S

A
N
S
K
R INTRODUCTION AND CONCEPT
I • Sanskriti Kendra is a symbol of Sanskriti's involvement in activities relating to art, craft, literature, the performing arts, and social work. Although diverse on
T the surface, these activities are different facets of a single vibrant culture rooted in Indian soil but universal in its outlook. Sanskriti Kendra is, thus, a
manifestation of Sanskriti's philosophy of looking at apparently different facets as parts of a larger organic whole.It is a cultural centre where artists and
I sculptors, writers and musicians, and village craftsmen, practise their arts in tranquil surroundings that engage the mind with the imagery of the idyllic
pastoral countryside with its manmade interventions.   
• Sanskriti Pratishthan, is an Indian not-for-profit cultural organization that helps cultivate an environment for preservation and promotion of India's artistic and
cultural resources.The buildings are semi-rustic in appearance, with ample space between them for strolling or catching a breath of fresh air- but not so far
K apart as to engender a sense of isolation. The grounds, filled with a profusion of trees, present a picture of seemingly organic growth.Anand Gram, as the
complex is called, is just that - a village that makes the visitor happy.
A
L LOCATION : Anandgram, Gurugram

A DATE OF COMPLETION : 1993

CLIENT : Delhi Tourism & Municipal

Corporation of Delhi
K ARCHITECT : Uppal Ghosh

E SITE ARE : 8.7 Acres

N AREA OF PLOT : 35241.3 sq. m
TOTAL COVERED AREA : 2810.1 sq. m PURPOSE
D NEAREST METRO STATION : Arjangarh
• To accommodate a varied range of activities connected with art and
culture both in traditional and contemporary sense.
R (yellow line)
NEAREST BUS STOP : Arjangarh
• It is intended to provide temporary residential and working space for
the artists so that they can express their art and creative in a peaceful
A NEAREST AIRPORT : I.G.I Airport (10 km) yet authentic environment.
 • In the historically rich bur geographically arid soil at the foothills of the Aravali mountains on the
outskirts of Delhi (Mehrauli – Gurgoan Road) germinated the sanskriti Kendra.
• It is situated on one’s way to Ayanagar.
• Kendra is set amidst rows of opulent farmhouses of the rich and famous at Anandgram. It occupies a
corner plot.
• It is 10 km from I.G International Airport.
• Public transport/ taxi service are available.
• A radio station is the nearest landmark.

WAY TO GHITORNI VILLAGE WAY TO SANSKRITI KALA KENDRA

• IN THE HISTORICALLY RICH BUT GEOGRAPHICALLY ARID SOIL AT THE FOOTHILLS OF THE ARAVALI
MOUNTAINS ON THE OUTSKIRTS OF DELHI ( MEHRAULI-GURGAON ROAD ) GERMINATED THE SANSKRITI
KENDRA.
• IT IS SITUATED ON ONE’S WAY TO AYANAGAR.
• KENDRA IS SET AMIDST ROWS OF OPULENT FARMHOUSES OF THE RICH AND FAMOUS AT ANADGRAM. IT
OCCUPIES A CORNER PLOT.
• IT IS 10 KM FROM I.G. INTERNATIONAL AIRPORT.
• PUBLIC TRANSPORT/ TAXI SERVICES ARE AVAILABLE.
• A RADIO STATION IS THE NEAREST LANDMARK.
 ACCESS ZONING
• THE COMPLEX HAS THREE MAIN ENTRANCES. THE BASIC MOVEMENT PATTERN WITH THE ENTRY POINT IS DEFINED WITH ACTIVITY
• THE FORMAL ENTANCE WHICH OPENS INTO AN ZONING TO FORMULATE LOCATION OF BUILDINGS AND OTHER STRUCTURES WITH
OPEN SPACE CONTAINING THE BARAKHAMBA , A RESPECT TO FUNCTIONS.
LANSCAPE FEATURE AND THE BAITHAK WITH THE THE BUILDING ARE OBJECTS IN SPACE AND SEPARATED BY VARIETY OF SPACES.
RECEPTION AND THE OFFICES. THIS OPEN SPACE ALL DEVELOPMENT ON THE SITE ARE LARGELY ORGANIC- A PROGRESSIVE
BRANCHES TO PROVIDE THE PATH LEADING TO THE DEVELOPMENT.
HAVELI, THE RESIDENCE OF OF JAIN AND THE
SERVICE AREAS.
• THE SECOND ENTRANCE GIVES DIRECT ACCESS TO
THE KUND WITH THE WRITERS STUDIO AND THE
OAT.
• THERE ARE TWO ENTRANCES WHICH ACT AS ACCESS
FOR THE STUDIOS.

