SANSKRITI KENDRA(ANANDGRAM)
Upal Ghosh Associates(1993)
Mehrauli Gurgaon Road,near Aya nagar
CASE STUDY BY
LAL RIN DIKI
22AR09 II YEAR
B.ARCH
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ABOUT SANSKRITI FOUNDATION
•Established in 1978, Sanskriti Foundation is a
registered Public Charitable Trust based in New Delhi,
India.
•Set up sanskriti pratishthan,founded in 1979 by mr.
O.P.Jain under the guidance of dr. Mulk raj anand, dr
jyotindra jain and other bigwigs
•It started with the aim of preserving indigenous
heritage and craftsmanship
•The purpose of Sanskriti Foundation is to cultivate an
environment for the preservation and development of
the artistic and cultural expressions of Indian Art.
•To create an understanding and appreciation of Indian
traditional arts and culture.
•To encourage intercultural artistic dialogues and
collaborations between international artists, arts
practitioners and local Indian artisans
•To increase the appreciation of Indian arts, heritage
and crafts through education and participatory
activities among young people.
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SANSKRITI KALA KENDRA TIMELINE
1979-Sanskriti Foundation
was established
• Inaugurated on 31 January, 1993
1982- The Museum of
• To accommodate a varied range of activities Everyday Art was
established at Shri O.P.
connected with art and culture both in Jain’s residence
traditional and contemporary sense.
• It is intended to provide temporary residential 1989- planting of a Banyan
and working space to artists. tree
1990-Architecture and
• To offer visibility to indigenous traditional landscape planning of
arts and artisans, crafts and crafts-persons Sanskriti Kendra was
undertaken and
through the Sanskriti museums construction of buildings
started
• Five acres of barren and arid land in 1989,
has now been transformed into a green oasis 1993-Completion of
Sanskriti Kendra
with hundreds of trees and shrubs.
• The unique environment houses three 2009- Establishment of the
specialized museums namely museum of Museum of Indian Textiles
everyday art of India, museum of Indian
2005- A Ceramic Centre set
terracotta and museum of Indian textiles. up in collaboration with the
• The Centre has also been conceived as a space Delhi Blue Pottery Trust
where creative persons devoted to diverse
2013- Setting up of an
disciplines can stay, study and interact by Enamel Centre in
participating in its residency programmed for collaboration with the
artists and writers. Enamellist Society.
• A fully equipped ceramic center in partnership -Construction of a Multi-
Purpose Hall and
with Delhi blue pottery functions as a training relocation of the Ceramic
center. Centre
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UPAL GHOSH
Architect
Upal Ghosh proposed bring ‘shantiniketan’ to Delhi thereby creating an idyllic village that would
have flowing river and trees for artist to work under, bringing into life what Tagore had envisaged
years ago.
He took his visual cues from rural architecture.
Aims for long lasting and practical buildings which can be replicated easily for further extension.
He believed that the importance of the complex lies in its honest formulation of creating a natural
rural environment where architectural expression emphasizes restrain over exuberance.
OVER THE YEARS, MANY EXTENSIONS WERE BUILT WITH SANKRITI'S GROWING POPULARITY AND
IMPORTANCE.
MOHAMMED
SHAHEER
Landscape Architect
Professor Mohammad
Shaheer was
responsible for the
landscape
architecture of the
complex
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LOCATION
• The Sanskriti Kendra is located approximately 10 km south of
New Delhi.
• Located on the Qutub-Mehrauli Gurgaon Road
• The Kendra is spread over seven acres of land on the
foothills of the Aravalli hill range.
• The India Gandhi International Airport is located 12 km from
the Sanskriti Kendra. When travelling by train, arrivals at the SITE LAYOUT
New Delhi Railway Station or the Old Delhi Railway Station,
AREA – 8.7 ACRES
are about 20 km from The Kendra . • All spaces are scattered in the manner of a village
dwelling.
• Over two thousand trees were planted across the plot.
All developments on site were largely organic -a
progressive development.
