CULTURAL CENTRE GURUGRAM SECTOR 53 THESIS REPORT COORDINATOR: PROF. JAYA KUMAR. GUIDES: PROF. ML. BAHAI MR. RAHUL SEN RAJITA JAIN 'A/2968/2016yepartment of Lanes . preter? coon, W2E ne pleted BY the iste of py Delt > + rand Mr. Rahul Ser eae cence” ge Nes EM gd a armored fork 2nd NBs fad for any deere” ‘The thesis titled Architecture, Schoo! Ercersigned in January — M2 207%, eh undersaercd hereby dedates tt gre v5 MO Inpart or full from any source: Fu this or any other Universi Re Name- Raita Jain Roll No: A/2968/2016 section: VB fof Planning 34 pet and June 2021We certify that the Thesls titled “Cultural Centre sna Jain, roll no Al2968/20x6, 95 {guided by ostn January June som and placed in onto he ry by he canine oF th 208 2oth May 2021. On completion of the report in all respects Including the last chapter by the candidate and based on the declaration by the candidate herein above, we forward the r=port {o the Department to be pacesin the ibrar ef te scoot of Planning and Arcecture, New Hobe a Prof. ML. Bahri Ay Rahulsen and June 2021not have been | take this opportu ve thesis wou! Fr a ees wat who ts AS apie and We COU ee sirasoencet rage sts were mot possiole an resort to online sou D a for their waht st acknowledgeandthankmy gue Prot. at BPN rahul Sen ratte process accor this thesis, | sade thany cord Prot er suggestions SIO fewes because of my guide and coordnatr tat was nae to seeamine and orient ™Y design The process of ped ees ahs hs been extremely enriching thanks to the many , discussions and etiques lt made possible. | would also lke to thant ives thank my family and friends who encouraged me and supported me allPublic spaces are a city's gallery to showcase the tratitions and conventions of the place. The way ahuman interacte within a space solely depends on the way the space has been designed and on the individual's past experiences. Thus people relate to a space more if they are ‘elated to the culture of the area. The idea is to stay rooted and move forward. In a society, culture plays 2 Very ‘important role. The cultural institutions, being the prime locations of the cissemination of this education, are thus an integral part of the society. Considering this, this thesis explores the issue of combination of culture and technological advancement vith the cities growing into urban culture, the need for the growth of a cultural complex and public spac in the corporate city is often ignored. Therefore, the emphasis sto establish the link between the city 2 the cultural complex. To create an understanding and appreciation of arts and culture, a project which act asa vibrant and freely accessible public space has) been chosen. ‘This thesis proposes to create a cultural centre in Gurugran Sector 53 and questions the ability off spaces to serve as a carer of culture and wradtions along with being a means of communication 2 generations.Flic oie cas enis baer CE See A et ee sper Tira rerts eats an ee ae eee sty cached wie Fo aoe ea eee ee ae coinicisg nos wicenedd blo CAEEEE creme ene eee eer ovating ut tse pen BS LS pera oR With th les BoE a ae ocaauks etter ean derstanding, and appreciation of arts and culture, a project whieh wil fact os a vibrant and freely accessible public space has been chosen. “This thests proposes to create a cultural centre in Gurugyam Sector 53 and questions the ably Of ute Tpaces to serve as a carrier of culture and traditions along with being @ means of ‘communication among, generations.01 INTRODUCTION BACKGROUND RESEARCH NEED IDENTIFICATION PROPOSITION ‘OBJECTIVES PROJECT PROPOSAL PROJECT VISION INFERENCES 02 RESEARCH & CASE STUDY AREAS OF RESEARCH + Public Space Design + Culture + Cultural Space Design + Space and Physical Requirements of Cutual Centres CASE sTUDY + National Centre for Performing ts, uma + India international Centre, New ooh ‘+ Bharat Bhawan, Bhopal + Maxxi Museum, Rome + inferences + Ulavat Lah Ura, hemes + Inferences DESIGN DIRECTIVES 03 READING PROGRAM PROGRAM procRAm COMPONENTS PROGRAM ANALYSIS 04 SITE STUDY LOCATION CUMATE (MASTERLAN ANALYSIS SITE DRAWING OPEN SPACE ANALYSIS CONNECTIVITY CONTEXT IMAGES SITE IMAGES05 TECHNOLOGY SYSTEMS 08 FINAL DESIGN SITE PLAN, FLOOR PLANS [BASEMENT PLANS SECTIONS ELEVATIONS SD VIEWS, JURY COMMENTS 06 DESIGN DETERMINANTS BIBLIOGRAPHY SIGN DETERMINANTS '5.W.0.7. ANALYSIS 07 DESIGN DEVELOPMENT DESIGN ITERATION + DESIGN ITERATION 2 DESIGN ITERATION 3 DESIGN ITERATION 4 DESIGN ITERATION 5 ————:2__————Fig. # Robson Square ‘Source: Vancouverpublcspace.ca Fig. 2 Culture Whee! Source: bridgestogether.ong Fig. 5: Project Proposal Source: timesofindiaindiatimes.com, Feb2, 2019 Fig. 4: Public Space Design Source: blogs.worldbank org Fig. 5: Public Space Classification Source: Author Fig. 6: What makes a great pl Source: pps.org Fig 7: Culture of nda Fig. 8 nctan Music Figs: Indus Valley Sculpture Source: harappa.com Z acuitural cent Fig, 1: characteristics of Source: Author pn Typoletes Fig. 3: Auditor (sour afer standords Source net Fig. 15: Auditorium Standards Source: Neuert Fig. 1: Auitorum Standards Source: Neuter Fig. 7 Workshop Standards Source: Neutert Fig Library Standards Source: Neutert F618 Extibtion Standards icp AAS Epicrewindia Fie ea AF sour : ‘nepa site Plan Sirehicrewindia Fig. 222! source? icra site Plan NCPA www.showincity.com source: ig. 25: Jamshed Bhabha Theatre Fete archicrewindia Fig. 26: Little Theatre Source: Archicrewindia Fig. 27: Experimental Theatre Source: Archicrewindia Fig. 28: Tata Theatre Source: Archicrewindia eto F8-28: Location of uc re “inte Fi 28NPALoaton <<. oa Sere: Achrevieg Q b 78. 30:11c Source: w M. “sthinkingtuture.comFig. 36: Bharat Bhawan Source: www bharatdarshan,com Fig. 37: Site Plan Bharat Bhawan Source: www Archnet.com Fig. 38: Section Bharat Bhawan Source: wow Archnet.com Fig. 39: Courtyard Bharat Bhawan Source: www architalks. wordpress.com Fig. 40: Courtyard Bharat Bhawan Source: www.architalks.wordpress.com ig. a abnor ‘Soureer www bhoratbhawan og Fig. 42s Anirans, Souree: wv. Sharatbhavsonons ig: se importance ot Corry spaces ‘Saree: vn pps rploriielgrpaceteat ig sssite plan ‘Source waren chit Fig. 43: Shape derived fromadjacent urban grids lg, 53: lanning. Determinants Source: congle Carth ‘Source: vow archinetzcom Fig. 443 Concept sketch showing nkersecting gids Fig. Plans and Section ‘Source: www docente unicas.t ‘Source: wow archutecturaiecords.com 30 showing exhibition areas Fig. 552 Plans and Section sv docentewunicasit ‘Source: www architecturatrecords.com Fig. 46: Floor plans ‘Source: www archdally.com ‘Source: www archdally com, Fig. a72 Entrance Hall Fig-s7: Facade Source: wwaw.archdaly.com ‘Source: vr archdally com, CEPT Fig. 48: Sections Fig. 58: sunken form Source: www archdally.com ‘Source: CEPT Fig. agrexhibition Suite 2 Fig. 59: Open space around the built Source: www.archdally.com Source: Author Fig. 50: Exterior Fig. 60: Section, Source: www.archdaily.com Source: AuthorFiy.y0 Atastovpa Source: \asterpla" Plg.pts Lane Sources oogle ft! Figgas ste / source: Ai Ferien soure th Figzap Source: coos ett" Figs Source: At Fig76: Source: Figg7? Source Auto Load g78:C Source: Neu ig79: Vater Requrement Source: eufot ig julio" gout" upp pus wate ses i ri sour ‘ocotion rig? souree! rrire ately ige83 Source: MAO" geste ately source: Author gas assve tateges Soiree: designbuldings.com ive Strategies gnbuildings.com Fig. 86 source: dc Fig.67 : Concrete Source: researchgate.net crete Fig. 88 Co Source: researchgate.net im Truss are.comsigs001 Design iteration 3 reson: Design iteration 4 Sou Figtea:Oeseniteavons Design outcome Source! Author Fig.304 :Green Connections ‘Sourea: Author Figa06 :Site Pian sSouree: Author Fig,107 sGround Floor Plan Source: Author eve