BUILT UO-OPEN SPACE RELATION

PLANNING IS
BASED ON
THE BASIC
MODULES OF
SQUARE AND
RECTANGLES
WITH
SLOPPING
ROOFS TO
HAVE A
INTERVENING
MASSES AND
VOIDS..
PLAN
 CIRCULATION
CIRCULATION INSIDE KENDRA
 RHYTHEM IN THE MOVEMENT
PATTERN, A NEW EXPERIENCE IS
INITIATED BY THE USE OF MASS AND
OPEN SPACES AT EVERY BEND AND
TURN.
PEDESTRIAN CIRCULATION IS
FOLLOWED. PATHWAYS ARE FUSED WITH GREEN THE PAVINGS ARE PUNCTURED RAMPS LEADING TO THE
 PATHWAYS ARE INFORMAL AND FUSED PATCHES WITH SPACES (GREEN) TO TERRACE WHICH IS USED AS AN
WITH GREEN PATCHES EXCEPT FOR GIVE RELIEF AND AVOID EXHIBITION SPACE FOT
MONOTONY TERRACOTTA.
THE PERIPHERAL SERVICE ROAD
WHICH ACTS AS THE JOGGING TRACK.
APPROCH TO
 AT EVERY BEND AA NEW EXPERIENCE KENDRA IS THROUGH
IS INITIATED BY THE USE OF BUILT METALED ROAD
MASSES AND OPEN SPACES SUCH THAT
ENTRANCE
THEY GIVE A RHYTHEM TO MOVEMENT THE SPACE OUTSIDE GATE
PATTERN. THE BOUNDARY WALL
 CHANGE IN PAVING MATERIAL AND OF KENDRA IS USED
FOR PARKING, AS
PATTERNS SHOWS CHANGES IN SPACE FOR PARKING IS
FUNCTION IN SPACES. ONSUFFICIENT
 RAMPS ARE GIVEN TO MAKE THE
WHOLE COMPLEX IS DISABLED
FRIENDLY.
DISTRIBUTION OF SPACES

PUBLIC SPACES: LIKE MUSEUMS AND OFFICE- THE GOVERNING BODY COMES FIRST WITH ENTRY.

SITTING SPACES: COMES NEXT HAVING A LITTLE BIT PRIVACY BY PLANTING TREES.

WORKSPACES: STUDIOS AND DORMINTORIES- A VERY PERSONAL SPACES ARE AWAY FROM PUBLIC SPACES TO AVOID ANY KIND OF
DISTRACTION ALLOWING ARTISTS TO WORK WITH CONCENTRATION IN A VERY NATURAL AND FRESH ENVIRONMENT.

