Global arts village layout analysis

Global arts village , MOHALI
1. Sanskriti kala kendra, anandgram, new Delhi

2. Kala kuteer , garhi, new delhi

3. Global arts village, tropical drive, new delhi
a. Sanskriti Kendra, anandgram, new Delhi

1. Introduction
2. Location
3. layout
4. access
5. zoning
6. circulation
7. landscape
8. Exhibition spaces
Museum of Indian terracotta
Indian textile
Everyday art
9. haveli ( owners residence)
10. baithak ( administrative block)
11. gaon ( village complex)
12. manch ( amphitheatre)
13. studios
14. materials
15. analysis
16. inference

B. Kala kuteer, garhi, new delhi

1. Introduction
2. Location
3. Concept
4. Layout
5. circulation

6. Geometry
7. Studios
8. Picture gallery
9. Analysis
10. Inference

c. Global arts village, tropical drive, new delhi

1. introduction
2. Location
3. Layout
4. Site plan
5. infrastructures/facilities
6. grounds
7. studios
Shared studio
Sculpture studio
2d studio
8. common building
9. performance space / meditation hall
10. yoga hall
11. Accommodation
Standard rooms
Duplex rooms
Administrative staff quarters
12. owners residence
13. Material used
14. Analysis
15. inference

Sanskriti kala kendra,
anandgram, new delhi
SANSKRITI KALA KENDRA : anandgram ,NEW DELHI

ARCHITECT UPPAL GHOSH
LANDSCAPE ARCHITECT- MOHAMMED SHAHEER
CONCEPT :
SANSKRITI KENDRA IS A CULTURAL CENTRE WITH A DIFFERENCE IT IS A
PLACE WHERE ARTISTS , SCULPTORS , WRITERS , MUSICIANS AND VILLAGE
CRAFTSMEN CAN PRACTISE THERE ART IN CONGENIAL AND TRANQUIL
SURROUNDINGS THAT INDUCE CREATIVITY .
SANSKRITI PRATISHTHAN
THE SANSKRITI KENDRA , SET UP SANSKRITI PRATISHTHAN , INAUGRATED ON 31 ST
JANUARY, 1993.
THE PRATISHTHAN , WAS FOUNDED IN 1979 BY MR. O.P.JAIN UNDER THE
GUIDANCE OF DR. MULK RAJ ANAND, DR JYOTINDRA JAIN AND OTHER BIGWIGS .
THE ROLE OF SANSKRITI PRATISHTHAN IS THAT OF A CATALYST IN
REVITALISING THE ARTISTIC AND AESTHETIC SENSITIVITES OF INDIAN PEOPLE .
THE SANSKRITI KENDRA Is A SYMBOL OF sanskritis involvement in
ACTIVITES RELATED TO ART , CRAFT , LITERATURE, PERFORMING ARTS AND SOCIAL
WORK .
PURPOSE
TO ACCOMMODATE A VARIED RANGE OF ACTIVITIES CONNECTED WITH ART AND
CULTURE BOTH IN TRADITIONAL AND CONTEMPORARY SENSE.
IT IS INTENDED TO PROVIDE TEMPORARY RESIDENTIAL AND WORKING SPACE TO
ARTISTS.
Location:
SANSKRITI KALA KENDRA, ANANDGRAM
Way to ghitorni village
Way to sanskriti kala
kendra
IN THE HISTORICALLY RICH BUT GEOGRAPHICALLY ARID SOIL AT THE FOOTHILLS
OF THE ARAVALLI MOUNTAINS ON THE OUTSKIRTS OF DELHI ( MEHRAULI
GURGOAN ROAD) GERMINATED THE SANSKRITI KENDRA.
it is situated on ones 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 anandgram
Sanskriti farm
o.P jain farm
part
haveli
192724 sqft
or
4.4 acres
108937
sqft or
2.5
acres
66344.1
sqft or
1.5 acre
Total area of plot= 379334.2 sqft
or 8.7 acres
Total covered area= 30247.81 sqft.
11328.4
sqft or
0.26
acres
Key plan and areas statement
1
2
3
4
21
5
6
18
12
15
20
7
8
13
14
MAIN
ENTRANCE
L A Y O U T
AREA 8.7 ACRES
BUILT OVER A PERIOD OF 4 YRS [ STARTED IN
88 and completed in 93]
L EGENDS:
22
16
19
9
10
11
12
24
22
0
17
1. Barakhamba
2. nursery
3. museum of Indian terracotta
4. courtyard
5. cafe
6. canteen
7. museum of everyday art
8. baithak
9. museum shop

10. textile museum
11. kund
12. kitchen
13. manch
14. gaon
15. camping site
16. studios
17. nahar
18. ardha kund
19. canopy
20. aangan
21. haveli
23
0. entrance
16
22
22.Services
23. washing area
24. ceramic centre
25. thandi sarak
25
4
n
ACCESS
The complex has three main entrances:

The formal entrance ( A) which opens Into an open space containing
the barakhamba, a landscape feature, and the baithak with the
reception and the offices. This open space branches to provide the
path leading to the haveli, the residence of O.P Jain and the
service areas.