Trica oor Pan ‘Searee Author agen Fourth Floor Fan vrg.sea Fath Foor Plan ‘Seureat Author igang sith Floor PN ‘Source: Author igang Seventh Floor Pian ‘source: AULHOr Fig.s s Eigth Floor Plan Source: Author Figate : First basement Plan ‘source: Author Figan7 Second basement Plan ‘Source: Author Fig.u8 : Third basement Plan ‘Source: Author Fig.ttg : Section Source: Authoras T170 crore Muapemn La = = Me Source: fi tn 2015, The Municipal Corporation of Gurugram proposed The arts and Cultural Complex in sector 53. Haryana Urban Development ‘Authority (HUDA) had embarked a plot. The MCG is set to issue fenders for the project of 2 February Itis proposed to construct a state of art Cultural Complex Building ‘at Curugram to facitate art and culture inthis region. tis felt that there iz no place forthe artist to showcase their talent therefore ‘ona plot of land at Sector 53, Gurugram given by HUDA, cultural center proposal has been prepared. Cultural complex will have art galleries, sculpture galleries, workshops for artists, dance and music academies, convention halls, eteXESEARCH AND CASE STUD} 7, ES1c SPACE DESIGN Defining public places S Signifeance % cassifications 1 Ravaceerietcs and qualities of public space 1 iaision: sociability of pubic spaces cuLTURE + Definition + Indian culture © cultural activities (CULTURAL CENTER DESIGN + Definition + Significance + Characteristics + Conclusion: need of cultural center in Gurugrarn SPACE AND PHYSICAL REQUIREMENTS OF CULTURAL CENTERS, oP ASomprenending needs of various spaces and thei ‘overlaps with otherLema by ane Py aefined oe sible and enjoyable by ay fora a ge, ace cial, ECONOMIC, leisy, Me pplic 8 20% for $0 2 elsurg re the Preble spaces are 6 CRY’ gaa one se ae 2007) PUP ventions of the Place. (ations 2 paces throughout the day, 50 $P an helps to develop « he cen . Sates ery PHO help ofits local identity ine ct gividuals, in their day to day commun 15). nd imultaneous| by is (Rai 2017) aces while sit usly fe re ate PO Pee ove from the most at nate accordinal. > most public sphere of their city me 1 seated (AbdeFRASOUL 2077)" je sphere geet «SIGNIFICANCE i .dand want to stay connected: a mses re critical in ight of the fact thet they ce vsmect that interface by giving streets for movemen, spaces for communication and a shared space for relaxation, The significance of public spaces has been widely recognized, ‘many rom the perspective of improving quality of life through comfortable environment and abundant public life; enhancing turban image through urban vitality; and impelling economic me through investment which is attracted by goodplaygrounds, Parks, Gardens PUBLIC Z bic Space Classification ‘source: Author + CLASSIFICATIONS Uvvabeat and nu has xtegorted pubic somes SOS Lettie er ver te prmaction ot 2) SS Svat of tie srabciey AE ava spaces, as 2 fag The Wt CT asi cornish. alt bythe pu oe go cata ana pst vers SAN Aiseas, squares, streets plans, Suny open spaces Publ OOS Ta eso a in cnarge. ony usr eNe SM: Tas playgrounds, parks, gardens secre layerosner petades urban public fouies DAS) The i re comet 1 eS ene Cerrone, sah 9s pores SCN Centers, and society markets. Se task, the fourth classification is the physicatinonphysical a eeibrind the public power over thes C1 ‘management. spaces fom another perspective, public SP be Wr Jed as nodes and connectors a5 Wel TNE nodes are aioe spaces that become a medium wi ‘which one could Page, mix, mingle and meet others ot The ‘cosmopolitan merge sy Teves As cormectrs, public spaces WAT, 2 System characterizing the physical of ronphysical medium ‘Takages to the nodes. They are generaly Pace and circles, aiaming an indispensable job in BettOBEINE! individuals to the nodes, orin exploring through the external socal uiverse of acity.