficient daylight for the purpose of dimming the electric lighting. g. Daylight redirection devices Daylight redirection devices take incoming direct beam sunlight and redirect it, generally onto the ceiling of a space. These devices serve two functions: glare control, where direct sun is redirected away from the eyes of occupants, and daylight penetration, where sunlight is distributed deeper into a space that would not be allowed otherwise. Daylight redirection devices generally take one of two forms: a large horizontal element, or louvered systems. Horizontal daylight redirection devices are often called light shelves.

Figure 2-78 Daylight redirection through light shelves

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h. Solar shading devices

Figure 2-79 Solar shading device

As mentioned previously, the windows must be carefully designed to control the solar gains and potential glare stemming from a daylighting design. To this end, solar shading devices are often employed-particularly on the view windows-to minimize the amount of direct sun that enters the space. These are typically called overhangs. i. Daylight-responsive electric lighting controls

Figure 2-80 Schematic view of integrated venetian blind/electric lighting system

Daylight-responsive electric lighting controls are absolutely essential to any daylighting system. No daylighting design will save any energy unless the electric lights are dimmed or turned off when there is sufficient illumination from daylight. Indeed, if daylighting features such as windows and skylights are

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not paired with daylighting functionality such as daylight-responsive dimming controls, then the daylighting-enhanced building will more than likely use more energy, not less, than a comparable building without any daylighting features.

Daylight-responsive lighting controls consist of continuous dimming- or stepped-ballasts in the light fixtures, and one or more photocells to sense the available light and dim or turn off the electric lighting in response. j. Daylight-optimized interior design An often overlooked element in a successful daylighting design is the interior design. A daylight-optimized interior design considers furniture design, placement, and room surface finishes with respect to daylight performance. For example, office cubicle partition heights will be limited, particularly those running parallel to the south facade, enclosed offices will be kept to a minimum, and walls and ceilings will be as highly reflective as possible, to help "bounce" and distribute the redirected daylight more fully. By positioning work surfaces at a distance from the south facade, solar control is easier with smaller solar shading devices than if a desk or office is placed directly against the south facade. This concept is illustrated in the following figure, and shows how a relatively small overhang provides full direct seasonal solar protection to the workspace. The area immediately adjacent to the south facade is circulation space.

Figure 2-81 Daylight optimized interior design

Daylighting is an energy-efficient strategy that incorporates many technologies and design philosophies. It is not a simple line item, and can vary tremendously in scope and cost. Many elements of a daylighting implementation will likely already be part of a building design or retrofit (e.g. windows and light fixtures), but a successful

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daylighting system will make use of the following technology types and construction methods: a. Exterior shading and control devices In hot climates, exterior shading devices often work well to both reduce head gain and diffuse natural light before entering the work space. Examples of such devices include light shelves, overhangs, horizontal louvers, vertical louvers, and dynamic tracking of reflecting systems. b. Glazing materials The simplest method to maximize daylight within a space is to increase the glazing area. However, three glass characteristics need to be understood in order to optimize a fenestration system: 

U-value: represents the rate of heat transfer due to temperature difference through a particular glazing material.



Shading coefficient: a ratio of solar heat gain of a given glazing assembly compared to double-strength, single glazing. (A related term, solar heat gain coefficient, is beginning to replace the term shading coefficient.)



Visible transmittance: a measure of how much visible light is transmitted through a given glazing material.

Glazing can be easily and inexpensively altered to increase both thermal and optical performance. Glazing manufacturers have a wide variety of tints, metallic and low-emissivity coatings, and fritting available. Multi-paned liters of glass are also readily available with inert-gas fills, such as argon or krypton, which improve U-values. For daylighting in large buildings in most climates, consider the use of glass with a moderate-to-low shading coefficient and relatively high visible transmittance.

a. Aperture location Simple side lighting strategies allow daylight to enter a space and can also serve to facilitate views and ventilation. Typically, the depth of daylight penetration is about two and one-half times the distance between the top of a window and the sill.

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b. Reflectance of room surfaces Reflectance values from room surfaces will significantly impact daylight performance and should be kept as high as possible. It is desirable to keep ceiling reflectance over 80%, walls over 50%, and floors around 20%. Of the various room surfaces, floor reflectance has the least impact on daylighting penetration. c. Integration with electric lighting controls A successful daylighting design not only optimizes architectural features, but is also integrated with the electric lighting system. With advanced lighting controls, it is now possible to adjust the level of electric light when sufficient daylight is available. Three types of controls are commercially available: 

Switching controls: on-and-off controls that simply turn the electric lights off when there is ample daylight.



Stepped controls: control individual lamps within a luminary to provide intermediate levels of electric lighting.



Dimming controls: continuously adjust electric lighting by modulating the power input to lamps to complement the illumination level provided by daylight.

Any of these control strategies can, and should, be integrated with a building management system to take advantage of the system's built-in control capacity. To take full advantage of available daylight and avoid dark zones, it is critical that the lighting designer plan lighting circuits and switching schemes in relation to fenestration. d. Other lighting control schemes.

In addition to daylight controls, other electric lighting control strategies should be incorporated where they are cost effective, including the use of: 

Occupancy controls: using infrared, ultrasonic, or micro-wave technology, occupancy sensors respond to movement or object surface temperature and automatically turn off or dim down luminaries when rooms are left unoccupied.

Typical savings have been reported to be in the 10% to 50% range depending on the application.



Timers: these devices are simply time clocks that are scheduled to turn lamps or lighting off on a set schedule. If spaces are known to be unoccupied during certain periods of time, timers are extremely cost-effective devices.

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2.5.2.2. DESIGN RECOMMENDATIONS During the design process, the following design strategies should be understood and explored: 

Increase perimeter daylight zones-extend the perimeter footprint to maximize the usable daylighting area.



Allow daylight penetration high in a space. Windows located high in a wall or in roof monitors and clerestories will result in deeper light penetration and reduce the likelihood of excessive brightness.



Reflect daylight within a space to increase room brightness. A light shelf, if properly designed, has the potential to increase room brightness and decrease window brightness.



Slope ceilings to direct more light into a space. Sloping the ceiling away from the fenestration area will help increase the surface brightness of the ceiling further into a space.



Avoid direct beam daylight on critical visual tasks. Poor visibility and discomfort will result if excessive brightness differences occur in the vicinity of critical visual tasks.



Filter daylight. The harshness of direct light can be filtered with vegetation, curtains, louvers, or the like, and will help distribute light.



Understand that different building orientations will benefit from different daylighting strategies; for example, light shelves-which are effective on south facades-are often ineffective on east or west elevations of buildings. (wdbg, 2019)

2.5.3.

Introduction to artificial lighting

Artificial light sources are other sources of light which developed to compensate for or assist the natural light. It will have different frequencies and wavelengths that determine the light color.

2.5.3.1. Artificial light sources Artificial light sources are categorized by the technology used to produce the light.

There's dozens of sources, with a few common in household applications and others more suitable for industrial uses. The five most common light sources are as follows: 

Incandescent lamp.



Compact fluorescent lamp.

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

Fluorescent tube.



Discharge lamps.



Light Emitting Diode (LED).

Acoustics

2.6.1. Protection against external noise Precautions can be taken against external noise (traffic, etc.): 

Appropriate planning of the building



Sound insulation of outer walls, particularly window and outer door insulation; fixed glazed installations with ventilation systems



Installation of sound insulation shields in facades



Sound protection through landscaping e.g. embankments, walls or planted areas.

Heating and ventilation

2.7.1. Heating Heating systems are distinguished by the type of energy source and type of heating surface. The following are the types of heating methods used: 

Oil firing



Gas firing



Solid fuels



Regenerative forms of energy



Remote heating systems



Electrical heating



Night storage heating



Convectors



Gas heating system

2.7.1.1. Use of solar energy In the use of solar energy, a distinction is drawn between the active and passive use of solar energy.

The active use of solar energy necessitates the application of equipment such as solar collectors, pipework, collector vessels circulation pumps for the transfer of the solar

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energy. This system entails large investment and maintenance costs of energy. As a result, such systems cannot be operated economically.

The passive use of solar energy necessitates the use of specific structural components as heat stores such as walls, ceilings and glazed units. The efficiency of this system depends on specific factors: 

Climatic conditions- mean monthly temperature, solar geometry and incident solar radiation, hours of sunshine and level of incident energy radiation



Method of using the solar energy- indirect usage, direct usage



Choice of materials- absorption capability of the surface and heat storage capability of the materials.

Figure 2-82 use of solar energy for heating

2.7.2. Ventilation Room ventilation systems are used to guarantee a specific room climate. In fulfilling this objective, the following requirements must be satisfied depending on the application: -

Removal from rooms of impurities in the air including smoke and other harmful substances and suspended particles

-

Removal of perceptible heat from rooms: unwanted quantities of both hot and cold air

-

Removal of latent heat from rooms: enthalpy flows of humidifying air and dehumidifying air

-

Protective pressure maintenance: pressure maintenance in buildings for protection against unwanted air exchange.

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2.7.3. Double skin facade Double skin facades (DSFs) are a specific type of building facades, aimed to improve thermal performance of glazed envelopes. Different from conventional single glazed facades’ configuration, DSFs consist of three distinct layers – interior glazed wall system, ventilated air cavity, and exterior glazed wall system. The ventilated air cavity serves as a thermal buffer between the interior and exterior glazed walls. Basic DSF types are box window, corridor facades, shaft box facades, and multi-story facades. The physical behavior of the DSFs depend on the typology, as well as ventilation mode of the air cavity and material components. Ventilation mode can include natural ventilation, mechanical and mixed mode.

Figure 2-83 double skin facade

There are 4 basic types of double skin systems: 

Buffer Façade



Extract-Air Façade



Twin-Face Façade



Hybrid Façade

2.7.3.1. Passive Strategies -

Exposed thermal mass

-

Height; allows higher temperature differential between supply and exhaust

-

Solar controlling glazing

-

Good solar shading

-

Low level artificial lighting; link to daylight levels

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Figure 2-84 temperature difference in the interior and exterior

2.7.3.2. Double Skins and Environmental Design: The key “green” strategies of double façade buildings are noted as: -

provision of natural ventilation

-

control of solar heat gain

-

high levels of daylighting

-

provision and protection of shading devices

-

reduction in reliance on and size of mechanical systems

-

high level of occupant comfort

Structure 2.8.1. Folded plate Folded plate structures are assemblies of flat plates, or slabs, inclined in different directions and joined along their longitudinal edges. In this way the structural system is capable of carrying loads without the need for additional supporting beams along mutual edges. This technique originated in Germany in the 1920s and became popular in Russia and the United States during the 1930s to construct roofs for industrial warehouses and public buildings.

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Modern folded plate structures are typically made of cast in situ or precast reinforced concrete, or steel plate.

Figure 2-85 folded plate section

They can provide a multitude of shapes and overall forms: 

Prismatic: Rectangular plates.



Pyramidal: Non-rectangular plates.



Prismoidal: Triangular or trapezoidal plates.

There are several benefits of folded plate construction. They are simpler to manufacture than

other shells such

as

cylindrical shells,

with

relatively

simple formwork required, and usually use less material. However, folded plates require more materials than curved shells since there is normally more bending involved.

Folded plate structures have an intrinsic rigidity and high load-carrying capacity which makes them economical over long spans that need to be free of internal columns and other obstructions.

2.8.2. Space truss Space trusses are three-dimensional structures with longitudinal members connected at their ends by hinges assumed to be frictionless. The loads on space trusses are applied only at the nodes or joints, thus the self-weight is allocated for each element at its two ends joining other elements of the truss. The conditions imposed on space trusses are certainly the same as those on plane trusses. Essentially, the only difference in the analysis of space trusses compared with plane trusses is that an element of a space truss has three nodal coordinates at each node while an element of a plane truss has only two.

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Figure 2-86 space truss member

Services 2.9.1. Staircase Stairs governed by building regulations must have a width of m and a ratio of 17:28.

In high rise flats, they must be 1.25 m wide. Doors opening into the stairwell must not restrict the effective width.