• The site includes residences, a reception and cafeteria,
a museum and areas for outdoor performances and
more.
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ACTIVITIES PURPOSE
The workshop activity has emerged directly from
Sanskriti’s mission to strengthen the socio-cultural Kendra was expected to accommodate a varied range of
roots of the emerging generation. Sanskriti Kendra is a activities connected with art and culture both in the
space where creative people in different cultural and traditional and the contemporary sense . This broad
social disciplines can study, interact and reflect
together. Its unique atmosphere and facilities make it objective was the only guideline to the design process.
an ideal venue for seminars, conferences, arts and
crafts-related workshops and the like.
BUILT
Architect says… “The complex manifestation of built form in a
warm climate, where between closed-box and open to sky,
there lies in a whole continuum of zones, with varying
definitions and varying degrees of protection. One steps out
of the box to lend oneself in a verandah from which one
moves into a courtyard and then under a tree, and beyond
onto a terrace covered by a bamboo pergola, and then
perhaps back onto a balcony and so on. The boundaries
between these zones are not formal and sharply demarcated,
but easy and amorphous. Subtle modulations of light, of the
quality of ambient air, register each transitions on our
senses…”
LANDSCAPE
The two main natural features on site
• the rainwater drainage channel that ran down the
centre.
• And existing clumps of trees became the major
structuring elements of the layout plan.
• With the landscape recognized as focal to the
scheme, a minimalist approach was adopted ,no
activity that would disturb the basic character of
The Kendra being spread
the land was undertaken.
over 3 hectares on the
foothills of the Aravalli • A judicious mix of formality and informality both in
range plant and hard landscape characterizes the Kendra.
• Geometric forms, pavements, paths, and hedges intersperse the lawns,
vans, the nahar and meandering paths. Eventually, it was envisaged that
the approximately 2,000 trees planted on site.
• Varied levels, heights and spaces,geometric forms, pavements, paths, and
hedges intersperse the lawns, vans, the nahar and meandering paths.
• TREES FOUND:ASHOK AUSTRALIAN KIKER ALSTONIA AMALTAS ARJUN
AVLA BOTTLE BRUSH BAMBOO CHAMPA CASIA CADAMBE FICUS GUAVA
GULMOHAR JAMUN KIKER LEMON MANGO MULBERRY NEEM PIPAL TEA RIN
ZONING
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.
All spaces are scattered in the manner of a village
dwelling.
DISTRIBUTION OF SPACE
• PUBLIC SPACES LIKE MUSEUMS AND OFFICE ARE
PLACES ARE SITUATED RIGHT AFTER THE ENTRY.
• STUDIOS AND RESIDENT AREAS ARE AWAY FROM
PUBLIC SPACES.
• SERVICES LIKE LAUNDRY AND COOKING AREA ARE
PLACED AWAY FROM PUBLIC MOVEMENT.
CIRCULATION
• RHYTHM IN THE MOVEMENT PATTERN-A NEW EXPERIENCE IS
INTIATED BY THE USE OF MASS AND OPEN SPACES AT EVERY
MOVEMENT.
• PEDESTRIAN CIRCULATION IS FOLLOWED.
• PATHWAYS ARE INFORMAL AND FUSED WITH GREEN PATCHES
EXCEPT FOR THE PERIPHERAL SERVICE ROAD WHICH ACTS AS
THE JOGGING TRACK .
• CHANGE IN PAVING MATERIALS AND PATTERNS SHOWS CHANGES
IN FUNCTION IN SPACES.
• RAMPS ARE GIVEN TO MAKE THE WHOLE COMPLEX IS DISABLED
FRIENDLY.
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CONSTRUCTION MATERIALS
AND BUILT FEATURES
• GHOSH TAKING HIS VISUAL CUES FROM RURAL ARCHITECTURE
BUT WANTING THE BUILDINGS LASTING RESULTS IN HIM
CHOOSING CEMENT THAT WAS MADE TO LOOK LIKE MUD BRICKS
WITH PYRAMIDAL TERRACOTTA TILED ROOFS.