+ CONCLUSION: NEED OF CULTURAL CENTREIN GURUGRAM: fom pethi NCR 10% yeople fF ie fast forwae sands of as Gurugram attracts thou As, carutTent purposes: Aso, peCnIS Te *? ‘busy i Ah enter they are forgetting trek CUTE make an impact of culture reir culture and tO cute me has been made to steer hs efqhese culture and 218010 Soe nyeeachingand for entertainment To make them aware of t To their lives and society. 7 fon between the peop! jntracitionallearningan publiespace wi purpose. pure atists in the NCR reside Gurugram and P' saspural centre in Gurugram’s PEIN: Tocation will provi Say for the existing artist butals® vemergingartists wno orth the cities growing into Ua culture, the need f wiitural complex and public sPacee inthe corporate city isoftenignores- Sherefore, the emphasisis to actablish the link between ths cultural complex. ASO, £0 generate Vandmark for Gurugra™ TO Tetic environment for learning Peaching and performing ats art of Faridabad, @ ide a platform not xolearn further:Fig. =3: Auditorium Typologies Source: + COMPREHENDING NEEDS OF VARIOUS SPaces ay, ‘ LAPS WITH EACH OTHER Bp, Me, ° Audi + Teal * Library + Exhibition and Gallery Spaces m 1g and Learning Spaces * AUDITORIUM TYPES OF AUDITORIUM(based on stage relationship) Arena: A theatre which has audience on all sics vaya performance Thrust: audience on three sides Black box: big box painted black in the interiors, where stage ay seating are not fixed but are flexible according to the perfomon Proscenium: Large theatre which can be viewed by audience fan one side. There are three basic components that must be considered for te room to function properly: sight lines, acoustic requirements for roan shaping and isolation, and access and egress. Sight lines ensue that every seat has an unobstructed line of sight to the performancs studying the distance and viewing angles from the most extreme seis both near and far.STANDARDS FOR PLACEMENT ak OF SEAT: cength of rows: Maximum 16 seats per Sune a er aisle, Good view wit a wlan rouge ithout head movement, buts light eye movement se peed ie ee of 30 deg. = Good view with slight head rm jovernentt and si mi ment approx. 60 deg. en: : en fe ~ wreasetum wrt Sh eee BEDE -peting area ot stage S| \ ee \ ae iii {Vs proscenium + 3 ree es oe (@) Row width: 16 seats © Ardinoriaen wien can an ween ee Fig. 14: Auditorium Standards Fig, 15: Auditorium Standards Source: Neufert Source: NeviertMaximum distance of a last row from rom this distance it i th e Sta, should be24 saad expressions Width of auditorium je -P° Mop that spectators sitting to one side sh 'S deriva 8 : stage cleat! cue a le e.evaTion OF SEATING % Elevation of seating (gradient) ir ie in the audi ia tne fines of vision. Such lines ae AUditoriy dorm since the spectators siti Valid for 0 as flsight elevation (wer rae m, Z ; ). pecan, ey lite . of spectators is Eee of the dist SM robenc is a oa To i into accoun bution of ge we 4 ied ina ci int. Th Sipe ate or beceal eae segment rons ie ith regent ak mutual perception (feeling ef rant but also t ‘egration), © achieye i©) music and ort Fig, #7: Workshop Standards Source: Neufert 1s TEACHING AND LEARNING SPACES Rooms for preparation, collections and materais for individual subjects or combinations of subjects. eal of 30-40 oF 7omz depending on the size of the ‘the science area. Internal rooms with allowable. \ Snould be in the form of a studio, with ‘slobby between the lab and teaching area. Darke spor with areas for printing (1 enlarging table for 23 pupils, combined with wet processing places), for Feveloping negatives and rooms of area for loading film. Position of rooms: best north-facing with constant room temperature. Space required depends on un) ter of pupils, generally 614 pupils per group, at Least 3-4 m2 per workplace. Type of photo lab depends on areas and sizes: «one-room lab 20-30 m2, minimum size with sep rate bay of 1.50-2.0m2 for loading im. « tworroom lab 30-40 m2, consisting of it room, i room (positive and negative ing room 2. ™2- 4 threeroom lab, printing room, litroom with necessary light locks, ight locks tam without furniture, dark room lamps only.