The time required for complete evacuation must be calculated for stair widths in public buildings or theatres. Such staircases or front entrance steps are climbed slowly so they can have a more gradual ascent. A staircase at side entrance or emergency stairs should make a rapid descent easy.

Figure 2-87 staircase sizes and occupancy

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2.9.2. Ramps Ramps should be provided to allow wheelchair users and those with prams or trolleys to move easily from one level to another.

Figure 2-88 types of ramps

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3.

Case Study National Case Study 1. Nepal Communitere 2. Karkhana 3. Bikalpa Art Café 4. Martin Chautari 5. Nexus Culture Center 6. Innovation Hub 7. National Innovation Center 8. House of Palettes 9. Aji’s

3.1.1. Nepal Communitere Purpose of study: To study the existing incubator and Community resource center that serves in different areas of expertise Mode of study: Primary- Field Visit Resource Person: Bahar Kumar, Director 3.1.1.1. General Information 

Location: Pulchowk, Lalitpur



Date of establishment: 2015



Site

context:

Mixed

use,

corporate and commercial 

Site area: 2.5 ropanis



Ownership:

Nepal

Communitere 

Number of blocks: 4



Number of floors: 2



Site topography: contour land



Site orientation: South



Construction typology: RCC Frame structure and container architecture



Target group: All ages, specially, 16-35



Building usage: Offices, rental spaces, maker space, co working space



Objective: Establish a platform for the ideas after the 2015 Earthquake

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Figure 3-1 Nepal Communitere

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

Activities: Kathmandu Mini Maker Faire, Cargo Bar, Incubation programs, Workshops, Seminars



Facilities: Co- working spaces, Maker space, Rental spaces, Incubation programs, Cargo bar

Nepal Communitere is a Nepali run and based non-profit organization that brings together Nepali and international groups to operate as one community. Nepal Communitere provides a dynamic, collaborative space for relief and sustainable renewal, giving individuals and organizations the means to pioneer innovative solutions and become self-reliant. The Nepal Communitere Resource Center and Innovation Hub enables international, national and local non-governmental organizations and communities to work together to transition from initial emergency relief to longer term development.

Nepal Communitere was founded in response to the 7.8 magnitude earthquake which struck Nepal on April 25th, 2015. The worst earthquake to hit Nepal in over 80 years, the disaster killed more than 9000 people and left 2.8 million people in need of humanitarian assistance. These devastating effects were further compounded by subsequent earthquakes, leaving affected communities in a state of trauma and insecurity.

Nepal Communitere is the Nepali branch of Communitere International, an innovative non-profit, pioneering an effective international model for sustainable disaster recovery. (nepal.communitere, 2019) 3.1.1.2. Site and surrounding Nepal Communitere is located in the heart of Pulchowk just a minute walk away. It is located in a central point with similar incubator, co working and maker space in walking distances.

The site is surrounded by a

Figure 3-2 Location map of Nepal Communitere

number of cafes and restaurants by all sides that enhances the networking approaches for it.

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

East: Labim Mall, overhead bridge, Pulchowk, Sajha Petrol Pump, Lalitpur Mahanagarpalika



West: CG Nxt, Suzuki Car Showroom, Sajha Pustak Prakashan, Bhutpurwa Sainik Sangh Hardik Fitness Club, Restaurants



North: Harihar Bhawan



South: Corporate and Commercial shops and buildings

3.1.1.3. Architectural expression Nepal Communitere has two major blocks. One is the office block which is a residential block adopted into workplace where as the other are the blocks out of cargo containers. 

Veneer house: this block has no particular architectural expression. The courtyard design allows the conversation and interaction flowing from one floor to the other. Additions to this buildings has destroyed the remaining attributes of this building.

Figure 3-3-3 Murals in Veneer house



Cargo blocks: The cargo containers have been placed all over the Communitere as small workplaces such as rental spaces, incubates office, cargo bar, store, etc. but also as building as a whole. These blocks have been placed and designed to bring out the purpose of the community resource centre housing co working space, maker space, office of Robotics association of Nepal and many more.

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The murals and artworks in the cargo containers has given it the character of creativity and free spiritedness.

Figure 3-4 cargo blocks

3.1.1.4. Planning The overall planning of Nepal Communitere is based on the existing building and the rest of the area where new construction has been done.

Figure 3-5 horizontal and verical planning of Nepal Figure 3-6 site plan of Nepal Communitere Communitere

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a. Veneer house: Veneer house is a 2 storey building. The planning of this building is courtyard planning with access to all the spaces through courtyard. The circulation in upper floors occur through the balconies that allows interaction to the courtyard below. Veneer house houses the following spaces: 

NC office



Icube office



Booth type co working space



A design studio



Courtyard



Pantry



Toilets in each floor

Figure 3-7 courtyard of Veneer house for informal meetings and gatherings

b. Cargo container block: This block is also stacked as a two storey building. Here, 3 different blocks exist housing the following spaces: 

Block 1: co working space, Robotics association of Nepal



Block 2: Architect’s office, Seminar hall



Block 3: Makerspace, tailoring area for A design studio

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Figure 3-8 ground floor plan of Cargo Block

The cargo blocks are designed in such a way that three containers are combined to form a floor with the middle container acting as the openings. Then the other floors are stacked on top to form the block.

Figure 3-9 cargo block housing multipurpose hall and architect's office

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3.1.1.5. Space, activity study Nepal Communitere has the following space and activities: a. Co working space: there are two co working spaces. One with desks and the other with booths.

Figure 3-10 co working space used for many flexible spaces

b. Makerspace: the makerspace is a space equipped with tools and machines required for making. It is a space where the ideas can be implemented to action and prototyping. There is a large desk around which the work can be done.

Figure 3-11 maker space with double height for fume and noise reduction

c. Hall: the hall is a multipurpose space where events such as discussions, seminars, workshops are conducted. It has industrial design and since it is in one of the cargo containers, it has the containers’ door as well.

Figure 3-12 multipurpose hall

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d. Courtyard: the courtyard is the common space for all. It is a place for meetings, gatherings, pitching sessions, performance and informal and formal discussions.

Figure 3-13 courtyard for informal gatherings and events

e. Cargo bar: the cargo bar is a place for networking. Here the people from anywhere can come and meet other people and discuss about their ideas.

Figure 3-14 cargo bar

f. NC Office: the NC Office is the one for Nepal Communitere which looks after the whole community resource centre. g. Icube Office: Icube is the Incubation cube office that looks after the incubators and its participants, events and sessions regarding the incubation of projects and ideas. h. Incubates’ office: the groups and companies that pass through the incubation process are shifted to the incubators office where they are further granted grants,

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mentorship and guidance for the further processes. They shift out once their term has ended and new companies reside in their place and the process follows. i. Rental spaces: there are many rental spaces in the Nepal Communitere; IDC (Architect’s office), Rammed Earth Solutions, Utopia Kathmandu, A Design Studio, etc. j. Pantry: the pantry of Nepal Communitere is an open pantry that feeds lunches to all working in the Communitere. Moreover, anyone working there be it in the rental spaces or co working has access to it for drinks and snacks and also has access to cook there on their own.

Figure 3-15 pantry

3.1.1.6. Allocation of spaces Table 3-1 Nepal Communitere: allocation of spaces

S.N

Space

Area

Capacity

Area/ person

1

Co-working

42m2

16

2.65m2

2

makerspace

46m2

15

3.06m2

3

Hall

42m2

30

1.4m2

4

Courtyard

54m2

40

1.35m2

5

NC office

9m2

2

4.5m2

6

Cargo bar

135m2

30

4.5m2

7

Parking

117m2

15

7.8m2

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3.1.1.7. Landscape There is no specific landscape design in Nepal Communitere expect for the Cargo Bar which is an outdoor café.

Figure 3-16 landscaping in cargo bar

3.1.1.8. Analysis and Inference 

All the spaces exist independently but act as a single unit when it comes to collaboration



Spaces such as co working space, courtyard, cargo bar, etc. boost collaborations and networking



Due to buildings of cargo containers, there is problem in heating and cooling



The parking space is unmanaged



Toilets are not enough



The space is congested for events like maker faire

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3.1.2. Karkhana Purpose of Study: To study the growth of entrepreneurial skills in children Mode of Study: Primary- Field visit Resource Person: Sachet Manandhar, Samaya Khadka 3.1.2.1. General Information 

Location: Gyaneshwor



Date of establishment: 2013



Site context: Mixed use, residential, corporate and commercial



Site area: 3 Ropanis



Ownership: On lease



Number of blocks: 3



Number of floors: 3



Site topography: Flat land



Site orientation: South



Construction typology: Load bearing



Target group: Children of ages 8-14



Building usage: Workspace, maker space, inventory room, etc.



Objective: To develop a culture of making, collaborating and learning from an early age



Activities: Bee Creative Innovators Club,

Karkhana is an education company and makerspace with a unique approach to learning.

The teachers come from a spectrum of engineers, designers, artists, scientists, programmers; that turn the classroom into a lab for discovery! They have been in the field of education for the past five years designing learning experiences for middle school students. They work directly with learners between 8 to 14 years of age through two programs: BeeCreative (in-school program) and Karkhana Innovators’ Club (after school program). (karkhana, 2019)

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3.1.2.2. Site and surrounding Karkhana is located by the main road of Gyaneshwor.

It

has

the

following

site

surrounding: 

East:

residential

and

commercial

buildings 

West: USEF, Commercial buildings



North: international school of tourism

Figure 3-17 location map of Karkhana

and hotel management 

South: Galaxy Public School, residential buildings

3.1.2.3. Architectural expression The architectural expression is a traditional institutional building as the building was previously a boarding school in the Rana regime. With the brick façade and white bands and cornices, it brings out the traditional Newari as well as neo classical vibes.

Figure 3-18 karkhana

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3.1.2.4. Planning The

planning

of Karkhana is linear in which the spaces are accessed through corridors. the

In upper

floors,

the

corridors also have been used as open offices.

The access to the

upper

floors

is

through

an

Figure 3-19 vertical and horizontal planning of Karkhana

external staircase.

Other spaces are the inventory room and makerspace located outside the main building.

3.1.2.5. Space, activity study Most of the activities of Karkhana occur in other locations such as respective schools while some are conducted within the premises. The space and activities that occur in Karkhana are as follows: a. Inventory room: meant for the storage of the materials required in the teaching, learning and creating process. These materials are properly organized in respective bags and tagged with names for easy access.

Figure 3-20 inventory room

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Figure 3-21 plan of inventory room

b. Makerspace: the makerspace is equipped with the necessary tools such as laser cutting machine, 3D printer, other saws, drills, etc. that are required in the creation process. Access to adults is only allowed in this space due to safety concerns.

Figure 3-22 plan and section of makerspace

Figure 3-23 makerspace

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c. Meeting hall: The meeting hall lies in the ground floor where the staffs of Karkhana Gather together to discuss and decide on topics of work.

Figure 3-24 meeting hall

d. Office: the offices are the respective rooms for the respective teams of staffs.

Figure 3-25 office for creative works

e. Multipurpose hall: the multipurpose hall lies on the top floor where certain teams work during non-event days and even children work there on their projects.

Figure 3-26 multipurpose hall

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3.1.2.6. Allocation of spaces Table 3-2 Karkhana: allocation of spaces

S.N

Space

Area

Capacity

Area/ person

1

Inventory room

33m2

6

5.5m2

2

makerspace

28m2

4

7m2

3

Meeting hall

46m2

28

1.64m2

4

Main office

14m2

2

7m2

5

Multipurpose hall

78m2

50

1.56m2

6

Parking

150m2

30

5m2

3.1.2.7. Landscape The landscape is very simple and not elaborate at all. The entrance is through an open area which is the major landscape element. The paving is stones and grass making it permeable. But it is placed a larger span of distances creating ditches in action of water or rain.

Figure 3-27 landscape in Karkhana with stone and grass paving

3.1.2.8. Inference 

The spaces are well adapted into the school building after retrofitting



Major considerations for lights have been taken through skylight



The makerspace is positioned outside the main building creating less noise to the office spaces.



