ACHARYA’S NRV SCHOOL

OF
ARCHITECTURE

Subject Code: 21 ARC 3.1

Subject Title: ARCHITECTURAL DESIGN 3
Semester: 3rd
Section: A
Faculty Name: Shweta Mattoo
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Aim of the project: KALA GRAM

• To bring Tourism by promoting the handicrafts of Delhi and providing opportunities for the
craftsmen to sell
• Objective
• To create a Commercial space to increase opportunities of marketing for craftsmen- Temporary
and Permanent stalls
• To create an Interactive space where the public can directly interact with the craftsmen- Craft
Demonstration Area, Galleries and Workshops
• To create a Public space which involves socio cultural activities- Amphitheatre, Open spaces
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Scenario of Handicrafts in India

• Handicraft industry adds to the economy and adds to the total GDP

• Handicrafts acts as sensible artistic approach of self expression of the artisans

• Represent culture, traditions and heritage of a place

• Some of the handicrafts are getting on the verge of extinction as the practitioner are going
towards other employment areas – Significant lose to the culture of Delhi and India
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Need of the Project

• Low foot fall in Dilli Haat, Garden of Five senses, the need to increase tourism development
• Dire need of Rejuvenation of crafts for heritage
• Dilli Haat fails to create interaction between the craftsmen and public
• Plus it is extremely commercial- Chinese products are sold instead of handicrafts

USP
• Plethora of activities from selling of handicrafts to workshops where craftsmen work and
people can interact with them
• Increase in Tourism
• Speaks of the heritage of Delhi
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Client : Delhi Tourism and Requirement of the

Transportation Development client
Corporation (DTTDC)
Retail
Project Status- Not Constructed Permanent Stalls
Temporary Stalls
Cultural
Open Air Theatre
Craft Demonstration Area
Performance Ground
Museum
Galleries
Exhibition Rooms
Workshops of pottery,
glassware., ceramics
Others
Models of traditional
Havelis
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 CASE STUDY : SANSKRITI KENDRA : Introduction

GENERAL INFORMATION :
Sanskriti Kendra is a symbol of Sanskriti's involvement in activities relating to art,
craft, literature, the performing arts, and social work.
Sanskriti literally means 'the process of cultivating', The Foundation has been
working towards cultivating an environment for the preservation and development
of the artistic and cultural resources not only of India but of the world as a whole.
It houses three unique museums of everyday art, Indian terracotta, and Indian
Textiles; residential studios & artists lounge; conference facilities; a library; an
amphitheatre; a ceramic centre; an art gallery; and computers & communication
facilities LOCATION : Mehrauli-Gurgaon road ,
Delhi
DISTANCES : At Delhi-Gurgaon border,
FEW INITIATIVES:
7 kms from IGI airport
❑Workshops for children
❑International basketry workshop ARCHITECT: Uppal Ghosh
❑International jewellery workshop LANDSCAPE ARCHITECT:
❑Lectures series Mohommad Shaheer
CLIENT: Snskriti Paristhan
AREA : 3 acres ,
OBJECTIVES:
925 sqm (covered) ,
❑ Creating a better understanding of different cultures through the sharing of art, 925 sqm (semi-covered)
ideas and life experiences. YEAR OF COMPLETION:
❑Offering visibility to indigenous traditional arts and artisans, crafts and crafts-
persons 31ST December 1993
❑Perpetuating and strengthening cultural roots of the emerging generation world
over.
 CASE STUDY SANSKRITI KEnDRA : spaces

RESIDENTIAL STUDIOS
MUSEUM INDIAN TEXTILES

ENTR
Y
LIST OF SPACES:
1. Museum Indian Textiles
2. Museums of everyday art
3. Museum Indian terracotta HAVELI
MUSEUMS OF EVERYDAY ART 4. Residential studios
5. Haveli
6. Amphitheatre/Manch
7. Baithak
8. Gaon
9. Conservation lab
10. Ceramic centre
11. Art gallery
12. artists lounge AMPHITHEATRE/MANCH
13. conference facilities
MUSEUM INDIAN TERRACOTTA 14. library
 CASE STUDY SANSKRITI KENDRA : Design concept

Public Zone Residential

Zone Outer service road

Internal Services
footpaths

Rainwater drainage
channel

Cluster of trees

SERVICE ENTRY ENTR

Y
❑The site is divided into two zones – residential and public zone.
❑There are two entries to the site. One of them being the service entry.
❑The service road runs along the periphery of the site. Internal roads are mainly footpaths.
❑The two main natural features on site - the rainwater drainage channel that ran down the centre, and existing clumps
of trees became the major structuring elements of the layout plan.
❑A basic movement pattern together with the entry points was defined with activity zoning to regulate the location of buildings
and other structures according to function. The buildings are 'objects in space' separated by a variety of spaces.
 CASE STUDY SANSKRITI KENDRA : BUILDING AND
LANDSCAPE
LANDSCAPE:

❑The landscape was recognized as focal

to the design. Eventually the trees will
predominate the site.
❑The rain water channel has been
converted into a linear waterbody, the
LEVEL DIFFERENCE
nahar. This starts from a semicircular pool
SHADES OF BROWN fed by a water retention pond, passes
under a couple of foot bridges, washes up
the steps of the ghats on either side, and
BUILDING AND MATERIAL:
ends at the manch. Every open space has
been defined and has a character of its
❑The typology of the buildings is
own.
modernist; simple, but made interesting
❑Geometric forms, pavements, paths, and
with varied levels, heights and spaces.
hedges intersperse the lawns, vans, the
❑Construction materials used are RC, brick,
nahar and meandering paths.
stone, steel, etc. EARTHY LOOK
❑Bhoosa reinforced plaster has been
used in many places
❑Ordinary cement plaster has been
textured with a steel comb to give it a
rough look.
❑The low profile buildings are all painted
in shades of brown, which gives them an
earthy look.

LINEAR WATERBODY LANDSCAPED GARDEN

CASE STUDY SANSKRITI KENDRA : museums
These, the most 'public' of all the
spaces, needed special attention for
clarity of movement.

MUSEUM OF INDIAN TERRA-

COTTA:
ENTRY ROOF TOP DISPLAY ❑ A series of modular units have
been carefully arranged around
MUSEUM OF EVERYDAY ART landscaped courtyard.
❑The module, square in plan, has
SEMI OPEN AREA been used in various forms sometimes
as just a platform, a room without a
roof, a room with roof but no walls,
and sometimes totally enclosed with
regular doors and windows..
❑The roof is always pyramidal as
it suits the square plan and blends
well with the scale and rural setting.
MADHUBANI DISPLAY ❑The layout of spaces is such that a
visitor moves from one exhibit to the
next without repeating any.
MUSEUM OF INDIAN TERRA-COTTA
MUSEUM OF EVERYDAY ART :
❑The Museum of Everyday Art is
housed in a building sunk partly
below ground, and its roof is
effectively used as outdoor exhibition
PANEL DISPLAY terraces for the terra-cotta museum.

ENTRY
CASE STUDY SANSKRITI KENDRA : BAITHAK

FRONT VIEW

GROUND FLOOR UPPER FLOOR

Functioning as the 'common room' of the BAITHAK:

Kendra, the Baithak utilizes various ❑It is a two-storeyed structure, it is
multifunction. internally connected, both visually and
REAR VIEW physically by a double-height covered
SPACES: court with steps so configured that they
can be used as tiered seating during
1 .Lobby conferences, etc.
2 .Office ❑The building , can be entered from
3 .Dining/Lounge various levels. Except the office and
4 .Atrium library, all other spaces flow into each
5 .Pantry other giving the interior a very open
6. Library feeling.
7 .Computer ❑In keeping with its supervisory role the
8 .Store REAR VIEW office has been strategically placed at a
9 .Symposium higher level overlooking the entire
10. Kitchen complex.
CASE STUDY SANSKRITI KENDRA : RESIDENCES
The Programme is a retreat offered to artists and
scholars where they can reflect, interact, and create.
Over the past few years the Kendra has provided
residencies to over 300 artists, poets, scholars, and
writers from nearly 30 countries, and to some 300
crafts persons and cultural activists. Sanskriti's
Residency Programme also works in collaboration STUDIOS
with international organizations like UNESCO etc.

STUDIOS :
❑There are eight studios in two blocks placed
along the nahar where participants with an urban
GROUND FLOOR background can live and work.
❑The units are small and simple but provide a
variety of spaces, both indoor and outdoor.
❑Each studio is self-sufficient with private
enclosed courtyards, verandas, balconies, counters,
and aisle spaces to work in. HAVELI
❑The living/ dining/work space is on the lower level,
while the sleeping area is located above.
FIRST FLOOR
HAVELI:
SPACES ❑This is the residence of OP Jain, moving force
behind the organization.
1. ENTRANCE COURT ❑It is single storeyed, the plan is based on six and
2. LIVING/WORK SPACE a half overlapping squares with intersecting
3. SITTING pyramidal roofs.
4. DINING/KITCHEN ❑The living, dining, bedroom and kitchen are HAVELI’S COURTYARD
5. SLEEPING arranged around an aangan (courtyard).
6. UPPER LIVING
7. GARDEN