© Functions! diagram of medium-sized library @ Minimam diatances between © Minima toe space in Mabie teading area ->@) * LIBRARY The library may have browsing ay, enquiry desk, cafeteria, music listenic+ EXHIBITION AND GALLERY SPACES _The main concerns of art galleries are colecting, Coowmery Te Traserving researching, meerpreting and e=MDGNE Se seer erected evibence: To drow works of art and GUS retaral gad stent interest, protection against eae SE ae elgre ond dust nous be proses 2° thet or Ea seen ne best wt ES ST Pere eds way whic allows the publi to ew ET Be ya yop of pactures in an aT ENTETY OU faves separate room, which means small Toons ane era fet, tne normal harnan angle A ion SNS oe Gog up from eye level tis necessary to aT" 7 S$ sqm hanging surface per picture, + Zrosqm ground surface per sculpture: ipture. These spaces need Praministration, workSHOPS Viewing range of 33.65 ™m for seul Side rooms for packing, dispatch, ‘and lecture rooms. Fig, 19: Exhibition Standards Te Source: Neuter TO ae aeraThe proposition has a mixed program use thus The case studies a6 chosen of varied scale and multiple uses , but are similar in the sense that are creating public spaces supported by various functions wich overlap with each other. Given the diversity of the proposed scheme, different projects inform different aspects of the proposal Shoat ofthe researchis to understand the needs of various spaces aod the interrelation with each other. The inferences and learnings from she Case studies would help in design development and willbe animportant part of the research. NATIONAL CENTRE FOR PERFORMING ARTS, MUMBA BHARAT BHAVAN, BHOPAL INDIA INTERNATIONAL CENTRE, NEW DELHI MAXXI MUSEUM, ROME | MAAVATT LALBHAI LIBRARY, AHEMEDABAD (CASE EXAMPLE)ances aa al Centre fore Mu vance, theatre, film i lt purpose rt ew and Innova He NATIONAL CENTRE FOR PERFORMING ARTS, MUMBAI PONENTS pane Ta Tent, Gael serimental theatre randiitle theatre) sate cSrecerat peer om “eaching and researc block eae eh ances REASON FOR SELECTION funcional overap of large seated auditorium, exhibition spacey ‘earing centers nan Indfan context. + teen ofthe pc ctrl spaces withthe private apartment ‘+ Segregation of spaces based on their privacy.archicrewindia Fig. 21: NCPA Ariel View Source: Archicrewindia a UNC ES ee crea lac cee ret eer ae and north eastern edges. inward looking in nature, it does not respond ‘much tots outer edges as t intends to create a self environment away from its bustling surroundings. The buildings are barely visible from its peripheral roads, due to a high boundary wall and has almost no visual impact on the streetscape. However, it has exploited its sprawling seafront through generous foyers and sea view rooms in the complex, giving magnificent views Of the seas. Along the marine drive, it is the NCPA apartment block. ‘that marks its presence along the street tine, alongside its towering, neighbors.the National Centre rated I? Gs a eonal Cert a 4 BCATE aust ts (NCO Mat multivere pr Estin, eWSaahaee ence Re, ception orem cor tty eh a vat el Sedu yo mate de, hewture and ProtogrPhy rune oF OPEN SPACE lawns, paved hardscape. Large yal development in a very tight large scale performances that ca, \s behind a production. ‘tA FACING CUFFE PARADE Landscaped spaces for cultuf fabric facilites for to the various teem: 1+ BUILT OPEN RELATIONSHIP Littleinteraction between built mass and open s Di ont terms of physical access. Visual access created b ‘open spaces and foyers of performing arts center, C Little theatre K. Membership VIN SHAH ROAD eens room1&2 L. Amadeus: j ‘M. Central air! Focing roi Hote! F. Jamshed bhabha thes Pst Sources Archicreninda H. Cafeteria P. Dance theatre Godre} 7Spaces” Boesting, the bestappomtes ws ‘nequenty atraets major events fFOm Over Teenty sued to hast large productions ‘Sages operas and ballets. ‘The NEPA places great emphasis on education 360 Tohves onde developing a reputation 2s 2 maior dining, hall, private dining, hal and terrace pergola are located on the ‘west side, overlooking the Lodhi Gardens.