SUDURPASCHIM CULTURE CENTRE AT BAGDOL, LALITPUR
Submitted in partial fulfillment of the requirements For the degree of Bachelor of Architecture
To the
DEPARTMENT OF ARCHITECTURE CENTRAL CAMPUS, PULCHOWK
INSTITUTE OF ENGINEERING TRIBHUVAN UNIVERSITY
BY Pusp Raj Bhatt 067/B.Arch./226
October 27, 2015 DECLARATION
I declare that this dissertation has not been previously accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. I state that this dissertation is the result of my own independent work/investigation, except where otherwise stated. I hereby give consent for my dissertation, if accepted, to be available for photocopying and understand that any reference to or quotation from my thesis will receive an acknowledgment.
Pusp Raj Bhatt 067/B.Arch/226
Date: October 27, 2015 CERTIFICATE
This is to certify that the thesis entitled “SUDURPASCHIM CULTURE CENTRE AT BAGDOL, LALITPUR” submitted by Mr. Pusp Raj Bhatt (067/B.Arch./226) has been examined and it has been declared successful for the partial fulfillment of the Degree of Bachelor in Architecture.
Prof. Suman Nandan Baidya Thesis Supervisor
Date: October 27, 2015 ACKNOWLEDGEMENT
I would like to extend my sincere gratitude to the thesis co-coordinator Prof. Mahesh Kumar Shrestha, and my supervisor Prof. Suman Nandan Bidya for all the guidance they have contributed, enabling me to successfully correspond to my thesis subject.
Finally, I would also like to express my gratitude towards all concern authorities and individuals.
……………………….. Pusp Raj Bhatt 067/B.Arch/226
ABSTRACT
If the customs, ideas and social behavior of a particular people group is a culture, Sudurpaschim is a sea of culture. A little described in the research papers till date and more left in the corners of Far Western hills to research for intellectuals is the reality about their culture. Modelled in the tangible forms is even less than that existed over centuries?
An approach to discover the undiscovered culture to model into the architectural form with original value shall be the ultimate goal of my thesis. As the lagging in cultural discoveries results into the disappearance of its social, cultural, economic and religious faith however excellent it is as output after grinding into the competitive cultural grinders in open world. The strong and solid architectural expression must help in the sustainability of superb culture is into my belief and behavior. So, as to give a place that speaks itself about the people and their behavior by appealing the followers and well-wishers of particular Sudurpaschim culture to come and celebrate with a well-planned and designed architecture is the ultimate goal of my thesis of Bachelor in Architecture.
A site to build, components of planning and research of relevant architecture of the place and out in the rest of world in cultural centers is to be done to meet up such goal. So, a site is to be chosen as a place where the sentimental values of site itself should make a sense. Site for a project is proposed in the Kathmandu Valley because to promote and reinforce the cultural value in a multi-culturally vibrant city as a capital city of Nepal. A need of a place to celebrate the festivals and to promote through exhibitions, museum spaces, documentary shows, traditional dances and language etc., will be fulfilled by this project.
A cultural museum, exhibition spaces, seminar hall, food court, convention spaces and historical library shall be incorporated in the project to complete the thesis.
TABLE OF CONTENTS
COVER PAGE
DECLARATION
APPROVAL LETTER
CERTIFICATE
ACKNOWLEDGEMENT
ABSTRACT
CHPATER 1 Introduction 1-10
1.0 Introduction …………………………………………………………………...... 1
1.1 Introduction ……………………………………………..………………..……...2
1.2 Definitions ….……….………………....……………………………..…………..3
1.3 Background History ……………………………...………….………….……..4
1.4 Project Brief……………………………………………………………...……..5
1.5 Project Justification………………………...………………………..……………6
1.6 Objectives and Validity ……………………………………...……………….…...7
1.7 Limitations ……………………………………………………………………….8
1.8 Methodology ……………………………………………………………………...9
1.9 Project Components ……………………………………………………………...10
CHPATER 2 Literature Review 11-49
2.0 Project Components Descriptions …………………..…………………..……12
2.1 Exhibition Space …………………………..……….……………..…………..13
2.2 Multipurpose Hall …………………………………………………………….32
2.3 Library………………………………………………………………………..39
2.4 Offices……………………………………….……….……………………….42
2.5 Language Classrooms…...………………...…………………………………..44
2.6 Temple ……………………………………………………………………….46
2.7 Shops ………………………………………………………………………….47
2.8 Parking ………………………………………………………………………..48
CHPATER 3 Case Studies 33-64
3.0 Case Studies ……………………….…………….…………………………….49
3.1 Proposed Case Studies and Research ……………………………...………….50
A. National Museum, Chhauni……………………..……..…………………….50
B. Nepal National Library……….…………………..…………………………..58
C. National Academy Hall, Kamaladi……………………..…………………….60
D. Russian Culture Centre …………………………………….………………..66
E. Joensuu Library, Finland……………………………………………………..72
F. Plassen Culture Centre ……………………………..………………………..73
G. Roberto Cantoral Culture Centre ……………………………………………77
CHPATER 4 Site Studies 79-85
4.1 Site Location and Introduction …………………….………………………….80
4.2 Site Information …………………...………………………….…...………….80
• SWOT Analysis……………………………….…..…………………….82 • Network ………………………………………………………………...83 • Bye-Laws ………………………………………………………………84
CHPATER 5 Program Formulation 86-88
5.1 Program Formulations …………………………….………………………….87
CHPATER 6 Design Development 89-94
6.1 The Project …………………………………….….…………………………. 90
6.2 The Concept …………………...……………………………...…....……. 90
6.3 The Component Functionality ………………………………………..…...93 BIBLIOGRAPHY………………………..…………………………………………
DRAWINGS ……………………..……………..…………………………………..
