Case study of sanskriti kendra

Introduction
Sanskriti kendra set up by the sanskriti pratishtan was inaugurated on 31 jan 1993.
The kendra is asymbole of sanskriti involvement in activities related to art and craft
literature the performing arts abd socal works . It is a cultural center where artist
and sculptures , writers and musicians and village craftsmen practice there art .
Anand gram , as the complex is called , is just that a village that makes the visitors
happy .
Architect – uppal ghosh
Fig 4 Way from ghitorni metro station Fig 5 Way to sanskriti kala kendra
Landscape architect- mohammed shaheer
Location Area description

Access to the building Total area of plot= 379334.2sqft part

66344.1
sqft or
1.5 acre

Nearest metro station is arjangarh metro or 8.7 acres

station we can easily access the kendera. Total covered area= 30247.81 192724 sqft or
4.4 acres o.P jain
farm
It only 1.5 to 2 km away from the metro sqft. 108937
sqft or

station . It is shown below Area description is shown in the Sanskriti

2.5 acres
haveli
fig. 6 right farm
11328.4
sqft or
0.26 acres

Fig 6
Architecture concept by upal ghosh
Fig 1 location •A living , creative complex , the kendra is intended to provide temporary
residence and working space to both traditional and contemporary artists and
Sanskriti kendra is located in anand craftsperson and in doing so , it aims to provide interaction between the both the
gram on mehrauli gurugram road two. Thus the complex include 3 museum , a multipurpose hall , seminar hall , art
New Delhi Sanskriti kendra is gallery, residency , studios with individual cooking facility provided .
located near to the arjan garh metro •All places are scattered in a manner of a village dwelling. Over 2000 tree were
station. It is in between arjan garh planted across the plot with a banyan tree at the entrance .
and ghitorni . Fig 2 access form metro station

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center
 14 gaon 22.Services
•The minimalist approach was adopted while landscaping the area. As a result 15 camping site 23. washing area
the basic character of the land has been left more or less undisturbed. For 16 studios 24. ceramic centre
instance , no attempt is was made to stop a change the course . The limited 17 nahar 25. thandi sarak
construction that took place was undertaken around it. 18 ardha kund
•The low profile building are simple and yet solid . As far as possible , local 19 canopy
materials were used in the construction so that they merge with the land in 20 aangan
complete harmony 21 haveli
Fig 8 for 8
landscape of the kendra
•Professor mohammad shaheer did the landscape of the complex
•A judicious mix of formally and informality , both in planted and hard
landscape
•Geometric forms , pavements , path and hadges interspace the lawns , nehar
and parks .

Layout Fig 9for 1 Fig 10 for 0

1.Barakhamba Circulation
2. nursery
3. Museum of
indian terracotta
4. Courtyard
5. Cafe
6. Canteen
7. Museum of Fig 11for 13
everyday art
8. Baithak
9. Museum shop
10. Textile
museum
11. Kund Fig 13 circulation plan
12. Kitchen
Fig 7 layout plan Fig 12for 15
13. Manch

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center
•Rhythm in the movement pattern , a new experience is intiated by the use of LA N D S C A P E •Pots of terracotta and metal , an
mass and open spaces at every bend and turn. •Ashok antique mandir , lanterns ador the
•Australian ghats and green spaces here and
•Pedestrian circulation is followed.
•Kiker there .
•Pathways are informal and fused with green patches except for the peripheral •Alstonia

TREES AT GRAM
•The trees conceal the buildings and
service road which acts as the jogging track •Amaltas
landscaped terraces creatively
•Arjun
•At every bend a new experience is initiated by the use of built masses and divides the space.
•Avla
open spaces such that they give a rhythm to movement pattern.
•Bottle brush •Landscaping views
•Change in paving materials and patterns shows changes in function in •Bamboo
spaces. •Champa
•Casia
•Ramps are given to make the whole
•Cadambe
Complex is disabled friendly. •Ficus
•Guava
•Gulmohar
•Jamun Nahar Waterscaping
•Kiker
•Lemon
•Mango
•Mulberry
•Neem
•Pipal
•Teak

Built up -open space relation

Planning is based on basic
modules of squares and
rectangles with sloping roofs
to have a intervening masses
and voids.

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center
Exhibition Museum of Every day
space aet
Museum of indian
terracotta
•Terracotta , a functional art , is
the first creative expression of FIG Entrance FIG Display in courtyards
the civilization. to museum around the museum
•Selected potters from all over
india and abroad are invited to
demonstrate their skills from
time to time .

Indian textile
Display of textile
materials from
different regions.
Like punjab
(phulkaris), jammu
kashmir(pashmina
shawls),

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center
 Fig for indoor seating in mess Fig for outdoor seating in mess

Services
In this building services are
limited because due to its
simplicity and concept of a
village and village have less
servicies

Fig for fire safety Fig for air conditions

Fig library

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center
 ANALYSIS

• The complex has no visibility from the road and lies in the interiors thus
preserving the isolation, quietness and solitude of the Kendra

•The 3 main entrances create a number of options to be followed to reach the

different spaces, each offering different features and views, thus generating
interest in the individual.
•Circulation inside the complex is limited to pedestrians.
•Various levels have been incorporated to add a new dimension to the simple plan
layout.
•The concept of creating a village environment and setup is fulfilled by the use of
materials and different components of a rural setup but the formal planning mars
the purpose to an extent.
•The site planning can be broken down into an arrangement of squares which is
the form of all buildings and open spaces.
•On both macro and micro level, a strong relation exists between the built mass
and their surrounding open spaces as they are highly interactive in nature
consisting of levels in topography and components like open air theaters, water
pools etc. while in the building too, spaces flow into each other giving the
interiors a very open feeling creating an ambience which fuels the artist’s
creativity.
•Most of the exhibits are in open enclosures with mud walls forming charming
frames and providing a pleasant authentic backdrop.
•Landscaping has been done quite extensively, employing several elements such
as water pools, pergolas, freestanding columns, concrete frames etc. the area is
full of trees and vegetation, which makes the surroundings cool and pleasant.
•Minimum breach of existing vegetation and land has been done
• Baithak-office has been strategically placed at a higher level overlooking the
entire complex.
•In studios, a variety of spaces, both indoor and outdoor are provided where artist
can work and relax.
•An attempt to recreate the scenario by means of mud cottages built in traditional
Wooden support system Brick flooring Wooden column beam systems has been. Thatch and tiled roofing can also be seen at several places.

Topic – Case study 1 Name – Himanshu Remarks -

B arch 8th sem .
Architectural design Art and cultural center