®0@0009000 ®0000300e0 + enTay To THE COMPLE complex. THEE AE 3 erties fag ice ent There are fie ents 1 service entry from an Muller marg 2” Lane. f. conSTRUCTION MATERIAL stating devices has been used lke Pergola ja range of 3 pia ‘on the facade. stone, pre-cast concrete “< Siinglowrersonthefacade Several Ypes of tty devices of Various sizes Material ang my ofoperabilty have been used throughout the complex. re ‘The flooring of audtorium was carpeted and stone cladding wag a onthe walls. ters hove thei natural colour and texture as a result of age climate exposed materials have been used on the exterior why Which eauirg ro addtonal iss. Pergolas inthe garden provide a moderate degree of deft; ens forthe outdoor spaces wile allowing Stared eae x nl and breeze to pentrate inside. Fess Sourees 93° 5i incito create an interag: er set U i tive rnuttl art CoC and Peron ians arts. It provig vhe verdah thoughts ques an ae rary OX he ~ountry in BhoP al- capital of Madhy, rt 0 Bharat Bahvan is proximity between space for contemp?: is aptly located in the Pradesh. ECT: Charles correa TION: 1982 400 sqm e PROJECT ARCHIT: « YEAR OF COMPLE e TOTAL SITE AREA: 11, BUILDING COMPONENTS - ¢ Contemporary art galleries * Graphic printing workshop * Ceramics workshop « An open-air amphitheater ¢ Studio theatre ¢ Auditorium * Museum of tribal and folk art : Ubraries of Indian poetry + Studio for an artist-in-residence EASON FOR SELECTION 1A similar pro, grammatic Content in + in the To underst: ‘and how th le conce e pt of accor Fact, Indian effi 5 conte: “ective architecturay desig text. Nac cul i ae eu 'S Converted into an © climate of the area,through space. Space being” Bro arash sere partsarecaaallyregee ce sant a he tog a tg sep ord te kom a hat Te outcoo Spaces at tt nt 2 plo mension of Ra of “enpty Sone 2 rcuring eel iin tl tr re philosophy . + BUILT OPEN RELATIONS jp dra om the at Within he the courtyards provide a conterpB crane each spre The courtyards create communal py space with he steps around thet pepe brovdngatcuated seating for resent ‘meet and socialize. meteees have proven popuar win familes, who spend their” even Bromenading down to the water's edge sp enjoying the cultural complex,“Toe sunken courtyards at Bharat Bahwan provide shade Se he scorching dey Sumy ume Une canes werrnces OSE ‘eiveshing sian space at cokes times o Sy ‘Ghories Correa nmea toharmess ve power tthe SYS STS, Srecture, prodaieniNs, at there ie nating 20 profoundly moving SS SEPRINE OS nto ancpen to sky spaced eating tne erent arch of tHe SY ‘ove: TK. Bharat Gahven, the intention is that those emersing om the galleries to the courtyards undergo ® simiary, roma ‘Spell caperience: Tre sey te even wacorporated YRo he Therion spaces of the ste, with concrete “shels) stop Te “Structure alontng light andairto pour in through her ‘openings. CONSTRUCTION MATERIAL Exposed Brickwork, Concrete Frustums for Skeignt. Local ‘Stone for steps throughout and coffer celine,R ROOPANKE! ? museum OF FINE Sat folk and tribal art together, + Itdisplays co! orkshops for print maki, | ichas two fully equipped faking ang 4 mics Cg carving cera! ti and stone carving ©e'3 oe hy italso has facilities for b JODERN ART GALLERY 2 This gallery can house about 2500 urban art works + The gallery has coffered ceiling and spaces have been ra house sculptures. Vide. ia * Stone Flooring FOLK AND TRIBAL ART GALLERY * This gallery can house about 6000 folk art works * The gallery has