No major consideration for children’s anthropometry is taken.



The parking space has stone and grass paving that is difficult to use as the stones are placed at longer distances



The access to main building is through external staircase which is problematic

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3.1.3. Bikalpa Art Center 3.1.3.1. General Information 

Location: Pulchowk, Lalitpur



Date of establishment: 2013



Site context: Mixed use, residential, corporate and commercial



Site area: 2 ropanis



Site topography: Flat land



Site orientation: East



Construction typology: Load bearing structure



User group: 20-35



Building usage: Café, residential, artist residency, gallery, studio, incubator, co working space

Bikalpa Art Center is a non-profit, non-funded and non-government organization lead by a group of vivacious and self-motivated youth who are entirely devoted to introducing art to the general public of Nepal by increasing access and providing innovative art experiences for a variety of audiences.

An exclusive notion in itself, BAC is one of the very infrequent institutions that recognize the significance of art, culture and civilization. As the name itself symbolizes, it’s a hub, a common space where art lovers and enthusiasts can put into practice their imaginations.

In today’s era of modernization, our society is gradually trailing its ethnicity, values and norms. Regardless of the affluence of culture and various forms of local arts and architectures, they are yet to be cherished, esteemed and appreciated. But the verity that the scope of intervention as such local roots still remains overlooked. Thus, Bikalpa Art Centre’s core intent is to fortify such local form of arts and utilize them to inspire the art lovers and practitioners to come up with something creative, innovative and imaginative.

The main goal of the centre is endorsement and promotion of the Nepalese art and culture through diverse forms of contemporary art practices. Bikalpa Art Centre strongly believes in long term impact of any of its activities at the targeted areas. A

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range of elements have been introduced to establish Bikalpa Art Center as a system among which some function at a commercial level where as the others are absolutely not motivated by profit. (bikalpaartcenter, 2019) 3.1.3.2. Site and Surrounding Bikalpa Art Center is located a little inside of the main road of Pulchowk. A sloped 10’-0” ramped way leads to the center with a striking “B” for Bikalpa signs it out. It consists of the following surrounding attributes.

East: Sajha Petrol Pump, Phalano cafe West: National Human Rights Commission North: Harihar Bhawan South: Pulchowk

Figure 3-28 location map of Bikalpa Art Center

3.1.3.3. Architectural expression Bikalpa Art Center gives out rustic vibes with the custom rustic furniture, ropes, the hanging lights, etc. Though the buildings have been constructed in the peripheral areas with the café in the middle, the café steals the spotlight and the buildings are barely noticeable.

Figure 3-29 organic development of Bikalpa Art Center

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3.1.3.4. Planning

Figure 3-30 planning of Bikalpa Art Center

The planning of Bikalpa Art Center has been done in the basis of requirements and addition of required spaces. The central part comprises of the café and the stage where as the peripheral areas are the single storey buildings with CGI sheets covering the roof.

There are portions such as the cafes and seating areas which have been elevated to give the impact. The trees support the built structures by sometimes hiding them and also creating that impact of shades and shadows. It consists of the following spaces: 

Gallery



Studio



Kitchen



Café



Stage



Incubator



Co working space



Toilet

Figure 3-32 gallery of Bikalpa Art Center

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Figure 3-31 studio with the cafe

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3.1.3.5. Landscape Before Bikalpa Art Center existed there, the site had over 50 trees which is still there.

The existing trees were not uprooted or destroyed to create spaces but rather conserved in its own place or transported in a suitable location in the site itself to create proper spaces.

Figure 3-33 integration of trees and plants with the built environment

3.1.3.6. Inference 

The spaces are added according to need



The site consisted of trees which have not been cut down but transferred from one place to other for accommodation purposes



The art café looks as it grows from the trees



Spaces are interconnected and is presented in lean business model



Night light is not enough for any work

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3.1.4. Martin Chautari Purpose of Study: To study the learning resource center Mode of Study: Primary, Field visit Resourse Person: Devraj Humagain, Research Manager 3.1.4.1. General Information 

Location: Thapathali



Date of establishment: 1991



Site context: Mixed use, residential, corporate and commercial



Site area: 3 Ropanis



Ownership: Martin Chautari



Number of blocks: 3



Number of floors: 2.5



Site topography: Flat land



Site orientation: East



Construction typology: Load bearing structure



Target group: All ages, specially, 18-50



Building usage: Learning resource center, library, conference halls, research and publication



Objective: An informal discussion group and also incubator of new literary ideas through research and publication



Activities: Public programs every alternate day, study space



Facilities: Open library and resource center, research and publication

Martin Chautari (henceforth Chautari or MC) began as an informal discussion group in Kathmandu in 1991, allowing development professionals, social activists and academics to meet every two weeks to share insights and experiences related to Nepali development and society. The founders of this discussion group included the Nepali power engineer Bikas Pandey, the Norwegian engineer Odd Hoftun and the Norwegian academic Martin Hoftun. In 1995, the name ‘Martin Chautari’ was adopted in memory of Martin Hoftun, who was tragically killed in an airplane accident in 1992. After being managed by the Centre for Social Research and Development for six years, in 2002 Chautari became registered as a separate non-government organization (NGO) in Kathmandu, Nepal. Its offices are currently located in Thapathali, Kathmandu. (martinchautari, 2019)

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3.1.4.2. Site and Surrounding Martin

Chautari

is

located

in

Thapathali amidst of Governmental and public buildings. It has the following surrounding attributes. 

East:

OPM

Kathmandu,

Center for mental health and councelling 

West: BSP Nepal, Institute

Figure 3-34 location map of Martin Chautari

of Management Studies 

North: UN Women Office



South: Maternity Hospital, Norvic Hospital

3.1.4.3. Architectural expression Since it is a residential building originally, it has no architectural expression for the research and discussion center.

3.1.4.4. Planning The building where the Martin Chautari resides is a residential building adapted into this center for research and discussion. There are four blocks in total that comprise of the main block, reading hall, seminar hall and toilet block.

The

following

spaces are allocated in the Martin Chautari: 

Ground

floor:

reception, library, seminar

hall,

reading area, toilet, chautari 

First floor: research center



Top floor: research center, discussion area

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pantry, Figure 3-35 planning of Martin Chautari

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Figure 3-38 reading room

Figure 3-37 multipurpose hall

Figure 3-36 library

3.1.4.5. Allocation of spaces Table 3-3 Martin Chautari: Allocation of spaces

S.N

Space

Area

Capacity

Area/ person

1

Library

42m2

20

2.1m2

2

Reading area

28m2

20

1.4m2

3

Hall

58m2

40

1.45m2

4

Parking

40m2

10

4m2

3.1.4.6. Landscape Since the inception of the concept of Martin Chautari is derived from the concept of a chautari (resting place under the tree), the outdoor spaces have been used to the most.

It has an elaborate outdoor space with chautari in the middle where people can come and relax and discuss without any connection to the Martin Chautari. It is a platform for open discussion. The Chautari also hosts weekly discussions that happen in the chautari itself.

Figure 3-39 chautari of Martin Chautari

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3.1.4.7. Inference •

The library and reading room are not connected making the readers go from one block to the other.

•

A residential block is adapted to be the learning and research center making inefficient usage of rooms

•

the space appears dead, no activity happens in the chautari except on event’s day

3.1.5. Nexus Culture Center Purpose of Study: To study the art and design aspect of Art, Design and Technology Incubator Mode of Study: Primary, Field visit Resource Person: Ashmina Ranjit, Director 3.1.5.1. General Information 

Location: Bakhundole, Lalitpur



Date of establishment: 2015



Site context: Mixed use, residential, corporate and commercial



Site area: 1.5 ropanis



Ownership: Nexus Culture Center



Number of blocks: 1



Number of floors: 2.5



Site topography: Flat land



Site orientation: West



Construction typology: Load bearing

Figure 3-40 Front lobby and cafe of Nexus Culture Center

structure 

Target group: All ages, specially, 8-35



Building usage: Café, residential, artist residency, air bnb, gallery, workshops



Objective: A physical space for the idea: Lasana



Activities: Fortnight market place, movie night, open mic, workshops and exhibitions, artist residency, art talks and research, children’s camp



Facilities: Co- working spaces, camps, air bnb

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NexUs Culture Nepal is collaborative artivism (art + activism). It’s creative, healing and inspiring and aims to exhilarate the mind and soul. NexUs is the brain child of a successful Nepalese artivist community organisation: LASANAA. It means art in Newari, the indigenous language group of Kathmandu. LASANAA has successfully driven art projects since 2007, bringing Nepali artists, art and the community together to explore ideas, promote art and artivism, and collaboration.

NexUs is based in central Kathmandu, an easy access point for people across the city.

A three-story building that includes a cafe, artist’s residency rooms and studio, an event terrace and garden. All the materials used are being recycled and upcycled.

NexUs is a self-funding social enterprise via the book / art cafe, the sale of artworks contributed by members, the organic farmers market and the artist in residence program. It is a space that is so desperately needed in Kathmandu. Up until this point the community have not had a central space to gather to creatively and critically think, collaborate, create meaning

and

heal.

They have both short and longer term aims. NexUs runs art talks, healing workshops, book talks, gallery, artist’s residency program and an organic Figure 3-41 Upcycled wall

farmers market. Their longer term goals

are to run creative art camps for disadvantaged children, expand their artist’s residency program to an artist’s village and studio spaces, and have an online alternative learning institute. (nexusculturenepal, 2019) 3.1.5.2. Site and surrounding Nexus Culture Center is located in Bakhundole in a residential and corporate area. The building itself is a residence adapted into this hub. The following surroundings can be seen from Nexus Culture Center.

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

East: Nabil Bank, IOE, Pulchowk



West: Plan International, Cafes and

restaurants,

Embassy of

Norway 

North: Residential Buildings



South: association

Family of

Planning Nepal,

commercial and corporate buildings

Figure 3-42 location map of Nexus Culture Center

3.1.5.3. Architectural expression Nexus Culture Center has no proper architectural character as it is a residential building adapted into a hub. Many addition of spaces have been done to achieve the requirement of the spaces.

3.1.5.4. Planning The planning is done based on the availability of spaces. It is a two and a half storey building that comprises of the following spaces:

Figure 3-43 horizontal and vertical planning of Nexus Culture Center

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

Ground floor: Café, Kitchen, Meeting room/ living room, bedrooms



First floor: meeting room/ living room, artist residency/ air bnb



Top floor: artist’s studio/ workshop

3.1.5.5. Landscape Nexus Culture Center has a lot of outdoor spaces at least when it is managed but sadly, the outdoor spaces are not utilized to its fullest. Though the space in front of the porch is used for outdoor open mic, movie screening sessions and night market, the rest of the spaces haven’t been explored much. Too much of DIY in the outdoor has created an environment of chaos that is difficult to decipher and appears as storage stuffs. The parking is not proper and insufficient for events such as night market.