• CONSTRUCTION MATERIALS USED ARE RCC , STONE, STEEL,
ETC.
• HOWEVER, IN FINISHES AND TEXTURES, SOME INNOVATIONS
HAVE BEEN ATTEMPTED. FOR EXAMPLE, STRAW REINFORCED
PLASTER HAS BEEN USED IN MANY PLACES.
• IN OTHERS, ORDINARY CEMENT PLASTER HAS BEEN
TEXTURED WITH A STEEL COMB TO GIVE IT A ROUGH LOOK.
• THE LOW-PROFILE BUILDINGS ARE ALL PAINTED IN SHADES OF
BROWN, WHICH GIVES THEM AN EARTHY LOOK.
• 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.
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DISTRIBUTION OF SPACE
PLANNING IS BASED ON BASIC MODULES OF SQUARES AND RECTANGLES WITH SLOPING ROOFS TO HAVE A INTERVENING MASSES AND
VOIDS.THE TREES CONCEAL THE BUILDINGS AND LANDSCAPED TERRACES CREATIVELY DIVIDES THE SPACE.
pots of terracotta and metal , an antique mandir , lanterns ador the ghats and green
spaces here and there indicating the change in use and fuction of the space.
ENTRANCE(BANYAN
Kabutarkhana acts as a COURTYARD)
landscaping element
the big banyan tree at the entrance
was planted in january 1989 by pandit
kumar gandharva who also blessed
the centre with his divine music.this
marks the entrance to the kendra.
• HEDGES AND SHRUBS ARE USED TO DEFINE SPACES
• WATER POND PROVIDING SERENE ENVIRONMENT FOR THE STUDIOS
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BAITAK
• baithak is the common room of the kendra, housing facilities such as the dining room, conference room, library, computer room and
office.
• a two-storied 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 and maintaining smooth movement horizontally as well as vertically.
• office at higher level : in keeping with its supervisory role the office has been strategically placed at a higher level overlooking the
entire complex.
• following green principles :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.
• Shading :building is planned in a staggered form to have mutual shading.
• View and surrounding :the windows in the office having entrance view along with all side views to see what is going on inside the
complex.
Two storey interior of the Entrance to the baitak
baitak
Plan of the baitak
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Char bangh KUND. MANCH(AMPHITHEATRE)
Charbagh is a Persian • IT IS AN OPEN-AIR THEATRE NEXT TO
and Indo-Persian THE GAON COURT . • IT HAS A SEATING
quadrilateral garden CAPACITY OF 200 PEOPLE.
layout based on • USED BY ARTISTS FOR PERFORMANCE
the four gardens of AND ENTERTAINMENT.
• STAGE IS COVERED BY LUSH GREEN
Paradise mentioned in
GRASS AND BRICK PAVED STEPS
the Quran. The
quadrilateral garden is
Village complex
divided by walkways or with kund
flowing water into four
smaller parts.
KUND NEARBY
PROVIDING SERENE
ENVIRONMENT FOR
THE STUDIOS
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STUDIOS
PLAN LAYOUT OF STUDIO
• 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.
• privacy :these are located away from other built forms
that allows artists to concentrate on their work
• green architecture : 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.
• 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
STUDIO PLACED ALONG THE NAHAR
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HAVALI (Owner’s 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
• 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
THE NAHAR
• all rooms are arranged around central courtyard- aangan • THE RAIN WATER DRAINAGE CHANNEL
• the most striking feature is the meticulously restored antique entrance door from WAS CONVERTED INTO A LINEAR
Rajasthan from where one gets the first glimpse of the “aangan” WATERBODY , THE NAHAR .
• the central courtyard has a Zen garden with a water pool • STARTS FROM SEMICIRCULAR POND
• the dinning area and formal seating face towards the courtyard creating a serene • AND PASSES UNDER A FEW CAUSEWAY
environment AND WASHES AT PLACES , STEPS WHICH
IMITATES GHATS
Entrance to the Havali • 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.