coffered ceiling and spaces h, house sculptures ave Been pro * Stone Flooring med GRAPHICS WORKSHOP * The workshoy P pro ae wish tomakes roves basic infrastructure+ Centre for indian classiest and Folk Music ] RANGDARSHN GALLERY Fig. a i smaller art gallery 3 compared to modern and trial art gallery Occasional Exhibitions are hel inthis gallery AUDITORIUMS. There are two auditoriums in Bharat Bahvan Antrang and ABHIaNg ‘There is one open alr theatre called ADHaNG Antarang can accommodate 300 people whereas Abhirangean accommodate 160 people The OAT Bahirang overlooks the Bhopal Lake and can accommodate around 1000 people cHHAV Centre for Classical Cinema, Organizes screenings of Classical films from a over the World.LY PeV Odi tek) 18/175 xx century) | = of Meare ) Is a ROME scum of ARS fp and architecture In the py thong i etenpe tre museum Ot 2 objectconae nod of Rome "Pee ows and pathways overt for art amc and interactive space, aie atin plan, flexibility of use is, ‘he but rather 8 connect in order the program is clear a _goalof the project: ARCHITECT: Zaha Hadid Architects | YEAR OF COMPLETION: 2010 «TOTAL SITE AREA: 27,000 5q™ to create a id organi + PROJECT Al BUILDING COMPONENTS ‘Exhibition space (incl. MAXXI art and architecture, t exhibition space) 1 oe + Auditorium + Utrary + Media library * Gaféand restaurant + Services + Admin REASON FOR SELECTigN * Forres 2n grids adjacent to the site, "Ponse to urban grids adi i tem in ord ", W\Sau : Pasoduui-sjas ayy aie een a f BUB|Sap 2.4Ue) yrueasad ve NOILD313S YO NOSWAN saneds uonIgIyXa © fueiq sinaNodWO? pniating poise yay 215 THO ——tlti(<‘(i‘éiCr ues yy JOUWIA * dno NOLS guy i7aroud vattPang i *snduue> ay3 $50.28 ® | yy PRued: 14} 0} ssande ‘suo!}224IP le! 1aPee ee YM uoRer9] [2942 © ze pat iq Pe 4 olen ayy yo Arne pue 0} aveds e se pauolsiAu? Paug, it IS8P snduie> Assonun 1d29 aut2 MMM PIANOS S Bld 2 WM ANOS Je\d ays 325 “Bia ‘Saperap 404 sndwes Ayssanuny 1435 yeu) UOISSaidxa jeANyDayWYDue BuNsixa 4° winnuyjUuoC> a a Wo, Goede Biapena mtn “es if Shon prem Jeu0;205 ° oe a ‘sBurpyng ywarelpe uy ued uy syuauiu yo uoneinpow! NE YBnosyy Ss 1 S2A€aM AYeULiOS Zuupyng ‘pum Raper oun 965728 ‘ogee lier Surrey a2uenua jenba IRANAN “AyIn>ey pue IS © Se pauOIsiaus cy 24 243 UI Pappaquiy \ws WONe20) fEsU99 © Je pasuauO sproluseee slew: sic eee ee “Tienar Laz> ou “snduue> fasoatn a eee sesa 1439 ¥A1N09 01 asNousay ; -E apeid ui syuapms pue au yo+ FIRST FLOOR individual reading carrels on the first floor and soften the threshold between intern exterior. Sliding glass panels activate the f and and provide access to covered outdoor Ra Facade expanding the verandas, expanding the al of sensory experiences available t ety user. ‘0 the individua)EN EET TY TVA EU * PROJECT. * YEAR OFs LAYOUT OF SPACES at once a built reflec, The ie 2 Vays ongoing transition 9h the vaditionally prescriptive eon 2. selection-based progran, as wel {0 ® gemonstration of techniques jo, a¢ rectural passivecti ate Mitigation ote ddition to softer and more Versatile functions such as exhibition and display areas, formal and. informal Teading spaces, reading rooms, Seminar room, individual carrels, and administrative offices are accommodated, To accommodate this arrangement of levels above and below grade, the RMa team created something that Tesembles a building within a building: an inner one with a steel structure and a skin of drywall and glass, and on Outer one defined by manually operated shutters, atop a sculptural concrete base, Fig. 56: Axonometric Ur Ce: yy, W-archdaily.comFig. Source: Fig. 60: he buildings, Source: Author n scale with th cat Ot ele sedate bunt ope able ean SUCCES rs within. The buildin, h rene weathel One use! to experine® thus reportable (For students to xpi iment wy see vert acl, this building Provides a greys hg eet ofthe Previous STUCLTE Also ae ‘ ils become : | jew