Figure 3-44 outdoor events area

3.1.5.6. Inference



The spaces aren’t designed appropriately as the building is a residential building



The circulations are confusing as one should pass through the café to get to the interior spaces



The space appears dark and gloomy due to intense use of colors and DIY materials and one might find it intimidating



The stage and performance area is not covered and it becomes problematic during rainfall and harsh sun

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

There is no proper designated parking space for vehicles and are aligned haphazardly

3.1.6. Innovation Hub Purpose of Study: To study the idea of innovation within a concept of library Mode of Study: Primary, Field visit Resource Person: Tshering Tamang, Coordinator 3.1.6.1. General Information 

Location: ground floor, FNCCI building, Teku



Date of establishment: 2015



Site context: Mixed use, residential, corporate and commercial



Site topography: Flat land



Site orientation: east west axis



Major access to site: through the reception of FNCCI



User group: All ages, specially, 8-35



Activities: workshops and seminars, incubator, makerspace, library

The Innovation Hub, a joint partnership between the U.S. Embassy, Kathmandu and the Federation of Nepalese Chambers of Commerce (FNCCI) is a new library and creative space now open at the FNCCI building in Teku. The Hub offers a wide range of resources for entrepreneurs including incubator desks, which give entrepreneurs a work space and access to a specialized library of books and computer resources. The library also is open to the general public with books and programs for children, students and adults. (fncci, 2019) 3.1.6.2. Site and surrounding Innovation hub is located the ground floor of the FNCCI building, Teku. The following are its surrounding attributes:

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

East: Commercial and residential buildings



West: Commercial and residential buildings



North: Department of Health services



South: Kedarnath Temple, Laxmi Narayan

Temple,

Hanuman

Temple, Shiva Temple Figure 3-45 location map of Innovation Hub

3.1.6.3. Planning Innovation Hub has the following variety of spaces: 

Incubator



Study area



Library



Computer lab



Reception



Seminar hall



Makerspace



Store

Readin g area Entran ce lobby

Quiet readin g Online resour ce

Children’ s area/ Program s area

Corridor

Incubat or/ office

Maker space

Figure 3-46 zoning of IHub

The planning is very simple where a corridor space is formed and access is through the common space. In terms of the organization of spaces, the incubator desks appear before the reception so it is accessed easily even by the non-workers and have to

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monitored for misuse of the space. The program area and children’s area is interchangeable creating no proper allocation of spaces and often creating disappointment in children when events are going on. The programs/ events and reading activity happen simultaneously creating disturbance to the readers.

Figure 3-49 library

Figure 3-50 reading area

Figure 3-48 seminar hall

Figure 3-47 plan of Innovation Hub

3.1.6.4. Allocation of spaces Table 3-4 IHub: Allocation of spaces

S.N

Space

Area

Capacity

Area/ person

1

Reading area

20m2

12

1.66m2

2

Incubator

10m2

4

2.5m2

3

Quiet reading

10m2

4

2.5m2

4

Program hall

56m2

40

1.4m2

5

Online resource

28m2

10

2.8m2

6

Makerspace

20m2

6

3.33m2

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3.1.6.5. Inference 

The space is very flexible for people to come there with their materials and study or collaborate or network.

3.1.7. National Innovation Center Purpose of Study: To study the idea of innovation center in Nepal, its design and work that encourages innovation in even the rural areas Mode of Study: Primary, Field visit Resource Person: Mahabir Pun, Director 3.1.7.1. General Information 

Location: TU, Kirtipur



Date of establishment: 2019



Area: 465 sq. m



Site context: educational



Site topography: Flat land



Site orientation: west



Major access to site: through TU



User group: 25-40

The national innovation center (NIC) aims at introducing a research and development (r&d) culture to Nepal, and to help nurture and promote innovation-based ecosystems for socio-economic development, by employing both grassroots (bottom-up) and topdown approaches.

3.1.7.2. Site and surrounding National Innovation Center is located in the premises of Tribhuwan University, Kirtipur and has the following site and surrounding. 

East: open field



West: TU Central Department of Education



North: Foreign Student Hostel



South: Research Center for applied science

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Figure 3-51 location map of National Innovation Center

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3.1.7.3. Architectural expression The architectural expression of the National Innovation Centre is designed as a fully equipped workshop for the planning and designing of the innovative projects. Since it has double height ceiling in the workshop area, the contrast between the single height in other spaces and double height is visible that plays with the form of the building.

Wide 12’-0” windows that span throughout rooms is visible from the outside that brings the outside environment to the inside. The roof has been designed in such a way that the interplay of heights gives out the clearstory effect and brings in enough light.

Figure 3-52 National Innovation Center

3.1.7.4. Planning The planning is very simple and linear. Entrance is from the south with a wide span corridor that acts as a lobby and access to every space is through that space. The spaces available are: 

Workshop



Pantry



Guard’s room



Computer lab



Software lab



Meeting room

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The meeting room is located in the first floor with the access through a spiral staircase from the ground floor software room area that creates disturbance and appears as an addition due to space requirement rather than design.

Figure 3-53 planning of National Innovation Center

3.1.7.5. Allocation of spaces Table 3-5 National Innovation Center: Allocation of spaces

S.N

Space

Area

Capacity

Area/ person

1

Workshop

190m2

20

9.5m2

2

Meeting room

37m2

12

3.08m2

3

Computer lab

37m2

10

3.7m2

4

Software lab

37m2

10

3.7m2

5

Pantry

20m2

10

2m2

Table 3-6 the entrance and double height ceiling with meeting room

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3.1.7.6. Landscape Since the construction has recently been completed, nothing has been done for the landscape design of the National Innovation Center.

Figure 3-54 outdoor area

3.1.7.7. Analysis and Inference 

This space provides with the information of what a makerspace should be like



Since its operation is not in full swing, the space is unoccupied and the machines left haphazard



The truss and roof system has been carefully designed to withstand the fumes and gas produced inside.

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3.1.8. House of Palettes, Evoke Cafe 3.1.8.1. General Information 

Location: inside Evoke Café, Jhamsikhel, Lalitpur



Date of establishment: 2016



Site context: Mixed use, residential, corporate and commercial



Site area: 70 sq. m



Site topography: Flat land



Site orientation: north



Construction typology: Load bearing structure



User group: 3-85



Number of occupants: 25-35 at a time



Art typology: Canvas based work with acrylic

Figure 3-56 interior seating and painting space of House of Palettes

Figure 3-55 entrance to House of Palettes

‘Paint and Sip’ is a very popular business concept in the West. Impressed with the same, the trio of Neha Agrawal, Rahul Agrawal and Deepa Agrawal borrowed the idea and implemented it in Nepal, thus founding the House of Palettes. It is a lifestyle art studio helping people pour their heart out in colors on a piece of canvas which they can take

Figure 3-57 plan and furniture layout

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home on completion. You can enjoy this whether you have done art before or not. “It’s more about wine and art.

3.1.8.2. Inference 

The furniture is carefully made to fit the purpose of every user’s anthropometry



The space uses vibrant and colorful paintings from the customers all around that lits up the space



The natural lighting comes only from the north side where a door and windows are placed that helps the paints unexposed to sunlight.



Since it is located inside the premises of Evoke café, not much people know about it.

3.1.9. Aji’s 3.1.9.1. General Information 

Location: In houses of the makers



Date of establishment: 2018



Maker group: 40-92

Aji’s mission is to empower the elderly to live healthy and happy lives by providing a platform to showcase their skills and knowledge. Aji’s enables the elderly to make and sell products through our online store, share their stories and experiences on the Aji’s blog and events, and connect with the younger generation via campaigns such as #AskAnAji.

Figure 3-58 The members of Aji's in their abode making products

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They aim to create a world where the elderly live happy and healthy lives as active members of their community. They want to bring attention to and value elders, to prevent them from becoming the forgotten generation. They aim to provoke the younger generation to recognize the value of older people. (ajisproducts, 2019) The three main objectives are: 

to harness the elderly’s unique skills and knowledge



to strengthen bonds between younger and older generations



to preserve the stories and legacy of the elderly

3.1.9.2. Inference 

Aji’s is a concept that helps make the elderlies independent



They can bring out their creativity or the things they learnt throughout the years and make products out of it in their spare time.



This not only enables them to sustain themselves but keep their hands and legs moving.



This brings them happiness, to create, to share.

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Regional Case Study 1. Friendship Center, Bangladesh 2. T Hub, Hyderabad 3.2.1. Friendship Centre Purpose of Study: To study the interplay of indoor and outdoor spaces Mode of Study: Secondary sources; internet 3.2.1.1. General information 

Location: Gaibandha, Bangaladesh



Date of establishment: 2011



Architects: Kashef Mahboob Chowdhury/URBANA



Site area: 2897 sq. m



Site topography: Flat land



User group: 20-35



Building usage: training programs

Figure 3-59 Friendship Center

The Friendship Center near the district town of Gaibandha, Bangladesh, is for an NGO which works with some of the poorest in the country and who live mainly in riverine islands (chars) with very limited access and opportunities. Friendship uses the facility for its own training programs and will also rent out for meetings, training, conferences etc. as income generation.

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3.2.1.2. Spatial design The Friendship Centre is built on low-lying land surrounded by fields. Despite the threat of flooding, the cost of raising the building above the flood plain was too great so instead the designers created their own defense by building up the earth surrounding the site. (archnet, 2019)

Figure 3-60 the roof of Friendship Center showing the interplay of mass and void

Each building within the complex is constructed from a uniform brickwork, creating a maze of pavilion-like structures. Each block has the same height and every rooftop is covered with grass.

Rooms are divided into two zones to separate reception and training rooms from dormitories and other more private quarters. There's also a library, a conference room, a prayer space and a small shop.

Large openings in the walls bring natural light and ventilation through the buildings, while a sequence of small courtyards and pools allow cool air to circulate.

Figure 3-61 inside looking at the outside with the courtyard in view

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3.2.1.3. Planning The Friendship Centre is divided into two sections, the outer Ka block for the offices, library and training classrooms and the inner Kha block for the residential section. At a time, 80 people can be trained here in four separate classrooms. Simplicity is the intent, monastic is the feel.

Ka block

Kha block Figure 3-62 block division

Figure 3-63 plan of Friendship Center

Figure 3-64 section

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3.2.1.4. Relationship between indoor and outdoor spaces The indoor and outdoor relationship of Friendship Center can be described through the following components: a. Courtyard and pavilion

b. Water body

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3.2.1.5. Allocation of spaces 

1-Reception- 71.5 sq m



2 offices- 31.8 sq.m



1 library- 14.3 sq. m



5 training rooms- 328.4 sq. m



2 training pavilions- 38.1 sq. m



2 breakout pavilion- 43.9 sq.m



1 mosque- 32.7 sq .



1 tea shop- 6.1 sq.m



3 toilet- 23.4 sqm

Figure 3-65 training pavilion Table 3-7 space allocation

S.N

Space

Area

Capacity

Area/ person

1

Library

14m2

10

1.4m2

2

Training rooms

328m2

100

3.28m2

3.2.1.6. Materials Constructed and finished primarily of one material – local hand-made bricks – the spaces are woven out of pavilions, courtyards, pools and greens, corridors and shadows.

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3.2.1.7. Designing for building science 

The naturally ventilated structures have green roofs.



The Centre is located in an agricultural area susceptible to flooding and earthquakes, and whose low-bearing soil has a low bearing capacity.



As a result, an embankment has been constructed with a water run-off pumping facility.

3.2.1.8. Landscape The landscaping is in two plains: 

At grade, brick paving in the circulation areas, reflecting pools and green courtyards



At roof, earthen rooftops with green cover which act as insulators and absorb rainwater.

Figure 3-66 green roof creating another landscape

3.2.1.9. Inference 

The architect has beautifully played with the natural constraint of flooding into the site and brought opportunity in that threat



The use of landscape in the roof top that allows proper thermal insulation in the interior environment



The implementation of water bodies and green roof creates a micro climate



These features allow sufficient natural ventilation and reduces the cost of installation and operation of HVAC.

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

The pockets of many pavilions and courtyard create a harmonious relationship between the user and the building providing spaces to collaborate and sharing of ideas



The idea on the accommodation block provides an insight of the design and segregation of collaborative spaces and segregation spaces.

3.2.2. T Hub, Hyderabad Purpose of Study: To study the ecosystem of incubation system in Regional cases Mode of Study: Secondary sources; internet 3.2.2.1. General information 

Location: Hyderabad, Telangana, India



Date of establishment: 2015



Architects: W Design Studio



Site area: 70000 sq. ft



Site topography: Flat land



User group: 20-35 (mentors, investors and academia)



Building usage: co-working spaces, meetings, mentoring, networking sessions and conferences

T-Hub is India’s largest and also the fastest-growing startup engine catalyzing Innovation, Scale and Deal Flow. It is set up in 2014 as a unique public/private partnership between the government of Telangana, three of India’s premier academic institutes (IIIT-H, ISB and NALSAR) and key private sector leaders. It stands at the intersection of the startup, academic, corporate, research and government sectors. (thenewsminute, 2019)

Figure 3-67 lobby of T Hub

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T-hub has India’s largest startup ecosystem under a single roof, with over 70,000 square

feet of space. The infrastructure and the design are both futuristic and cutting edge. As you walk into this startup haven, you cannot help but feel the vibrancy and energy that the startups bring in. The startups within T-hub are divided into seven sectors and specializations – Fintech, Healthcare, Agritech, Smart Cities, Transportation and Logistics, Sustainability and Social Tech capturing Big Data, IOT, Analytics, Sensors, Cloud and Mobility.