The second entrance (b) gives direct access to the kund with the
writers studios and the OAT.

There are two entrances (C, D) which act as access for the studios.
FORMAL ENTRANCE (A)
VIEW OF BARAKHAMBA
A
KEY PLAN
Z O N I N G
THE BASIC MOVEMENT PATTERN WITH THE ENTRY POINTS IS DEFINED WITH ACTIVITY
ZONING TO FORMULATE LOCATION OF BUILDINGS AND OTHER STRUCTURES WITH RESPECT
TO Functions.
the Buildings are oBjects IN SPACE and separeted BY varietY of spaces .
ALL DEVELOPMENT ON THE SITE ARE LARGELY ORGANIC A PROGRESSIVE
DEVELOPMENT.
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.
I N T E R R E L A T I O N S H IP
BUILT
MASS
PERMANENT MEUSEUMS
VILLAGE COMPLEX
STUDIO APARTMENTS
HAVELI
OPEN
SPACE
nahar
camping site
kund
barakhamba
aangan
Circulation :
SANSKRITI KENDRA IS ONE OF THE EIGHT FARMHOUSES OF ANANDGRAM
LOCATED TOWARDS ITS CORNER END . THE APPROACH TO KENDRA IS
THROUGH A METALED ROAD .
THE SPACE OUTSIDE THE BOUNDRY WALL OF KENDRA IS USED FOR PARKING ,
AS SPACE INSIDE FOR PARKING IS INSUFFICENT.
Entrance gate
Boundary wall of kendra used for
parking
Metalled road to approach
kendra
CIRCULATION INSIDE KENDRA
RHYTHM IN THE MOVEMENT PATTERN , A NEW EXPERIENCE IS INTIATED BY
THE USE OF MASS AND OPEN SPACES AT EVERY BEND AND TURN.
PEDESTRIAN CIRCULATION IS FOLLOWED.
PATHWAYS ARE INFORMAL AND FUSED WITH GREEN PATCHES EXCEPT FOR
THE PERIPHERAL SERVICE ROAD WHICH ACTS AS THE JOGGING TRACK
AT EVERY BEND A NEW EXPERIENCE IS INITIATED BY THE USE OF BUILT
MASSES AND OPEN SPACES SUCH THAT THEY GIVE A RHYTHM TO MOVEMENT
PATTERN.
CHANGE IN PAVING MATERIALS AND PATTERNS SHOWS CHANGES IN
FUNCTION IN SPACES.
RAMPS ARE GIVEN TO MAKE THE WHOLE
COMPLEX IS DISABLED FRIENDLY.
RAMP LEADING TO THE TERRACE
WHICH IS USED AS AN EXIBITION
SPACE FOT TERRACOTTA
PATHWAYS ARE FUSED WITH THE GREEN
PATCHES
THE PAVINGS ARE PUCTURED WITH
SPACES (GREEN)TO GIVE RELIEF AND
AVOID MONOTONY.
T Y P O L O G Y
MEANDERING LANDSCAPE , YET DEFINED BY TWO MAJOR ELEMENTS-
L A N D S C A P E
THE NAHAR
THE EXISTING CLUMPS OF TREES. .
WATERSCAPE
NAHAR
KUND
CLUMPS OF TREES
LANSCAPE WAS RECOGNISED AS FOCAL TO THEME IN THE LAYOUT OF COMPLEX.
NATURAL FEATURES LEFT UNDISTURBED
BASIC CHARACTER OF LAND INCORPORATED IN THE DESIGN .
LANDSCAPE FEATURES
MAIN CENTRAL GREEN
SECONDARY GREEN
LEFT OVER GREEN
POTS OF TERRACOTTA AND METAL , AN
ANTIQUE MANDIR , LANTERNS ADOR THE
GHATS AND GREEN SPACES HERE AND THERE .
THE TREES CONCEAL THE BUILDINGS AND
LANDSCAPED TERRACES CREATIVELY DIVIDES
THE SPACE.
Village complex with the
kund
SYNTHESIS OF FORMALITY
AND INFORMALITY BOTH
IN PLANTS AND HARD
LANDSCAPE.
L A N D S C A P E
ASHOK
AUSTRALIAN
KIKER
ALSTONIA
AMALTAS
ARJUN
AVLA
BOTTLE BRUSH
BAMBOO
CHAMPA
CASIA
CADAMBE
FICUS
GUAVA
GULMOHAR
JAMUN
KIKER
LEMON
MANGO
MULBERRY
NEEM
PIPAL
TEAK