ANNEX ……………………………………………………………………………..
SUDURPASCHIM CULTURE CENTRE
CHAPTER – 1
INTRODUCTION
Pusp Raj Bhatt (067/BAE/226) 1 SUDURPASCHIM CULTURE CENTRE
1.1 INTRODUCTION Nepal has always been a sea of culture. Far-Western Culture is a different approach to define a socio-cultural-economic movability and sustainability over long period of time. Where, each and every community, ethnic groups and settlements have at least one unique characteristics reflecting their identity. It may be reflected differently in terms of Language,
Clothing, Festivals, Rites and rituals, Religious belief, Dance, Architectural value, Economic status, social norms etc. developing a strong Cultural Heritage. The history, art, architecture and culture of a particular place give identity of that area. Since history is a window through which a viewer can take the glimpses of the past events, give ideas about the present condition and predict future outlook. Art and Architecture of particular place is greatly affected and directed by the climatic conditions, topography, socio-economic conditions, social belief and daily lifestyle of the people.
Sudurpaschim (Far-Western Development Region) is one of the five Development Regions of Nepal. The Far Western Region covers 19,539 KM2 and comprises two zones, the Seti and Mahakali. It includes nine districts namely Baitadi, Bajhang, Bajura Dadeldhura, Darchula, Doti, Achham, Kailali and Kanchanpur. Only Kailali and Pusp Raj Bhatt (067/BAE/226) 2 SUDURPASCHIM CULTURE CENTRE
Kanchanpur is on the Tarai and other seven districts are on the hills and mountains. Doti, Dipayal is the regional capital of this development region.
There is the existence of different culture and belief in different parts of Sudurpaschim, but many of them are very common and practiced together which binds them to each other very strongly. Such similar cultural values shall be accommodated in a single place for the people to exchange and refine the values, norms and findings.
1.2 DEFINITION
The more comprehensive definition of culture was adopted at the World Conference on Cultural Policies (Mexico, 1982):
'Culture is the whole complex of distinctive spiritual, material, intellectual and emotional features that characterize a society or a social group. It includes not only arts and letters, but also modes of life, the fundamental rights of the human being, value systems, traditions and beliefs' Culture is categorized into two categories:
1.1 Tangible Culture or material Culture
It is about sensing by touchable the things like Art, Architecture, Structures, Sculptures, Festivals, Dance, Costumes, Ornaments etc.
1.2 Intangible Culture or non-material Culture.
It is about sensing by visualization, practicing and feeling like Social norms and values, Rules, Believes etc.
Pusp Raj Bhatt (067/BAE/226) 3 SUDURPASCHIM CULTURE CENTRE
1.3 BACKGROUND HISTORY
The Far-Western Culture came into practice and development practices from ancient times. As Khas entered into the present Nepal territory from western hills developing, segregating and reuniting from the cocasus mountains as Khas in the west. A combined cultural practiced came into the lives of people as a daily practice. Doti, Dipayal became the centre for the administrative capital of Doti Kingdom. Doti was an ancient kingdom of uttrakhand of India and Far Western Region of Nepal which was formed after disintegration of Katyuri kingdom of Uttarakhand and Far Western Region of Nepal during 13th century.
Niranjan Malla Dev was the founder of Doti Kingdom around 13th century after a fall of Katyuris Kingdom. He was the son of Last Katyuris of united Katyuris kingdom. Kings of Doti were known as Raikas (also known as Rainka Maharaj). Later on Raikas, after overthrow Khas Malla of Karnali Zone, were able to form a strong Raikas Kingdom in Far Western Region and Kumaun which was called Doti.