3.2.2.2. Architectural expression It has been designed in accordance with the design requirements of the leading offices in the world. It will be one of the few energy compliant office buildings in India. A selfsustaining and livable office environment to suit the needs of the young and upcoming professionals.

This building is an Incubation Centre for startups. They have designed the elevation as a combination of a very industrial as well institutional looking building. The façade is a combination of alternate glass, exposed brick and green wall grids. The envelope of the building is designed for maximum environment efficiency even enabling cross ventilation possibility through the green walls and the glasses with sliding window panels. The bricks are hollow with insulation material to cut heat gain. (thenewsminute, 2019)

Figure 3-68 T Hub

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3.2.2.3. Space, activity study a. Lobby: the lobby is the central space where the atrium comes to play. The circular atrium brings in the light to this common space

Figure 3-69 lobby

b. Co working space: The co working spaces are stacked up on the hanging cargo containers with the wide screen view of the central lobby.

Figure 3-70 co working space

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c. Informal gathering and meetings: There are many pocket and breakout spaces designed for informal gatherings and meetings. These spaces enhance and encourage the collaborative zeal.

Figure 3-71 space for informal gatherings

d. Incubator: The incubator is the space where the start-ups are nurtured and mentored for the further development of their ideas.

Figure 3-72 incubator

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3.2.2.4. Inferences 

T Hub stands as an epitome for the start-ups and incubators in India.



The spaces inside are vibrant and enhance the creative spark



The building being a cubical building has an atrium that balances out the mass and void factors of it.



The façade design is based on the industrial and institutional design hence allowing the interior to follow the same.



The exterior is clad with bricks and metal strips giving it the edgy look.



Hanging plants create microclimate for that area.

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International Case Study 1. Rolex Learning Center 2. Zeimuls, Centre of Creative Services of Eastern Latvia 3.3.1. Rolex Learning Center Purpose of Study: To study the design and spaces of a learning center. Also it’s form and design strategies Mode of Study: Secondary sources; internet 3.3.1.1. General information 

Location: Lausanne at lake Geneva



Architect: kazuyo sejima + ryue nishizawa / sanaa team



Date of establishment: 2004



Site context: Learning center for EPFL, ecole polytechnique fédérale de lausanne

The Rolex Learning Center will function as a laboratory for learning, a library with 500,000 volumes and an international cultural hub for EPFL, open to both students and the public. Spread over one single fluid space of 20,000 sq meters, it provides a seamless network of services, libraries, information gathering, social spaces, and spaces to study, restaurants, cafes and beautiful outdoor spaces. It is a highly innovative building, with gentle slopes and terraces, undulating around a series of internal ‘patios’, with almost invisible supports for its complex curving roof, which required completely new methods of construction. (dezeen, 2019)

Figure 3-73 Rolex Learning Center

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3.3.1.2. Building detail 

site dimensions: 88,000sqm (166.5m x 121.5m)



footprint: 20,200sqm



floor area: 37,000sqm



number of floors: 1 basement + 1 main



main programs



multimedia library: 500,000



volumes student workspaces – 860 seats



multipurpose hall “forum rolex” – 600 seats



café + bar – 53 seats + exterior food court – 128 seats + exterior restaurant – 80 seats



career center



library staff



office



epfl precious book collection student association office – ‘agepoly’ alumni association office – ‘a3’ pedagogy research office – ‘craft’ publication office – ‘ppur’ bank – ‘credit suisse’ bookshop –



‘la fontaine’ parking – 500 places

3.3.1.3. Spatial design 

Design RLC is designed with a gently sloped interior space. The spatial experience of the interior is free flowing without hard edges and minimal wall surfaces.

Accessible means of circulation and way-finding follow the concept of the free flowing building.



Handicap access: While most interior surfaces of the RLC is gently sloping, to provide code required accessibility, ramps and wheel chair lifts are introduced throughout the space.



Way-finding The design promotes a free flowing space without clear orientation. Wayfinding at the RLC is unconventional and promotes discovery. Overall maps on pedestals and signage mounted on glass partition walls directs occupants.

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Figure 3-74 Plan of Rolex Learning Center

Figure 3-75 spatial design and form formation

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3.3.1.4. Allocation of spaces Table 3-8 Rolex Learning Center: allocation of spaces

S.N

Space

Area

Capacity

Area/person

1

Volume student workspaces

2

Multipurpose hall

300m2

600

0.5m2

3

Restaurant

300m2

261

1.14m2

4

Parking

2000m2

500

4m2

860

3.3.1.5. Design for thermal comfort Design- Floor and ceiling assembly To maintain the material aesthetic of the exposed concrete roof and slab while providing a sound thermal enclosure the roof assembly was designed.

Figure 3-76 floor and ceiling assembly

Design building envelope Designed and specified to provide maximum visibility while also meeting required ventilation and performance needs. Double glazed walls with airspace were specified throughout the building with customized automated exterior shades based on orientation to control excessive heating and glare.

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3.3.1.6. Design for acoustics Materials play a key role in the sound absorption of the Rolex learning Center. Key materials include an acoustical plaster wall product (BASWAphon) which provides a weighted sound absorption coefficient αw > 0.6. Carpets are installed throughout the learning center to provide a weighted sound absorption coefficient αw > 0.2.

Figure 3-77 building envelope designed to maintain acoustics

3.3.1.7. Inference 

Everything is flow, without doors or steps, and other people appear as silhouettes on the many internal horizons that the building creates.



There is no fixed vista. Move your eyes only slightly and the view changes greatly.



And it is a view composed of layers of transparency and overlaps of physical content.



In use, and filled with students, this will be a university building for the Facebook generation – a place where intellectual and purely visual information will be on equal footing.



That may give some comfort and a sense of kudos to students who use the Learning Centre's admirable cache of architectural source material.



As will cutting-edge active information systems that can tell them the noise levels in different parts of the building.

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3.3.2. Zeimuls, Centre of Creative Services of Eastern Latvia Purpose of Study: To study the creative spaces Mode of Study: Secondary sources; internet 3.3.2.1. General information 

Location: Krasta iela 31, Rēzekne, LV-4601, Latvia



Architect: Rasa Kalnina, Maris Krumins



Date of establishment: 2014



Area: 4400.0 sqm

ZEIMULS was developed as a proposal for an architecture competition for a place next to the castle mound of Rezekne with the aim to create an innovative, creative environment for children and young people in Rezekne that would stimulate the young graduates to return to live and work in Rezekne town after their studies; to create a unique, new leitmotif to serve the town’s development in the beginning of a new era. (aeccafe, 2019)

Figure 3-78 Zeimuls, Center of Creative Services

3.3.2.2. Architectural expression The building is located on the edge of the town center facing an ancient castle mound

with medieval,

state-preserved

ruins, which is the main tourist attraction of the town. It was the topography of the site that inspired the architects to position the building settled deep into the ground so that the fifth facade – the geometrically triangulated green roof – should

Figure 3-79 Architectural Expression of Zeimuls

become the main feature of the structure.

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3.3.2.3. Planning The volume of the space is bent around the local dominant – the castle mound of Rezekne; it is embodied in the terrain of surroundings with open views towards the castle mound and the church.

The “pencils” stuck in the green volume serve as the foreground for the existing soviet period buildings.

A dramatic landscape on the edge of the town center facing an ancient castle mound with medieval, state-preserved ruins- the main tourist attraction of the town. It was the site itself that suggested the building should settle deep into the ground and that the fifth facade - the geometrically triangulated green roof - should become the main feature of the structure. The building is a structure of exposed, monolithic concrete, plastered on the exterior. Still, most of the rooms are rectangular in plan - the dramatic ceilings of exposed concrete and variable window geometries create the amazing diversity and uniqueness of space. The shape of the roof not only creates a feeling of safety and protection for the children, but also allows for an ample and diverse flow of natural light through various openings into all the rooms, halls and corridors, while from the outside it shines mysteriously in the darkness. An intimate inner courtyard on the ground floor brings light into activity rooms located further from the surface.

Figure 3-80 angular planning of Zeimuls

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3.3.2.4. Landscape The landscaping around the building, in both concrete and green surfaces, continues the same geometric principles as used for the roofs with the surprising sculptural feel and artistic touch in every detail. The new structure became an integral part of the existing dramatic landscape, and even a part of local legends and fairy tales, extending the popular imaginations. It is an example of contemporary design emerging from physical and emotional surroundings, from the local spirit and traditional archetypes, providing a warm and friendly new environment for the kids. Despite its 6000m2 area, the building feels human and homely, compatible with the small-scale historical buildings of the town’s center. (aeccafe, 2019)

Figure 3-81 blended green roof in the natural landscape

3.3.2.5. Inference 

The concept is derived from fairy tales and the center is targeted for children and youths creating that sense of connection and nostalgia bringing them back.



The green roof is accessible giving the vibe of stepping onto the hill from where the concept derives.



The pencil like structure breaks the monotony of the green spaces; natural and artificial hill.

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4.

Comparative Analysis

A cross case analysis was performed along with the comparison with the literature standards to understand and learn about the international standards and the local standards that brought to a middle ground of what is the best possible inference for our project. All the national and international case studies have been the area of study in different arenas as the idea of a learning center and incubator is growing and yet not is in run in complete form. The following are the areas of comparison between the literature standards and case studies: a. General information b. Space division (area per person) General information The general information section carries out the information about the overall inception, design and technologies involved in the literature and cases for the particular projects.

A total of 7 national and international cases were compared alongside the literature review in the followings parameters: a. Location b. Geometry, mass, volume, figure and ground c. Orientation d. Accessibility/ transit connectivity e. Planning/ circulation f. Landscaping and open space components g. Materiality and faรงade strategies h. Sustainability features 4.1.1. Inferences The following inferences were gathered from the analysis: a. Proximity to commercial axes, restaurants, bars, economic development offices, research and higher education centers b. Transparent, inviting and interconnection of spaces c. East west axis and site conditions d. Should be accessible via the local commute from all major points of the city e. Interconnection of all the necessary spaces that encourage collaboration and creativity f. Open spaces should be connected to internal spaces.

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g. Based on the availability of local resources and climatic condition h. Should contribute to energy efficiency Space division (area per person) The space division section deals with the various types of spaces and its allocation of area per person. This allows us to understand the requirements according to various standards to further implement it into the program formulation.

4.2.1. Spaces and inference The collaborative spaces, social spaces and other spaces were put up into a matrix and compared alongside the literature standards. The following spaces were considered with their respective inferences: a. Collaborative spaces 

Co- working spaces: 1.5 sq. m



Incubator : 1.5 sq. m



Makerspace/ workshop: 5 sq. m



Multipurpose hall: 1.5 sq. m

b. Social spaces 

Library: 1.5 sq. m



Restaurants: 1.5 sq. m



Gallery: 2 sq. m



Outdoor exhibition: 2.5 sq. m

c. Other spaces 

Accommodation: 15 sq. m



Administration: 4.5 sq. m



Classrooms and training halls: 1.4 sq. m



Conference room: 1.8 sq. m



Toilet: in the ratio 1:15



Parking: Two wheelers: 1.54 sq. m, Four wheelers: 8.225 sq. m

The complete Comparative Analysis has been attached as annex in the Appendices section.

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5.

Program Formulation

The following programs have been formulated based on the inferences from the comparative analysis of Literature review, National Case Study, Regional Case Study and International Case Study: Calculation for built up area 5.1.1. Administration zone: This is the zone that represents the administrative units for the entire Learning Center and Incubator. This includes the offices and information desks for various units and also is incorporated with breakout areas for the staffs and employees.

Table 5-1 Program formulation: administration zone

S.