HEDGES AND SHRUBS ARE
USED TO DEFINE SPACES .
GEOMETRIC FORMS,
PAVEMENTS, PATHS AND
HEDGES INTERSPERSE LAWNS,
VANS , THE NAHAR AND
MEANDERING PATH.
Kabutarkhana acts as a
landscaping element

T
R
E
E
S

A
T

G
R
A
M

Indigenous trees
Left over green area
Clumps of trees
nahar
waterscaping
RAIN WATER DRAINAGE CHANNEL WAS CONVERTED INTO-
A LINEAR WATERBODY , THE NAHAR .
STARTS FROM 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 BYEPASS DRAIN .
NAHAR, THE RAIN WATER
CHANNEL
Bridges over the bypass drain
TREES ALONG THE NAHAR BINDS
TOGETHER THE WHOLE COMPLEX ,
AND BRINGS ABOUT A SERENE
AND TRANQUILL SETTING AND IS
HEAVEN FOR CREATIVITY.
INDIVIDUAL IDENTITY IS GIVEN TO COURTYARDS AND LANDSCAPED TERRACES.
ETHNIC EMBELLISHMENT , TERRACOTTA FIGURES, METALLIC UTENSILS ARE
ELEMENTS WHICH ENRICH THE RURAL MILIEU.
MUSEUM OF INDIAN
TERRACOTTA
E X H I B I T I O N S P A C E S
TERRACOTTA , A FUNCTIONAL ART , IS
THE FIRST CREATIVE EXPRESSION OF THE
CIVILIZATION.
SELECTED POTTERS FROM ALL OVER
INDIA AND ABROAD ARE INVITED TO
DEMONSTRATE THEIR SKILLS FROM TIME
TO TIME .

Entrance to museum
THE ROOF IS PYRAMIDAL AS IT SUITS THE
SQUARE PLAN AND BLENDS WELL WITH THE
SCALE AND RURAL SETTING.
ORIGINALLY THE SRUCTURE IS IN RCC
AND BRICK AND ABOVE IT LIPPAN IS
APPLIED TO GIVE IT A RURAL LOOK.
Display in courtyards
around the museum

SPACES ARE IN THE MODULE OF
SQUARE WHICH ARE USED FOR
VARIOUS PURPOSES SOMETIMES AS A
PLATFORM , A ROOM WITH OR WITHOUT
ROOF AND SOMETIMES TOTALLY
ENCLOSED WITH DOORS AND WINDOWS .
THE LAYOUT OF SPACES IS SUCH
THAT A VISITOR MOVES FROM ONE
EXHIBITS TO THE NEXT WITHOUT
REPEATING ANY. EACH EXHIBITION
CAN BE APPROACHED AS WELL.
OPEN AREAS, COURTYARDS,
TERRACES ARE INCORPORATED AS
OPEN DISPLAY AREAS.
Display of objects on varying
platforms
The roof is done by steel angles
and sections as supporting members
which is topped by bamboo roof
Display of various objects from different regions of north
Indian textile Picture gallery
Display of textile materials from
different regions. Like punjab
(phulkaris), jammu
kashmir(pashmina shawls),
Everyday art:
Picture gallery
H A V E L i : owners 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
THE MOST STRIKING FEATURE IS THE
METICULOUSLYRESTORED(OLD)
ANTIQUE ENTRANCE DOOR FROM
RAJASTHAN FROM WHERE ONE GETS
THE FIRST GLIMPSE OF THE
aangan.
THE CENTRAL COUTYARD HAS A ZEN
GARDEN WITH A WATER POOL
THE DINNING AREA AND FORMAL SEATING
FACE TOWARDS THE COURTYARD CREATING
A SEARNE ENVIRONMENT .
INTERIOR OF THE HAVELI
B A I T H A K: administrative block
1
4
2
5
3
1. LOBBY
2. OFFICE
3. DINING /
LOUNGE
4. ATRIUM
5. PANTRY
6. LIBRARY
7. COMPUTER
ROOM
8. STORE
9. SYMPOSIUM
10. KITCHEN
LOWER GROUND
FLOOR
UPPER GROUND
FLOOR
1
10
9
4
8
2
6
7
THE BAITHAK IS
the common room
OF THE KENDRA,
HOUSING FACILITIES
SUCH AS DINING
ROOM , CONFERENCE
ROOM AND OFFICE .
Entrance to the baithak
Double height foyer of
baithak
THE BAITHAK IS DESIGNED IN
SPLIT LEVELS .
THE BUILDING CAN BE
ENTERED FROM VARIOUS
LEVELS
(7) Computer room
(3) dinning/ lounge
(6) library
Wooden pyramidical roof of
dinning area
(2) office
G A O N: village complex
1
2
3
4
5
6
7
1 GREEN ROOM
2 GAON
3 MANCH
4 LIV / SLEEPING
5 KITCHEN
6 LOW HEIGHT MUD
WALLS TO DEFINE
SPACES
7 VERANDAH USED
BY CRAFTSMAN
FOR WORKING
OUTDOORS.