andisin a ing the TEEN Space. A User fog, ect eat orceol oi oinmacie built form having Spot witout saver of spaces ranging from seclugny Tisbag of eere smal Meetings can be con ducted * say ces here smalimeetings ncaa thuscateringt the Lge entering the CEPT campus, the rr canaerermceaed by Ve eae Of the college Scheme, spaces and form is another 1 ap oFtant predictor for an “Olstirl work oF ts “knowledge of location”oe snnee } The building complex should manage to blend m with its surrounding through its natural embellishments. SS = The presence of an amphitheater should also mark an interesting feature of the complex. * The orientation and designing of the building should be done keeping in mind the comfort of the users and making it eco- friendly. * Administration Centre should be easily accessible to all, * The studios are organi increase ir through a between = Allth inthe park freeThe main focus of this program would be to cr Surigram and a space dedicated to pertorming 2 rou help promote social iteraction aswell as showcase and por se arts, The space should provide the following facies Multiple spaces of different sizes and types to host cultural events of the city, and flexibility inthese spaces. Exhibition spaces and libraries to showcase the history, and promote the knowledge base, of the various performing arts, perfo! and new media. ‘An institute which provides proper training in various styles of dance. musicand drama. ‘Spaces which promote interaction and experimentation between different styles and different arts. Allowing the green context of the city to flow into the site and create spaces for outdoor interaction inviting the people into the cultural centre. (OR COMPONENTS OF AREA PROGRAM earning Centre ecreation Centre bition Centre fe and Restaurants tist’s Accommodation wention CentreREADING PROGRAMow Addnend ee ic me 5 ’ ‘ ‘ 49 fa i , | ; ‘ J ‘ Ht, *—_" Se eee Od Reenie os 7s > ; ‘ ; ‘ fp | fr i j i i ‘ / f é as ar tong ~e Protesmoresjp bao Y dcarirem ved J Crm boa Comrie P badern \ es =: YAAAY‘Activity Unit Area No. of Units] Total Area| Da iang ae 7 rT Laffoyer «wating ara 09 Gp ne] [O12 a 122]Reception 10 i 10 Yes [11.3] Managers office 50 7 50, Ta a]? As desk 20 1 20 Yes 5 |Stalt office“ capacity 15 (@05:qm per user) | 75 z 150 Yes 1.1 6/Accounts and budget 50 1 50 11 7|store 25 2 50 1 8] Maintainence office 40, 1 | Yes 1.1.9]staff common room 20 2 40 Yes 11:10] Meeting rooms- capacity 12 (@225:qm per | 27 Z 54 lberson) Yes TOTAL a J [ 1.2] Staff Facilities i 72 t[Entrance Foyer 3 T 30 Yes 1.22|Conference Room 50 a 50 Yes 12.3] Staff locker with shower Ter @ z 20 1.24[Staff locker with shower- women 60 z 60 [225 |cateteria 100 2 700 aver [- 126]uniform store 50 1 50 [227 ]medical room 15 2 30 Yes 00 TOTALyew Centre studio (@5sqm per user) (20 users ceranle cap nc ©60 oes 50 50 : 180 2 ama Society studio (@bsqm per user) 90 {capacity of fa ee ce alc room ( 3 sqm per cubicle and S 15 per changing room) © Society studio (@Ssqm per user) 100 2 apacity of 20 users 2 30 2.2.8)Changing room (3 sqm per cubicle and 5 15 Cubicles per changing room) 2 60 2.2.3] Props Studio 30 fl 10 |_2.2.10]store 20 5 160 2.2.11] Music Society studio (@4sqm per user) 0 | Capacity of 20 users 100 |_2.2.12] Equipment store 50 2 | __ 2.2.13|staff area (fe ee 2.2.14) Multipurpose hall (@1.2sqm per user) 480 1 eu capacity of 400 users |______ TOTAL _|_ 1580 — Rem 2.3.1) reception + waiting area 50 1 50 Security check + baggage counter 40 1 40 [2.3.3] Large Gallery 250 A 500 [_ 2.3.4|Small Gallery Resa Curator's office Se ee a [ 2.3.6|Store > Maintenance office ee [__rorac le 990sty check for artworks jaan LFifsnops for: -Fraintenance officeTOTAL, 52 Seminar! ‘Meeting Rooms a Be ets cami er Toms ere public Emsirormes alds, F., 200% . reife of tes: D2 Pe ean M2095 people make places: crominetne publi Fc, Mean Me 2005"