Zone

Programs

N 1.

No. of

Capacity Area/

spaces Administration

a. Reception/ waiting area c. Account d. manager’s office e. director’s office f. Workstation g. pantry h. Toilet

Total

Total

person

area

1

10

2.05

20.54

1 1

3 3

3.3 4.3

9.91 13.04

1

3

6

18.04

1 1 4

30 4

4.76 1.475 2.75

143.04 5.9 11.01 221.48 sq. m

5.1.2. Collaborative zone: The collaborative zone is specially allocated for the collaborative works where people can work together in teams or individually but have interactions on a regular basis. This includes the designed collaborative spaces as well as the interplay of indoor and outdoor spaces and informal gathering spaces.

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5.1.2.1. Incubator Block Table 5-2 Program formulation: collaborative spaces- ground floor: co working space

S.

Zone

Programs

N 2.

No. of

Capacity Area/

space Collaborative spaces

a. lobby/ reception b. Training halls c. mentor’s room d. Breakout area e. Work pods f. Open co working space g. Gaming room h. Meeting room i. Media room

Total

person

area

1

12

6.25

75.02

2 1 1 4 1

25 10 10 1 25

2.18 1.85 4.77 3.03 3.14

109.03 18.56 47.71 12.12 78.69

1 1 1

8 12 2

3.09 2.21 2.9

24.77 26.61 5.8 398.31

Total

sq. m

Table 5-3 Program formulation: collaborative spaces-plan at level 0- start up offices

S.

Zone

Programs

N

No. of

Capacity Area/

space Collaborative spaces

a. lobby b. Office 1 c. Office 2 d. Office 3 e. Office 4 f. Media room g. Pantry h. Breakout area i. Outdoor workarea j. toilet

1 1 1 1 1 1 1 1 1

12 11 10 10 6 2 4 16 20

6

Total

person

area

3.64 2.28 2.65 1.78 2.51 2.9 3.09 3.03 1.89

43.71 25.12 26.58 17.84 15.11 5.8 12.36 48.53 37.80

4.6

27.83

Total

260.68 sq. m

Table 5-4 Program formulation: collaborative spaces-first floor- incubator

S.

Zone

Programs

N

No. of

Capacity Area/

space Collaborative spaces

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a. Pitch desk b. Briefing area c. Meeting room

1 1 1

24 25 12

Total

person

area

1.82 2.26 2.21

43.71 56.66 26.58

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d. Group work area e. Store f. Pantry g. Toilet

1

10

2.51

25.12

1 1 6

1 2

12.45 3.35 4.6

12.45 6.71 27.83

Total

200 sq. m

5.1.2.2. Makerspace Table 5-5 Program formulation: collaborative spaces-ground floor- Makerspace

S.

Zone

Programs

N

No. of

Capacity Area/

space Collaborative spaces

a. Reception b. Art studio c. Maker space d. Pantry e. Toilet

1 1 1 1 5

8 26 45 4

Total

person

area

2.5 2.14 3.33 1.5 6.59

20.36 55.65 150 6.03 32.95

Total

265 sq. m

Table 5-6 Program formulation: collaborative spaces-plan at level 0- Makerspace

S.

Zone

Programs

N

No. of

Capacity Area/

space Collaborative spaces

Total

a. Reception b. Open makerspace c. Learning core d. Inventory room e. Service room f. Toilet

Total

person

area

1 1

8 22

2.54 3.95

20.36 86.91

1 1

10 4

4.52 6.98

45.29 27.94

1 6

1

27.94 5.49

27.94 32.95 241.39 sq. m

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Table 5-7 Program formulation: collaborative spaces-first floor- studio

S.

Zone

Programs

N

No. of

Capacity Area/

space Collaborative spaces

Total

person

area

a. Open studio b. Studio c. Toilet

1 5 3

20 6

3.50 3.84 5.32

70.02 115.35 15.96

d. Pantry

1

1

2.65

2.65 203.98

Total

sq. m

5.1.3. Social zone The social zone is the one for networking. Here, people can come, stay and connect to new people on a regular basis.

5.1.3.1. Library Table 5-8 Program formulation: social spaces- library

S.N Zone

Programs

No.

Capacity Area/

of

Total

person

area

2.02 1.48 1.52 5.46 4.44

40.41 13.96 79.44 54.66 13.33

space 3.

Social spaces

a. Front desk b. Media center c. Reading area d. Books aisle e. Toilet

1 1 1 1 3

20 9 52 10

Total

205 sq. m

5.1.3.2. Restaurant Table 5-9 Program formulation: social spaces- restaurant

S.N Zone

Programs

No.

Capacity Area/

of

Total

person

area

3.55 8.33 14.58 6.63 3.33

262.82 83.33 14.58 331.75 13.33

space 3.

Social spaces

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a. Restaurant b. Kitchen c. Store d. Outdoor deck e. Toilet

1 1 1 1 4

74 10 1 50

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Total

205 sq. m

5.1.3.3. Multipurpose hall Table 5-10 Program formulation: social spaces- restaurant

S.N Zone

Programs

No.

Capacity Area/

of

Total

person

area

space 3.

Social spaces

a. Hall b. Function area c. Toilet

1 1 4

150 50

1.22 2.65 9.2

183.57 132.77 36.89

d. Store e. Retail shops

1 7

1 5

6.37 2.37

6.37 82.96 490.56

Total

sq. m

5.1.4. Accommodation: Accommodations are for the guests in the Learning Centre and Incubator who come there as interns, guests, speakers, researchers, artists and need place to stay inside it’s premises that allows them to connect to the environment more. The accommodation area when not in use can be rented out as Air BnB to economically utilize the vacant spaces.

Table 5-11 Program formulation: accommodation- ground floor

S.N. Zone

Programs

No. of Capacity Area/ spaces

4.

Accommodation a. Cafeteria b. Kitchen c. warden’s apartment d. Toilet Total

1 1 1 3

Total

person area 40 4 2

2.04 5.79 15.57

81.89 23.16 31.14

4.48

13.45 160sq. m

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Table 5-12 Program formulation: accommodation-first and second floor

S.N. Zone

Programs

No. of Capacity Area/ spaces

4.

Accommodation a. Studio apartment b. Lobby c. Toilet d. Dorm

Total

person area

2 2 4

2 10

22.85 5.69 8.09

45.7 56.94 32.36

12

12+6

11.11

200 350sq.

Total

m Table 5-13 Program formulation: accommodation-top floor

S.N. Zone

Programs

No. of Capacity Area/ spaces

4.

Accommodation a. Staff room b. Toilet c. Laundry room

Total

person area

2 2

1

11.34 4.46

22.69 8.92

1

7

1.93

13.54 50sq.

Total

m The total of all these spaces happen to be the total built up area for the center which is; Total area: 4949.8 sq. m Total built up area: Total area + 30% for circulation = 4949.8+ (30% of 4949.8) = 4949.8+ 1484.94 = 6434.74 sq. m 13582.78 sq. m Calculation for open area According to bye- laws, the allowable Ground Coverage Area is 50% of the total land area =5433.115 Therefore, the minimum open area has to be 5433.115 sq. m

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5.2.1. Parking

The bye-laws say that there should be at least 20% of the total land area allocated for parking.

Therefore, parking area: 2173.24 sq. m Parking details: Area: 2195 sq. m Capacity: -

Cars:13

-

Heavy vehicles: 5

-

Bikes: 59

-

Cycles: 12

5.2.2. Open air theatre Area: 500 sq. m Capacity: 200 5.2.3. Lotus pond Area: 250 sq. m 5.2.4. Contemplation plaza Area: 515 sq. m Capacity: 150

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6.

Site analysis Site selection criteria

Architectural site analysis, is the process of evaluating a particular locations physical, mental and social characteristics with the ambition of developing an architectural solution that will both address and enhance its internal and external context. Site is very important in any project. Every project has its own requirement of site and every site has its own potential and limitation. Therefore, selection of proper site requires proper analysis.

Based on the literature review and case study of the Learning center and Incubator, the following points were taken as the requirement criteria for the proposal of a project. a. Identity 

The site should be distinguishable from its surrounding environment.



The site should be considered as public space.

b. Location 

The site should be located in a prime location, preferably in the heart of the city.



For better networking, it should be located near other similar spaces.

c. Access 

The access to the site should be easy and through public vehicle route.



The site should have at least two connected roads for primary and secondary entrances and exits.

Figure 6-1 site location factors

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General information 

Geographic Location: Bhutpurwa Sainik Sangh, Pulchowk, Lalitpur, Nepal



Site boundary: South: Main road, Corporate buildings, shops West: CG Nxt North: Harihar bhawan and road East: Sajha Pustak Prakashan



Site area: 17-0-3-1.67 (8675.69 sq. m)



Entrance locations and types: The entrance to the site is through a secondary entrance at the east but the access to the roads in North and South allow additional entrance locations



Existing buildings: Office of Bhutpurwa Sainik Sangh, old unused buildings

Figure 6-2 panoramic view of site

Neighbouring buildings 

Distances: In close proximity



Heights: most of the neighboring buildings are 2- 6 storey tall



Uses: Public, commercial, corporate, residential, restaurants, etc.



Vernacular: All the surrounding buildings are modern with no vernacular influence



Noise levels: Noise is faced in the South of the site due to vehicular movements and also construction of new buildings

Figure 6-3 site surrounding to south

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Figure 6-4 site surrounding to north

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Figure 6-5 site surrounding to east

Figure 6-6 site entrance

Figure 6-7 noise direction

Legal Restrictions 

Zone: Dense mixed Residential sub zone



Proposed building type: Private office building



Floor Area Ratio: 2.5



Setback: 5 meters



Ground Coverage Area: 50% of the total site area: 4337.84 sq. m



Allowable built up area: 10844.61 sq. m



Parking: 20% of the total site area



Maximum Height: 5 storey and 13.5 m tall Access



Public routes: The access to public routes is through the main Pulchowk road through public vehicle and a minute walk to the internal road to Jhamsikhel

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

Private routes: It can be accessed through internal routes



Vehicle access: Public Vehicle access through Pulchowk



Pedestrian access: Through all the connecting roads



Existing circulation routes within

Bus stan d

Taxi

t Figure 6-8 access

Typography 

Levels: 4 levels of contour in the site each of 2 meters height



Key features/restrictions: Plantation of trees to maintain the contour levels

Figure 6-9 site section

Views 

Private views out: The view of surrounding buildings and roads



Public views in: Restricted right now due to construction of wall all around the boundary of the site Sun paths



Sun paths



Solar gains



Shading

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Figure 6-10 winter and summer solar direction

Wind patterns

Figure 6-11 wind pattern

Trees and vegetation 

Items for removal: Removal of the grasses and shrubs all around the site



Items to maintain: Line of trees along the contour Ecology



Protected species: The species of trees



Protected zones: Hydro zone around the Monument

Figure 6-12 existing trees in the site

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Site restrictions 

Visibility: Site is visible from the road and surrounding buildings



Light: Light in the site is unrestricted



Views: Views in and out of the site is protected



Pollution: Area secluded from pollution



Natural disasters: The buildings in the site were affected due to Earthquake of 2015 out of which some have been removed while some exist Features



Areas to expose/use: Conserve the monumental statue which dates back to April 1971



Areas to improve: The overall site conditions



Hazards: No such hazards found



Derelict Buildings: Buildings in the North side of the site



Unfinished building works: No unfinished works SWOT Analysis

Strength • The site lies in the central location • It is very suitable for networking • The site provides easy access to number of major locations

Weakness • The site descends downwards from the view • Huge trees

SWOT Analysis

Opportunity • Since the site is a contour land, dynamic design and views can be achieved • The existing trees can be conserved and brought to use in design

Threat • Lies in a majorly noisy junction creating constant noise • Traffic congestion

Figure 6-13 SWOT Analysis

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Overlay analysis

Figure 6-14 overlay analysis

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Thematic Analysis 6.16.1.1.

Sun shadow fallouts

The following diagram shows the effect of surrounding buildings on the site causing the sun shadow on the site that might create shadowed and unshaded areas in the site.