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 .
Central courtyard Used
as work space by the
artists .a
Double height roof admits more
light to interiors
UNIT PLAN
THE DORMITORIES OF ARTISIANS ARE
PLACED AROUND A CENTRAL COURTYARD
WHICH IS USED BY CRAFTSMEN AS OUTDOOR
WORK SPACE.
EACH UNIT IS PROVIDED WITH AN
INDIVIDUAL KITCHEN.

PLAN
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 .
S T U D I O S
there are 8 studios in 2 Blocks placed along the nahar where
PARTICIPANTS FROM AROUND THE WORLD CAN LIVE AND WORK .
THE UNITS ARE SMALL AND SIMPLE BUT PROVIDE A VARIETY OF SPACES BOTH
INDOOR AND OUTDOOR.

BACKYARD OF THE STUDIOS.
ARTISIANS WORKING IN
POTTERY WORKSHOP
Washing area
Backyard of studio
Display of ceramic objects
Brick kiln
Electric kiln
Pottry machine
Porter at
work
1
6
5
3
1. ENTRANCE
COURT
2. LIVING WORK
SPACE
3. SITTING
4. DINNING /
KITCHEN
5. SLEEPING
6. UPPER LIVING
7. GARDEN
GROUND FLOOR
FIRST FLOOR
4
2
7
COMPLEMENTING THE
MUSEUMS ARE RESIDENTIAL
FACILITIES AND WORKING
SPACE FOR CRAFTS PERSONS
WHERE ONE CAN SOMETIMES
GET AN OPPURTUNITY TO SEE
THEM AT WORK.
LIVING , DINING , WORK SPACE
IS ON THE LOWER LEVEL , WHILE
SLEEPING AREA IS LOCATED
ABOVE.
INTERIOR VIEW OF A STUDIO

A
R
C
I
T
E
C
T
U
R
A
L

C
H
A
R
A
C
T
E
R

M A T E R I A L S
CONSTRUCTION MATERIAL
THE CONSTRUCTION MATERIAL USED ARE
R.C.C , BRICK , STONE , STEEL ETC
FINISHES AND
TEXTURES
Bhoosa reinforced plaster has Been used in
MANY PLACES.
ORDINARY CEMENT PLASTER HAS BEEN TEXTURED
WITH STEEL COMB TO GIVE IT A ROUGH LOOK .
THE LOW PROFILE BUILDING PAINTED WITH
SNOCEM IN HUES OF BROWN AND EARTHY COLOURS
IMPARTS A CLOSE RESEMBLANCE TO VILLAGE
WALLS .
THE SUBDUED DUSTY FACADES ARE ENLIVENED BY
THE MANGLORE TILES LAID ON SLOPING PYRAMIDS,
WHICH FIT WELL WITH THE SQUARE PLAN BELOW.
THE SLOOPING ROOFS ARE MADE BY STEEL
ANGLES AND SECTIONS AS SUPPORTING MEMBERS
WHICH IS TOPPED BY A NETWORK OF BAMBOOS AND
COVERED WITH ROOF MADE OF MANGLORE TILES
OVER THATCH.

PLAY IN
MASS AND
VOID
EARTHY
COLOURS
ONE WALL PAINTED ORANGE
IN CONTRAST WITH THE BACK
GROUND
PYRAMIDAL
ROOFS FINISHED
WITH MANGALORE
ROOF TILES.
ROOF OF
TERRACOTA
MUSEUM IS MADE
UP OF THATCH
AND BAMBOO
MATS.
Thatch roofs of
museum
Pyramidal roofs finished
with Mangalore roof
tiles.
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 artists 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 systems has been. Thatch and tiled roofing can also be seen at
several places.


Global arts village layout analysis

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Global arts village , MOHALI

1. Sanskriti kala kendra, anandgram, new Delhi

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