Sanskriti Kendra

Sanskriti Kendra

1. Sanskriti Kendra-Delhi Critical Appraisal on landscape V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

2. INTRODUCTION 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 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 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 apart as to engender a sense of isolation.  The grounds, filled with 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.   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 . V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV PAINTING ACTIVITY CRAFTSPERSON WORKING POTTERY CHILDREN WORKSHOPS PEACEFUL NATURAL ENVIRONMENT FOR ARTISTS

3. ORIGIN Sanskriti Kendra, set up by Sanskriti Pratishthan and inaugurated on 31 st January 1993. 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 . O.P.Jain , a resident of Delhi and a long time collector of antiquities, had a barren seven acre space of land in the outskirts of Delhi's mehrauli-gurgaon road. He planned to transform this plot into a space for artists to work and exchange their ideas. For this project, he chose his long time friend and architect Upal Ghosh ( Ghosh had previously designed Jain’s family home). Ghosh proposed bringing ‘ shantiniketan to Delhi’, creating an idyllic village that would have a flowing river and trees for artists to work under, just as Tagore had envisaged years ago. A special feature of the plan is meandering rainwater channel Ghosh devised, which becomes the focal point of the complex. Over the years many extensions were built with its growing popularity and importance. An unconventional auditorium and a meditation centre are also built. The importance of the complex lies in its honest formulation of creating a natural, rural environment where architectural expression emphasizes restraint over exuberance CONCEPT ARCHITECT : Upal Ghosh A living, creative complex, the Kendra is intended to provide temporary residential and working space to both traditional and contemporary artists and craftspersons and in doing so, it aims to promote interaction between the two. Thus the complex includes in addition to two museums, an open-air auditorium, conference hall and studio apartments. For rural craftspersons , a separate cluster of huts with individual cooking facilities provided. All spaces are scattered in a manner of a village dwelling. Over two thousand trees were planted across the plot with a banyan tree at the entrance. Professor Mohammad Shaheer was responsible for the landscape architecture of the complex. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

4. Mr Upal Ghosh Education: B.Arch., University of Delhi Professional Affiliation: Fellow of the Indian Institute of Architects . Member of Council of Architects, India. The founding partner Upalghosh Associates. He practiced since 1961, as the principle design partner of PGA till Upalghosh Associates was established in 1981. Prior to 1961, he worked with Municipal Corporation for a few years . Cultural Projects: Jagannath Temple , Hauzkhas , New Delhi Kabir Mandir  , New Delhi Tribal Activity Centre , Araku , A.P. Buddhavanam  , Nagarjuna Sagar , A.P. Ananda Buddha Vihara  , Hyderabad Sanskriti Kendra, Anand Gram , New Delhi V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

5. Site location LOCATION : ANANDGRAM QUTAB ( MEHRAULI) The Sanskriti Kendra is located at anandgram , in the qutab mehrauli on the outskirts of Delhi. The Kendra is spread over 3 hectares in the foot hills of the aravalli range. Located amidst farmhouses, the peaceful environments is idyllic for the creative activities at the Kendra. ACCESSIBILITY The Kendra is accessible from mehrauli-gurgaon road. The India Gandhi international airport is located 12 km from the sanskriti Kendra and new Delhi railway station or the old Delhi railway station, are about 20 km from the Kendra. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

6. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

7. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

8. Site plan V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV 1.Banayan Square (Arrival) 2.Entrance Gate 3.Entrance Chowk ( Bankura Houses 4.Baithak 5.Courtyard of terracotta Museum 6.Terracotta terrace 7.Kund Court 8.Gaon 9.Mustard Field 10.Open Air Theatre- Manch 11.Courtyard of Gulmohar trees 12.Maidan (Activity/Performance) 13. Water Landscape 14.Artist’s studios 15.Forest/Nature Walk 16.Private Garden (Haveli) 17.Entrance Court (Haveli) 18.Barakhamba

9. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV 1.Banayan Square (Arrival) 2.Entrance Gate 3.Entrance Chowk ( Bankura Houses 4.Baithak 5.Courtyard of terracotta Museum 6.Terracotta terrace 7.Kund Court 8.Gaon 9.Mustard Field 10.Open Air Theatre- Manch 11.Courtyard of Gulmohar trees 12.Maidan (Activity/Performance) 13. Water Landscape 14.Artist’s studios 15.Forest/Nature Walk 16.Private Garden (Haveli) 17.Entrance Court (Haveli) 18.Barakhamba

10. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

11. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

12. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

13. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

14. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

15. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV CIRCULATION AND MOVEMENT Movement patterns are very clear Service road runs on the periphery of the site . Pedestrian circulation is followed. Pathways are informal and fused with green patches except for the peripheral service road which acts as a jogging track. Change in paving materials and patterns shows changes in the function of spaces. Ramps are given to make the whole complex userfriendly . DISTRIBUTION OF SPACES Public spaces like museums & office-the governing body comes first with entry. Sitting spaces comes next having a little bit privacy by planting trees. Workspaces : Studios and dormitories- a very personal spaces are away from the public spaces to avoid any kind of distraction allowing artists to work with concentration in a very natural & fresh environment. Services like laundry, washing are placed at the end of the site away from public movement along the service road.

16. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

17. Landscape V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV Landscape supervised by landscape architect Mohammad Shaheer . The Kendra being spread over 3 hectares on the foothills of the aravalli range, landscape is thus recognized as focal to the scheme. No activity that would disturb the basic character of the land was undertaken. Landscape elements A judicious mix of formality and informality, both in plant and hard landscape. Geometric forms, pavements, paths and hedges intersperse the lawns, vans, and the Nahar and the meandering parks. Approximately two thousand trees have been planted to predominate the complex. The rainwater drainage channel that runs down the center, and existing clumps of trees become the major structuring elements of the layout plan. The rainwater channel has been converted into a linear water body (The Nahar). This starts from a semi-circular pool fed by water attention pond, passed under a couple of foot bridges, washes up the steps of Ghats on either sided, and ends at the Manch. Excess water is run off through a by pass drain. WATER POND PROVIDING SERENE ENVIRONMENT FOR THE STUDIOS KUND NEAR THE TEXTILE MUSEUM A WOODEN PIGEON HOUSE FROM GUJARAT

18. L A N D S C A P E MEANDERING LANDSCAPE , YET DEFINED BY TWO MAJOR ELEMENTS- THE NAHAR THE EXISTING CLUMPS OF TREES. . WATERSCAPE KUND LANSCAPE WAS RECOGNISED AS FOCAL TO THEME IN THE LAYOUT OF COMPLEX . NATURAL FEATURES LEFT UNDISTURBED BASIC CHARACTER OF LAND INCORPORATED IN THE DESIGN . V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

19. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV 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 . TREES ALONG THE NAHAR BINDS TOGETHER THE WHOLE COMPLEX , AND BRINGS ABOUT A SERENE AND TRANQUILL SETTING AND IS HEAVEN FOR CREATIVITY.

20. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

21. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV

22. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV DISTRIBUTION OF THE ACTIVITIES BAITHAK The baithak is the common room of the Kendra, housing facilities such as the dining room, conference room, library, computer room and office. A two- storeyed structure, it is internally connected, both visually and physically by a double height covered court with steps so configured that they can be used as tiered seating during conferences, etc. FLOW OF SPACES : The building can be entered from various levels. Except the office and the library, all other spaces flow into each other giving the interior a very open feeling. OFFICE AT HIGHER LVL : In keeping with its supervisory role the office has been strategically placed at a higher level overlooking the entire complex. PLAY WITH LEVELS : The architect has also played with levels within the building maintaining smooth movement horizontally as well as vertically. UPPER GROUND FLOOR LOWER GROUND FLOOR CONFERENCE HALL N THE OFFICE LOCATED AT PRIME LOCATION AT A HIGHER LEVEL AND HAVING WINOWS AT ALL THE SIDES TO HAVE CONTROL OVER THE SITE WINDOW IN THE OFFICE HAVING ENTRANCE VIEW FOR HAVING CONTOL THE OTHER WINDOW HAVING VIEW OF OTHER PART OF THE SITE ALL THE AREAS ARE PLACED ALONG THE SOUTH SIDE AS TO HAVE ADVANTAGE OF SUN AS THE SUN DIRECTLY ENTERS THE ROOM THROUGHOUT THE DAY IN WINTERS . THE BUILDING IS MADE KEEPING IN MIND GREEN ARCHITECTURE TO HAVE MORE OF NATURAL ENVIRONMENT - FRESH AIR TO BREATHE IN AND MORE OF NATURAL LIGHTING. BUILDING IS PLANNED IN A STAGGERED FORM TO HAVE MUTUAL SHADING FOLLOWING GREEN PRINCIPLES.

23. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV HAVELI This is the residence of O.P.Jain , the moving force behind the organization, the plan is based on six and a half overlapping squares with intersecting pyramidal roofs. The dining, living, bedroom and the kitchen are arranged around an aangan (courtyard). The most striking feature is the meticulously restored old entrance door from Rajasthan from where one gets the first glimpse of the aangan - a perfect square patch of green with an equally geometric rectangle of water along one side . STUDIOS There are eight studios in two blocks placed along the Nahar where participants with an urban background can live and work. The units are small and simple but provide a variety of spaces, both indoor and outdoor. These are located away from other built forms that allows artists to concentrate on their work. HAVELI Courtyard STUDIOS ARE LOCATED IN THE CALM AREA SURROUNDED BY GREENERY AND AWAY FROM ANY BUILT FORM TO MAINTAIN PRIVACY AND PROVIDING ENVIRONMENT TO CONCENTRATE. WATER BODY NEARBY ADD TO ITS BEAUTIFUL ENVIRONMENT. GREEN ARCHITECTURE WORKSPACE AND THE LIVING AREAS GET NORTH LIGHT AS NORTH SIDE GETS ONLY LIGHT THROUGHOUT THE DAY WITHOUT ANY HEAT SO IT IS COOLER. BEDROOMS , DINING-KITCHEN AND THE SITTING AREAS ALONG WITH A SEPARATE PERSONAL GARDEN ARE FACING SOUTH SIDE , THUS GET MORE SUN(HEAT & LIGHT) IN WINTERS AND LESSER IN SUMMERS. N

24. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV EXHIBITION AREAS The Kendra incorporates two museums – the sanskriti museum of India terra-cotta and the Sanskriti museum of everyday art. These, the most public of all the spaces, needed special attention for clarity of movements. The layout of spaces is such that a visitor moves from one exhibit to the next without repeating any. MUSEUM OF INDIAN TERRA-COTTA A series of modular units, have been arranged around landscaped courtyards. GOOD PLAY WITH TRANSTION OF SPACES : The module, square in plan, has been used in various forms – sometimes as just a platform, a room without 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. A majority of terracotta belonged to open and semi-open environments.

25. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV OPEN DISPLAY SEMI-COVERED DISPLAY ENCLOSED DISPLAY

26. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV MUSEUM OF EVERYDAY ART Situated at the Sanskriti Kendra, Sanskriti Museum of Everyday Art is a rich repository of about 2 000 objects of everyday life of traditional India which show some sign of excellence in craftsmanship, conception, design or ingenuity of pratical device. The collection includes folk and tribal sacred images, accessories for rituals, lamps, incense burners, writing Materials, women's toiletries, weights and measures, ovens and tongs, locks and latches, apparatus for opium and cannabis, vessels, children's accessories and kitchen implements. The museum of everyday art is housed in a building sunk partly below ground and its roof is effectively used a outdoor exhibition terraces for the terra-cotta museum. TEXTILE MUSEUM TYPES OF DISPLAY HANGING KEPT IN STAINLESS STEEL DISPLAY BOARDSWITH GLASS TO LOOK THROUGH. ENTRANCE TEXTILE MUSEUM IS HAVING FULLY ENCLOSED DISPLAY SYSTEM FOR THE PROTECTION OF THE MATERIAL. THE TERRACE OF THE EVERYDAY ART MUSEUM SERVES AS THE DISPLAY AREA FOR ‘MUSEUM OF INDIAN TERACOTTA’. THE MUSEUM OF EVRYDAY ART SUNK PARLTY BELOW GROUND BY 1500 M. DISPLAY

27. V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV MANCH: amphitheatre It is an open-air theratre next to gaon court It has a seating capacity of 200 people Used by artists for performance and entairtnment Stage is covered by lush green grass and brick paved steps Studios 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.

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29. 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 systems has been. Thatch and tiled roofing can also be seen at several places . V.Akhil Akash | 1140100454 | Section A | B.Arch IV year | SPAV