As we can see from the diagram, the site is barely susceptible to the shadows from the surrounding building at the given times in the day bringing the designs to enjoy ample sunlight throughout the day.

06:00 hrs HRS 6.16.1.2.

12:00 hrs

18:00 hrs

15:00 hrs

Figure 6-15 sun shadow fallouts in site

Human activity map

The site is located in a very vibrant and eventful area which brings us to its benefits of having the networking and collaborating zeal within the atmosphere.

As we can see from the diagram below, the site is located in an area where the human movement runs throughout the day be it for schools, offices, networking, hanging out, etc. making the site suitable for the design.

09:00 HRS

12:00 HRS

AFTER 14:00 HRS

Figure 6-16 human activity map

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Conceptual zoning The conceptual zoning has been done on the basis of the analysis of the site and also the careful study and inferences from the literature review and case studies that have provided with the spaces.

The conceptual zoning has been done in the basis of noise and privacy considerations.

While the spaces in the south along the main road are more exposed to noise, they are also exposed to views and exposure to the public. Other spaces that need attention and privacy are zoned in the less noise susceptible zones.

There is an inter link between all the spaces that connect to the collaborative spaces and social spaces allowing more interaction and networking. The area between all these spaces are the breakout zones where people get to connect to each other irrespective of their work.

Figure 6-17 Lower and upper level conceptual zoning

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7.

Conceptual development Concept

We live in a world where new innovative ideas are not easily welcomed. It is a war within ourselves and with the people around us to whether or not bring those ideas to reality. Be it in the era of Galilei Galileo where the idea of Earth being round was not taken seriously or now, centuries later when new ideas die without the chance of being born.

We live within the paradoxes where every now and then we strive to narrate those paradoxes in our own terms.

The thesis topic being “jiGYANsa: A Learning Center and Incubator” is a space which revolves around the same idea of bringing ideas to reality and defying the paradoxes with our narratives.

Therefore, Concept Statement: “NARRATIVE PARADOX” Narrative: The representation in art of an event or story Paradox: A statement that seems to say two opposite things but that may be true Narrative Paradox: An experiential space where the narration guides the paradox 7.1.1. Design idea The design idea is to work in angles in both plans and form and provide a dynamic and vibrant space that encourages creativity, ideation and growth of each individual through collaborative spaces that enhances networking and working outside their comfort zone.

7.1.2. Member’s journey Any person has a journey on which he sets his/her path on. In spaces where learning and collaborations are of chief importance, the journey follows a criss cross path where a person can take various different narratives to lead to various paths.

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Figure 7-1 Member's journey

A member in such a space has not one but various paths to take creating different narratives. Where, he/ she can hear about the space and choose to visit or join the space and the story continues on. The journey can be understood from the following diagram.

7.1.3. Concept in site The site has a story of its own. Being a site of Ex- Armies it has a monument located within the site that dates back to 1971. Since such history lies here, the site monument has been framed using lines from various points of the site that defines the narrative the site has and also the paradoxes.

Figure 7-2 Ideating the journey in the site



Site: The given site has a Memorial Monument which has to be conserved and retained in the site and further enhanced.



Framing the site: Taking the points from the south, the points have been connected to the rear points framing the monument and the other represents the street effect on the site.



Connecting the dots: The rear points have been further connected with other points of the site concentrating the lines.

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

Mass and void: The connection of these dots create a pattern that indicates mass and voids.



Creating the built spaces: These mass and voids when designated with their function create built and open spaces giving the outcome of work spaces and breakout areas.

7.1.4. Conceptual form The form is developed on the basis of inclined lines derived from the lines in site where the lines converge to a point. Similarly, the form is composed of similar irregular shapes in the roof which are conceptualized in such a way that they come from various origins but fit together to form a harmonious form indicating the various narratives in the same space and belonging to a space of creative and innovative ideas.

Figure 7-3 form of the learning center and incubator

7.1.5. Conceptual roof and elevation The elevations are also derived from the plans where irregular and triangular spaces are formed. Hence, this influence can be seen in the elevations with inclined lines continuing from the roof that acts as false walls and double skin facades.

Figure 7-4 conceptual elevation derived from the roof

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7.1.6. Working in angles There are 360 degrees, so why stick to one?

-Zaha Hadid The conceptualization of this entire space has been derived within the lines and its angles. This provides the learning center and incubator to be a vibrant and eye catching area. This also indicates the creativity in design itself to develop creativity in people.

7.1.7. Conceptual zoning From the analysis of the site and its conditions and inferences, the recommended zoning has been placed in the site that leads to the division of the spaces.

Figure 7-5 conceptual zoning

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7.1.8. Ideation of spaces The design idea revolves around the concept of creating a space for everyone where every kind of work can be conducted irrespective of the numbers of workers on a certain project. The spaces are designed for solitary work, group work, networking, presentations, pitching areas, etc. that lead to number of occupants to work according to their need.

Figure 7-6 ideation of spaces

Individual work: spaces for individual work allows people to come and work on their own project and idea.

Collaboration: collaborative working can be induced due to co working space with people of different backgrounds coming together.

Rest, play, network: the space is conceptualized in such a way that even when hanging out, it allows in networking between the people.

Incubation and ideation: the ideas are incubated through common discussions and pitching sessions and incubation programs.

Prototyping: after the ideation, those ideas are prototyped into action.

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8.

Design development

The design development was carried out in various phases of design where each phase led to the other bringing out the final result. Every phase is the outcome of the previous ones based on the researches, analysis and inferences of the past.

Architectural design 8.1.1. Development in site Based on the concept development and zoning, the design was developed in site. Since the site is contoured, it is designed in various levels.

The conceptual idea indicated the mass and voids to be assigned as built and open spaces. These built spaces have been assigned with different functions.

Figure 8-1 Zoning and development in site

8.1.2. Planning The planning is done on the basis of the analysis and inferences gathered so as to make the design well balanced. Open planning focused more as this centre focused on the idea of openness and sharing.

8.1.2.1. Administration The administration block is a one storey block with lies in the crossroads of the pedestrian entrance and vehicular entrance. It is positioned in such a way that the people

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coming to the centre sight the administration first and lies in the field of view in order to get information and tickets and places to go for events.

When one enters this block, is greeted in the reception with all the information and then can get inside the administrative unit. The workplace is an open planned workplace and other spaces can be reached through that space. The other spaces are director’s room, manager’s room, account, waiting, pantry, and washroom.

Figure 8-3 3d view of Administration block

Figure 8-2 plan of Administration block

8.1.2.2. Restaurant When entering from the pedestrian entrance, the restaurant is on the left. The restaurant has two outdoor decks; coffee deck and outdoor dining area. The restaurant faces three sides; the front plaza, water body, outdoor dining and so the seats are arranged in such a way that these areas are visible and a visual connection is maintained. The kitchen and store is accessible from the service entrance allowing the foods and goods to be easily accessed.

Figure 8-5 3d view of restaurant

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Figure 8-4 plan of restaurant

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8.1.2.3. Multipurpose hall The multipurpose hall lies in the same block as the restaurant. It is in the first floor making is accessible for the catering services from the restaurant. The hall lies in the centre of the floor where as an open function area in the balcony and function area lie in the either sides. An elevator is provided so as to cater the needs of inclusive design and also the washrooms have universal toilets for people with disabilities.

Figure 8-6 3d view of function area of multipurpose hall

Figure 8-7 plan of multipurpose hall

8.1.2.4. Co working space The co working space is accessed from the Army memorial plaza where the lobby and reception is first reached. Here, the information regarding the various spaces can be

Figure 8-8 3d view of Incubator block

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gained. The lobby has an informal lounge that allows waiting and networking. Through the lobby, training halls and mentor’s room can be accessed.

The co working space starts with individual work pods where an individual can work in solitary pods enjoying the nature with large windows allowing the nature to soak in.

The open co working space is a multi-styled co working space with variety in furniture with various heights, materials and purpose. Along with the open co working lies the game room where one can relax after long hours of work. Pantry desk also lies in the open co working area that allows working and eating together. The other spaces are meeting rooms and group co workings along with media room for podcasts, skype calls, etc.

An outdoor co working space is also accessed from the open co working which on looks the memorial plaza. This allows working in open air and is shaded to be protected from natural causes.

Figure 8-9 plan of co working space

8.1.2.5. Start-up offices The start-up offices lie at the level 0 which is accessed also from the secondary road.

Since this is a permanent office, the secondary entrance can be used for entrance and exit allowing less traffic congestion in the main road. Here, four startup offices with a common networking and meeting area is present. Here, a co working space that onlooks

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and is between the trees and plants is present that allows working within the nature soaked environment.

Figure 8-10 3d view of incubator block from the service entrance Figure 8-11 plan of startup offices

8.1.2.6. Incubator The incubator lies on the first floor with a cut out in the floor allowing the visual and interactive connection to the co working space. Here, we have a pitching deck which allows for pitching sessions and idea sharing on given topics during incubation. The briefing area is for leering and grooming.

Figure 8-12 plan of incubator

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8.1.2.7. Library The library is a resource center for the collaborative spaces where one can come and study in silence. Here, we have the front desk, reading space and book aisle.

Figure 8-13 plan of library

8.1.2.8. Makerspace The makerspace lies in two levels. One in level 0 specifically targeted for school students accessing them and their school bus from the secondary entrance. And the other accessed from the army memorial plaza. Here, the entrance accommodates the reception and then the makerspace can be accessed. The makerspace is an open makerspace with coding, dusty and non-dusty area for various kinds of works. It also has various equipment such as laser cutting machines, 3d printers, CNC machines and also tools for work. There is also an art studio that on looks the lotus pond. Here, anyone can come and paint and has high chairs and desks along the window for the view.

Figure 8-14 3d view of Makerspace

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Figure 8-15 plan of Makerspace

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Figure 8-16 plan of lower level Makerspace

8.1.2.9. Studio In the first floor lies the studio which is for the individuals or groups working in the studio. The open lobby allows interaction and networking and the void creates interaction between makerspace and studio.

Figure 8-17 plan of studio

8.1.2.10.

Accommodation

The accommodation block lies in the west situated between the water body and contemplation plaza. The ground floor has the cafeteria, its kitchen and the warden’s room where as the first and second floors have the dormitory and studio apartments.

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The dormitories have a common lobby and the rooms can be accessed through it. The top floor is used for staff accommodation and services.

Figure 8-19 plan of accommodation block in different levels

Figure 8-18 3d view of Accommodation block

8.1.2.11.

Considerations for people with disability

Various planning measures has been taken into consideration for people with disabilities.

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

Ramps Every space is accessible through ramps that run along the site. The ramps have been designed in 1:12 for easy access. The ramps are connected to the buildings from the landscape.

Figure 8-20 ramp access to the building



Elevators The elevators are provided in buildings where upper floors have to be accessed such as multipurpose hall and accommodation.

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Washrooms The buildings are equipped with universal toilets so as to cater the needs of all.

They are provided with fixtures of suitable heights and grab bars with the required dimensions.

Figure 8-22 plan of universal toilet

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Figure 8-21 section of universal toilet

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8.1.3. Elevations Since the concept was to work in inclined lines, the same has been derived for the elevations. The use of inclined members as false walls and protruded walls create similar impression. The building’s elevation stand as individual design as well as a harmonious blend with the other buildings of the site due to the use of similar elements in all the buildings.

8.1.3.1. Materials The materials used for the elevation are plastered walls, plastered walls with concrete texture, shera board panels and PVC lattice sheets as false walls. For the openings, large panelled double glazed glasses are used that allow visual connection. The railings for the balconies are also made out of glass for the transparency in view and design.

Figure 8-23 Elevation with material detail

8.1.3.2. Colours Since the inferences indicated that the use of earthy tones was essential in such a creative space, similar colours such as browns, greens, whites and grey have been used to compose the overall view.

8.1.4. Building form The overall building form is a contemporary architecture that not only locally but globally is evolving through not only straight lines but inclined lines and angles and distorted shapes creating the dynamic form. Since this is a center of creative, new and bold ideas, the building form represents the same.