SERVICES: LIKE LAUNDARY, WASHING ARE PLACED AT THE END OF THE SITE AWAY FROM PUBLIC MOVEMNET ALONG THE SERVICE ROAD.
 RAINWATER DRAINAGE
• RAINWATER DRAINAGE CHANNEL WAS CONVERTED INTO A
LINEAR WATER BODYWHICH IS CALLED THE NAHAR.
• IT STARTS FROM A SEMICIRCULAR POND.
• PASSES UNDER A FEW CAUSEWAY AND WASHES AT PLACES, STEPS
WHICH IMITATES GHATS.
• IT ENDS AT THE MANCH.
• EXCESS WATER IS RUN-OFF THROUGH A BYPASS DRAIN.
• TREES ALONG THE NAHAR BINDS THE COMPLEX TOGETHER, AND
BRINGS A TRANQUIL SETTING AND IS A PERFECT SITE FOR NAHAR – THE RAIN WATER CHANNEL
CREATIVITY. BRIDGES OVER THE BYPASS DRAIN
• INDIIDUAL IDENTITY IS GIVEN TO COURTYARDS AND
LANDSCAPED TERRACES
• ETHNIC EMBELLISHMENT, TERRACOTTA FIGURES, METALLIC
UTENSILS ARE ELEMENTS WHICH ENRICH THE RURAL MILIEU.
landscape
• SYNTHETIS OF FORMALITY AND INFORMALITY BOTH IN PLANTS
AND HARD LANSCAPE.
• KABUTARKHANA ACTS AS A VERY UNIQUE LANDSCAPE
ELEMENT.
• HEDGES AND SHRUBS ARE USED TO DEFINE AND ELEBORATE
SPACES.
• POTS OF TERRACOTTA AND METAL, AN ANTIQUE MANDIR,
LANTERS ADORN THE GHATS AND GREEN SPACES HERE AND
THERE. LEFT OVER GREEN AREA INDEGENOUS TREES
• TREES CONCEAL THE BUILDINGS AND THE LANSCAPE TERRACES
CREATIVELY DIVIDES THE SPACES.
• TREES LIKE ASHOK, AUSTRALIAN KIKAR, ARJUN, AVLA, CHAMPA,
CASIA, FICUS, GUAVA, GULMOHAR, JAMUN, LEMON, MANGO,
MULBERRY, NEEM, PEEPAL , TEAK CAN BE SEEN.

WATERSCAPING THE NAHAR

EXHIBITION SPACE
 TERRACOTTA, A FUNCTIONAL ART, IS
THE FIRST CREATIVE EXPRESSION OF
THE CIVILIZATION.
 SELECTED POTTERS FROM ALL OVER
INDIA AND ABROAD AREE INVITED
TO DEMONSTRATE THEIR SKILLS DISPLAY OF OBJECTS ON THE ROOF IS DONE BY STEEL DISPLAY IN COURTYARDS
VARYING PLATFORMS ANGLES AND SECTIONS AS AROUND THE MUSEUM
FROM TIMETO TIME
SUPPORTING MEMBERS
 THE SPACES ARE IN MODULE OF
WHICH IS TOPPED BY
SQUARE WHICH ARE USED FOR BAMBOO ROOF.
VARIOUS PURPOSES- SOMETIMES
TOTALLY ENCLOSED WITH DOORS
AND WINDOWS.
 THE LAYOUT OF SPACES IS SUCH
THAT A VISITOR MOVES FROM ONE
EXHIBITS TO THE NEXT WITHOUT
REPEALING ANY. EACH EXHIBITION
CAN BE APPROACHED AS WELL.
 OPEN AREAS, COURTYARDS,
TERRACES ARE INCORPORATD AS
OPEN DISPLAY AREAS. THE ROOF IS PYRAMIDAL AS IT
SUITS THE SQUARE PLAN AND
DISPLAY OF VARIOUS OBJECTS FROM DIFFERENTREGIONS OF NORTH
BLENDS WELL WITH THE SCALE
AND RURAL SETTING

INDIAN TEXTILE GALLERY AND EVERYDAY ART

 HAVELI: OWNES RESIDENCE
THIS IS THE RESIDENCE OF MR.O.P JAIN= THE MOTIVATOR
OF THE KENDRA,IT IS A SINGLE STORYED STRUCTURE
DESIGNED IN SQUARISH FORM WITH INTERSECTING
PYRAMIDAL ROOFS.

ALL ROOMS ARE ARRANGED AROUND CENTRAL

COURTYARD=AANGAN

 GAON COMPRISES OF
CLUSTER OF HUTS MEANT
FOR RURAL CRAFTSMAN TO
WORK AND RESIDE

 EACH UNIT IS A SINGLE

STORIED STRUCTURE,
COMPRISING OF LIVING/
SLEEPING, KITCHEN, TOILET. THE MOST STRIKING FEATURE IS THE
METICULOUSLYRESTORED (OLD)
ANTIQUE ENTRANCE DOOR FROM
DORMINTORIES RAJASTHAN FROM WHERE ONE GETS THE
FIRST GLIMSE OF THE AANGAN.
 THE DORMINTORIES OF
ARTISTIANS ARE PLACED
AROUND A CENTRAL
COURTYARD WHICH IS USED BY
CRAFTSMEN OUTDOOR
WORKSPACE.