Interiors of the Havali
NAHAR
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Gaon
• gaon is an village complex
used by artists
• gaon comprises of cluster
of huts meant for rural
craftsman to work and
reside .
• the apartments consist of
Central courtyard
four single and four Used as work space by
double residences. each the artists .
with a living room, a
bathroom and a studio.
• for rural craftspeople, a
separate cluster of huts
with individual cooking
facilities is provided
• each unit is a single
storied structure ,
comprising of living /
sleeping , kitchen , toilet
• Double height roof add
more natural into the
interior.
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Museum of Indian Terracotta
The first of the two sections of this Museum serves as a photographic
introduction to the historical traditions of the Indian art of terracotta. This
part, starting with the images of proto-historic objects from the Indus Valley
civilization, ends with the late medieval brick temples of Bengal, covering the
entire range of the genre through ancient and medieval periods. The second
section pertaining to living traditions of the art displaying nearly 1500 selected
examples of cultic, votive, and everyday terracotta objects used in different
regions of India over the centuries.
• 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 .
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• A series of modular units, have been
arranged around landscaped
courtyards.
• 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
entrance to the museum
next without repeating any. each
exhibition can be approached as well.
• open areas, courtyards, terraces are
incorporated as open display area
• the roof is done by steel angles and DISPLAY IN
sections as supporting members which COURTYARD THE ROOF IS PYRAMIDAL AS IT SUITS THE SQUARE
is topped by bamboo S AROUND PLAN AND BLENDS WELL WITH THE SCALE AND
THE RURAL SETTING.
MUSEUM
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museum of everyday art of india
museum of everyday art concerns itself with preservation of some of the finer, more refined aspects of india’s everyday
life until recent past, now threatened by extinction. this museum was established in 1984 to create an environment for
the preservation of India's heritage, and to showcase objects that demonstrate excellence in craftsmanship and
conceptual innovation, be it in design or functionality.
objects of everyday life connected with the manners and customs, beliefs and practices of the urban and rural
populations of India are displayed in the sanskriti museum of everyday art. creativity and culture permeate every aspect
of Indian life. the practical and innovative objects on display exemplify the exuberant imagination and aesthetic creativity
of craftspeople from all over India. covering objects used throughout the cycle of life-from childhood to old age-the
collection begins with objects from the child's world into that of the student and young adult, proceeds into that of the
settled householder and then moves towards the grand finale of life, when spiritual pursuits traditionally take over.
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• the layout of spaces is such that a
visitor moves from one exhibit to
the next without repeating any.
• the museum of everyday art is
housed in a building sunk partly
below ground
• the museum of everyday art sunk
partly below ground by 1500 m.
The entrance to the Museum of Everyday Art
• its roof is effectively used as
outdoor exhibition terraces for the
terracotta museum.
its roof is effectively used as
outdoor exhibition terraces for
the terracotta museum
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Museum of Indian Textiles
this gem of a museum houses old specimens of some of the best of Indian textile
traditions of resist dyed fabrics such as resist prints and dot/warp-resist
textiles; ikats such as the double-ikat of Gujarat and single-ikat from andhra
pradesh and orissa; brocade variants from banaras, ahmedabad, surat, lucknow,
kanchipuram, paithan, baluchar and dhaka; embroideries from gujarat,
rajasthan, himachal pradesh, punjab, and west bengal; and pigment painted
temple hangings from western india. the main objective of the museum is to
display representative examples of selected traditions of indian textiles, and to
create a pool of information around these that will eventually serve as an
academic resource for study and research.
• TEXTILE MUSEUM IS HAVING
FULLY ENCLOSED DISPLAY
SYSTEM FOR THE PROTECTION
OF THE MATERIAL
• KEPT IN STAINLESS STEEL
DISPLAY BOARDSWITH GLASS
TO LOOK THROUGH.
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LOTUS
POND
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