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Figure 8-24 final form of the learning center and incubator

8.1.5. Design features 8.1.5.1. Front plaza The front plaza is a gathering area for all the pedestrians that come to the center. It acts like public open space that is open to discussions and ideas.

Figure 8-25 front plaza with the name sculpture

Figure 8-26 front plaza

8.1.5.2. Army memorial plaza The Army memorial plaza is framed around the existing memorial sculpture. This is a space with acts like a transition space between the collaborative spaces. It also houses the open story telling of the elderlies and the former armies (dedicated to the history of site) so that this space is vibrant and filled with inspirations.

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Figure 8-27 Army Memorial Plaza

Figure 8-28 Army Memorial Plaza with the story telling area

8.1.5.3. Contemplation plaza The contemplation plaza is more of a relaxing area than networking and collaborating.

Located in the west part of the site, it catches that western light in the evening which is golden and gives the vibe for self-thinking and self-analysing. This space is designed with trees on various platforms and siting areas that retains the harsh glares and light breeze but also gives the golden halo.

Figure 8-29 Contemplation plaza

8.1.5.4. Water bodies The way from the vehicular and pedestrian entrances are led by water bodies creating that fresh environment in the site. These water bodies create a micro climate and a pleasing environment.

Figure 8-31 Lotus pond onlooking the OAT

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Figure 8-30 Lotus pond onlooking the Makerspace

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8.1.5.5. Murals on the wall When one enters the site, he/ she can see a wall of creative murals lines along the way that brings out the creative heist and also works for the Instagram generation.

Figure 8-32 Murals on the wall in the front plaza

8.1.5.6. Plant wall and creepers The pergolas are equipped with plant boxes along the vertical bars and creepers on the top in order to create the shaded walkway. The plant wall also acts as a backdrop for the story telling.

Figure 8-33 plant wall and creepers along the shaded pathway

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Structural design The buildings are RCC structures with the top floors made out of steel sections in order to have larger spans and also to design inclined lines and angles in the roof.

8.2.1. Folded plate design and space truss The structure of the top floors is based on steel sections that are connected to the steel space truss. Space truss is used to modify the roof into the folded plate angles. 

First, the skeleton of the roof truss is created with varying angles and according to design.



Each space truss act as the ridges of the roof.

Figure 8-34 structural skeleton of the buildings



The plates of cement board are then cut according to the triangular shapes and placed over the truss to give the final outcome.

Figure 8-35 structural diagram of Makerspace with column and plates connection

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

The trusses are connected to each other using nuts and bolts and so are the plates connected to the trusses.

Figure 8-36 structural connection detail of folded plate

Service and utility Building service is also one of the important portion of the design, it comprises of services that are used in day to day life as well as services used for emergency purpose.

8.3.1. Water supply The water supplied to the site is generated by creating a bore hole in side at the highest point of the site allowing easy flow of water all over the site.

Size of bore hole: 6� diameter 8.3.1.1. Calculation for water demand A.

Admin block

-

Capacity- 24

-

Quantity of water required per day- 45 lpcd

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Total requirement- 1080 lpcd

B.

Incubator block

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Capacity- 150

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Quantity of water required per day- 45 lpcd

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-

Total requirement- 6750 lpcd

C.

Restaurant

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Total requirement- 1000 lpcd

D.

Makerspace

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Capacity- 100

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Quantity of water required per day- 45 lpcd

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Total requirement- 4500 lpcd

E.

Accommodation block

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Capacity- 40

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Quantity of water required per day- 130 lpcd

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Total requirement- 5400 lpcd

Total requirement: 18730 lpcd 20% for firefighting: 3746 Therefore, Total demand of water required per day: 22476 lpcd Dimension of underground storage tank: Length: 4 m Breadth: 3 m Depth: 2 m 8.3.1.2. Booster pump Booster pump is a kind of pump that allows the supply of water without the use of overhead tanks in each building. Here, the pump has been connected to the water

Figure 8-37 booster pump

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supply pipe allowing direct transfer of water from the underground storage tank to the respective areas.

Figure 8-38 working diagram of water supply to the building floors

8.3.2. Calculation for rain water harvesting Catchment area= 2015.95 sq. M Average rainfall of Kathmandu valley= 1600 mm/year Volume (v) = 2015.95 x 1.6 m = 3225.52 m. Cu = 3225520 ltr/ yr Rain water harvesting: 80% water can be used efficiently =

80% of 3225520 ltr/ yr

=

2580416 ltr/ yr

8.3.3. Sanitation and drainage Size of septic tank: Length: 10.7m Breadth: 3.3m Height: 1.7m Free board: 45 cm Distance from partition 1 to inlet end: 7.2 Cleaning intervals: 2 years

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(From IS 2470 part II) 8.3.4. Storm water management In order to manage the storm water in and around the site following measures has been taken and designed accordingly 8.3.4.1. Perveous membrane The surfaces on the site is designed in such a way that the storm water on the surface has to travel the least distance before disintegrating into the surface. Therefore, all the hard surfaces are made perveous so that it absorbs all the water and does not create the problem of overflowing.

Figure 8-39 section of perveous surface

8.3.4.2. Recharge pits Recharge pits are allocated on all the sides of the site that takes in all the excess water on the site.

Figure 8-40 recharge pit section

8.3.4.3. Water body The design is done in such a way that storm water is directed towards the water bodies that retains the water level and also solves the problem of overflow water.

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8.3.5. Electrical design The site is equipped with a transformer towards the main road in the south. The 3 phase electricity line was taken from this point and into the service room where it was then distributed to the respective buildings.

8.3.6. Solar energy 8.3.6.1. Calculation for solar energy: Total area of the solar panels= 18 sq. m 1.35 sq. m of area produces 250 w of power Therefore, 18 sq. m of area produces= (18/1.35) x250w =3333.33 AH Usable power= 70% of 3333.33 AH = 2333.33 AH 8.3.6.2. Calculation for BIPV Building Integrated Photo Voltaic panels are attached to the roof which act as skylight as well as solar panels.

Total area of BIPV= 263.02 sq. m

Figure 8-41 position of BIPV in the buildings

Total area of the solar panels= 263.02 sq. m 1.35 sq. m of area produces 75 w of power

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Therefore, 263.02 sq. m of area produces= (263.02/1.35) x75w =14611.5 AH Usable power= 70% of 14611.5 AH = 1664.71 AH

Building science and sustainability The following design approaches are implemented in the design in order to have sustainable design in the learning center and incubator.

8.4.1. Double skin faรงade The faรงades with large windows have been glazed with double glazing and also double faรงade that creates a layer between those two and restricts the outside environment to affect in the internal environment. This reduces the need of adding up mechanical heating and ventilation and also reduces the cost and strides towards environment friendly measures.

Figure 8-43 section of Makerspace with the double skin facade

Figure 8-42 working of double skin facade in different conditions

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8.4.2. Water body The water body helps to create a microclimate creating a pleasant environment that reduces the cost of heating and cooling both in the external and internal environment.

8.4.3. Trees and vegetation The site has a lot of trees and while designing these have been considered. The trees have been retained in their original position and those which had to be taken off, have been re located in the contemplation plaza. These trees help retain the contour of the site and also shade the buildings from the south light.

Figure 8-44 trees in front of the makerspace shading the direct sunlight

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9.

Conclusion

jiGYANsa: A Learning Center and Incubator is an inclusive center for everyone who want their entrepreneurial ideas and dreams to see the light of the day. It is a platform where people irrespective of their age, background or arena can come together and collaborate to bring something better in this world.

This center not only creates a platform but strides towards reducing the growing culture of brain drain and immigration aboard for better opportunities. Today, people have ideas but they seem to be dying without much effort due to lack of such guidance and collaborative learning environment. This center provides the people with all the needed resources such as place, services, networking, collaborative partner, food and everything one need to work in their concept.

The world is growing into this immense mess of people bringing ideas and then getting lost without putting them forward but the world also is growing into this hub of so many platforms be it online of offline in the actual working area and this has brought so many opportunities and all we need is a platform and this center proves to be one globally named in different names and we need this platform locally as well. This center could be where people come to learn and express themselves rather than sitting in a pricy coffee shop and waiting for someone to come ask them collaborate. This will boost the economy and reduce the inhabited habit of working for others not only for the youths but the elderlies who have retired and want their bones moving or children and students who like pursing the things in their mind rather than having to study all the time.

Entrepreneurial skills, collaborative ideas, learning, and making are an integral part of our life but we seem to have forgotten this in the chaos of time. This center reminds everyone to give their dreams a chance. It’s never late to do what the heart wants and what a person has dreamt as a child. The ideas do work and in this era, everything is possible.

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10.

Bibliography

aeccafe. (2019, april 1). Retrieved from aeccafe: https://www10.aeccafe.com/blogs/arch-showcase/2015/02/01/zeimuls-centreof-creative-services-of-eastern-latvia-in-rezekne-by-saals-architecture/ ajisproducts. (2019, april 1). Retrieved from ajisproducts: https://www.ajisproducts.org/ (n.d.). AN INTRODUCTION TO HUMAN CENTERED DESIGN. +ACUMEN. archnet. (2019, april 1). Retrieved from archnet: https://archnet.org/sites/15121/media_contents/111050 bikalpaartcenter. (2019, April 1). Retrieved from bikalpaartcenter: http://www.bikalpaartcenter.org/ dezeen. (2019, April 1). Retrieved from dezeen: https://www.dezeen.com/2010/02/17/rolex-learning-center-by-sanaa/ diba. (2019, april 1). Retrieved from diba: https://www1.diba.cat/uliep/pdf/55501.pdf fncci. (2019, april 1). Retrieved from fncci: http://www.fncci.org/innovation-hub159.html karkhana. (2019, april 1). Retrieved from karkhana: https://karkhana.asia/ martinchautari. (2019, April 1). Retrieved from martinchautari: http://www.martinchautari.org.np/ nepal.communitere. (2019, april 1). Retrieved from nepal.communitere: https://nepal.communitere.org/ nexusculturenepal. (2019, april 1). Retrieved from nexusculturenepal: https://nexusculturenepal.com.np/about/ politesi. (2019, april 1). Retrieved from politesi: https://www.politesi.polimi.it/bitstream/10589/96762/1/2014_10_Ergin_Duyg u_02.PDF.pdf sea-acustica. (2019, april 1). Retrieved from sea-acustica: http://www.seaacustica.es/fileadmin/Oporto16/46.pdf shodhganga. (2019, april 1). Retrieved from shodhganga: http://shodhganga.inflibnet.ac.in/bitstream/10603/25238/7/07_chapter2.pdf smartdraw. (2019, april 1). Retrieved from smartdraw: https://www.smartdraw.com/collaboration/collaboration.htm

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thenewsminute. (2019, April 1). Retrieved from thenewsminute: https://www.thenewsminute.com/article/inside-t-hub-hyderabads-startuprevolution-and-telangana-govts-daring-experiment-50886 wdbg. (2019, January 25). Retrieved from wdbg.org: https://www.wbdg.org/resources/daylighting

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11.

Appendix Comparative Analysis

P.T.O

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Questionnaire for Case Study Date: …………………………..

Location: ……………………………………………

1. What is the concept behind this learning centre and incubator? ……………………………………………………………………………………… ………………………………………………………………………………………

2. What are the facilities that you offer? ……………………………………………………………………………………… ………………………………………………………………………………………

3. What are the working hours and who are the customers? ……………………………………………………………………………………… ………………………………………………………………………………………

4. What is the demographics of the customers? ……………………………………………………………………………………… ………………………………………………………………………………………

5. How do you sustain your company? ……………………………………………………………………………………… ………………………………………………………………………………………

6. How do the economic and social mission of your company relate? ……………………………………………………………………………………… ………………………………………………………………………………………

7. What value does location have for your company? ……………………………………………………………………………………… ……………………………………………………………………………………… ………………………………

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Checklist for Site Analysis Date: …………………….

Location: ………………………………………

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Checklist for Site Analysis Date: …………………….

Location: ………………………………………

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Design drawings

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