 EACH UNIT IS PROVIDED WITH

AN INDIVIDUAL KITCHEN. THE DINNING AREA AND
THE CENTRAL FORMAL SEATING FACE
COURTRAED HAS A TOWARDS THE COURTYARD
 DOUBLE HEIGHT ROOF ADMITS ZEN GARDEN WITH A CREATING A SCARNE
MORE LIGHT TO INTERIORS. WATERPOOL. ENVIRONMENT.
ORGINALLY THE STRUCTURE IS IN RCC AND
BRICK AND ABOVE IT LIPPAN IS APPLIED TO
GIVE IT A RURAL LOOK.

MANCH: AMPHITHEATRE
 IT IS AN OPEN AIR THEATRE NEXT TO THE GAON
COURT.
 IT HAS A SEATING CAPACITY OF 200 PEOPLE.
 USED BY ARTISTS FOR PERFORMANCE AND
ENTERTAINMENT.
 STAGE IS COVERED BY LUSH GREEN GRASS AND
BRICK PAVED STEPS
THERE ARE 8 STUDIOS IN 2 BLOCKS
PLACED ALONG THE NAHAR WHERE
PARTICIPANTS FROM AROUND THE POTTERY MACHINE ARTIST WORKING
ARTISIANS POTTERY
WORLD CAN LIVE AND WORK. ON CERAMIC
WORKSHOPS
OBJECTS
THE UNITS ARE SMALL AND SIMPLE
BUT PROVIE A VARIETY OF SPACES
BOTH INDOOR AND OUTDOOR.

WASHING AREA DISPLAY OF CERAMIC OBJECTS TEACHING

LABS

The Sanskriti - Delhi Blue Ceramic center –

the only one of its kind in India - plays
host to diverse ceramic activities and
interactions, both national and
international. The programs offered
include residencies, classes, interactive
workshops for ceramicists, talks, slide
shows, firings and demonstrations.
ANALYSIS
THE COMPLEX HAS NO VISIBILITY FROM THE ROAD AND LIES IN THE INTERIORS THUS
PRESERVING THE ISOLATION, QUIETNESS AND SOLITUDE OF THE KENDRA. INFERENCE
THE 3 MAIN ENTRANCES CREATE A NUMBER OF OPTIONS TO BE FOLLOWED TO REACH THE Building exhibits a perfect example
DIFFERENT SPACES , EACH OFFERING DIFFERENT FEATURES AND VIEWS, THUS GENERATING of an environment suitable for a
INTEREST IN THE INDIVIDUAL. cultural setting.
CIRCULATION INSIDE THE COMPLESX IS LIMITED TO PEDESTRIANS. A building designed in the
landscape, with the built form
VARIOUS LEVELS HAVE BEEN INCORPORATED TO ADD A NEW DIMENSION TO THE SIMPLE complementing the natural
PLAN LAYOUT. landform.
THE SITE PLANNING CAN BE BROKEN DOWN INTO AN ARRANGEMENT OF SQUARES WHICH IS Spaces are well articulated and
THE FORM OF ALL BUILDINGS AND OPEN SPACES. the movement pattern provides a
good experience to the visitors as
MOST OF THE EXHIBITS ARE IN OPEN ENCLOSURES WITH MUD WALLS FORMING CHARMING he walks from open to sky to semi-
FRAMES AND PROVIDING A PLEASANT AUTHENTIC BACKDROP. covered courts and finally into a
covered space.
LANDSCAPING HAS BEEN DONE QUITE EXTENSIVELY, EMPLOYING SEVERAL ELEMENTS SUCH
AS WATER POOLS, PERGOLAS, FREESTANDING COLUMNS, CONCRETE FRAMES ETC. THE The building holds a deserted look
AREA IS FULL OF TREES AND VEGETATION, WHICH MAKES THE SURROUNDINGS COOL AND as the craftsmen are not generally
PLEASANT. seen at work. People hold a lot of
importance; their presence not
BAITHAK OFFICE HAS BEEN STRATEGICALLY PLACED AT A HIGHER LEVEL OVERLOOKING THE only enhances the festive
ENTIRE COMPLEX. environment but also encourages
the craftsmen displaying the work
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 SYSTEMS HAS BEEN, THATCH AND TILED ROOFING CAN ALSO BE SEEN AT
SEVERAL PLACES.