The historical evidence of following Rulers have been discovered who contributed to Far-Western Cultural Development:
S. N. Rulers Rule Start Details 1. Niranjan Malla Dev (Founder of Doti Kingdom) 2. Nagi Malla (1238) 3. Ripu Malla (1279) 4. Nirai Pal (1353) may be of Askot and his historical evidence of 1354 AD has been found in Almoda 5. Nag Malla (1384) 6. Dhir Malla (1400) 7. Ripu Malla (1410) 8. Anand Malla (1430) 9. Balinarayan Malla (not known) 10. Sansar Malla (1442) 11. Kalyan Malla (1443) 12. Suratan Malla (1478) 13. Kriti Malla (1482) 14. Prithivi Malla (1488) 15. Medini Jay Malla (1512) Pusp Raj Bhatt (067/BAE/226) 4 SUDURPASCHIM CULTURE CENTRE
16. Ashok Malla (1517) 17. Raj Malla (1539) 18. Arjun Malla/Sahi not known He was ruling Sira as Malla and Doti as Shahi 19. Bhupati Malla/Shahi (1558) 20. Sagaram Shahi (1567) 21. Hari Malla/Shahi (1581 Last Raikas King of Sira and adjoining part of Nepal 22. Rudra Shahi (1630) 23. Vikram Shahi (1642) 24. Mandhata Shahi (1671) 25. Raghunath Shahi (1690) 26. Hari Shahi (1720) 27. Krishna Shahi (1760) 28. Deep Shahi (1785) 29. Prithivi Pati Shahi (1790) Fought against Nepali Ruler (Gorkhali Ruler) with British in 1814 A.D.
1.4 PROJECT BRIEF
SUDURPASCHIM CULTURE CENTRE will be a place for cultural practices focused to the cultural activities of Far-Western Nepal provided that it will not prevent any other localities people to share their culture in this centre. This centre shall provide a very suitable space for recreational activities, learning environment, idea sharing platform, social activities and festivals to organize, taste the typical food from Far-Western Nepal and many more. Since this is the age of globalization where people from any corner of the world can come and share their culture which will be analyzed for the study of Far-Western culture in relation with rest of the globe ensuring the good aspects of traditional will find a way of sustainability.
The site for Far-Western Culture Centre for thesis of Bachelor in Architecture is proposed to be in the Kathmandu Valley. Target group or the beneficiaries of this centre will be ‘the 0.5 million people from Far-Western Nepal residing in Kathmandu Valley’ either temporarily or permanently wanting to share their culture among them and with others. Other cultural groups will also get benefit by getting this space for difference conferences, seminars, parties, learning the Far-Western Culture etc. Pusp Raj Bhatt (067/BAE/226) 5 SUDURPASCHIM CULTURE CENTRE
A Sudurpaschim Culture Centre is a concept of designing and planning a Culture Centre, which will be in terms of Regional Cultural Heritage Promotion and Protection Centre. A place will not be defined in partial terms of ethnic groups or any kind of particularities. Since the cultural history developed in the Far-Western is not a one way development but it includes all the races, casts, ethnicities and include the non-human living beings like cattle, birds, bees etc. into its womb.
Each and every society need a cohesive cementing material literally to make a society strong against external agencies. The cohesive binders of a society in terms of culture in Far-Western are listed as below, which shall be taken as a tool for architectural planning and designing in this thesis:
Doteli Language, Religious belief, Different typical Dances / Instruments / Dresses, Many Festivals in different time in a month or year, Rites and Rituals / Norms and Values, Architectural form of buildings, Inclusive Architectural Practise, Similar Socio-economic status / Farming Culture / Self Dependent Daily practices of living. 1.5 PROJECT JUSTIFICATION
Frank Lloyd Wright says, “the only way of getting culture is to practice it over a time, there is no another way than practicing it to get a culture”. Kathmandu Valley is the capital city of Nepal with multicultural dynamism. In this era of TECHNOLOGY and GLOBALIZATION, in one hand people are adding the distances in their social life, but in another hand people are getting closer and closer globally. So targeting the half million of people away from their home with high desire to be in a circle of similar language, dresses, festivals etc. the cultural centre shall be a successful idea in future. Importance of the centre is totally to promote the culture by practicing it over a time.
Pusp Raj Bhatt (067/BAE/226) 6 SUDURPASCHIM CULTURE CENTRE
The key reasons of proposing a Sudurpaschim Cultural Centre in Kathmandu are: . A strong cultural bonding between people from there in a significant amount in Kathmandu, but no specific space to celebrate, . Insufficient Culture Centres in Kathmandu valley for people from other locality and ethnicity resulting loss in cultural heritage, . To make a research on the historically existing culture via library, internet, easy access for global learners, sharing the cultural values, . To promote and explore the Doteli language, Dances, Festivals, Tourism possibilities etc. . To give a space for social functions like wedding, party etc. along with the economic sustainability, . To provide Exhibition spaces, Museums and Meeting place for the people.
1.6 OBJECTIVES AND VALIDITY
Culture as stated earlier, is the way we live. It is the expression of human values. It is the learned behavioral patterns among us humans. Samuel Pufendorf and many writers after him referred 'Culture as all the ways in which human beings overcome their barbarism and through artifice become fully human.' Thus, culture covers all the aspects of human life. Language, cuisine, science, technology, traditions, religions, aesthetics, art, music, literature, fashion, architecture, values, ideology, festivals, all is the aspects of culture.
A culture is also an interesting topic to discuss in relation to daily life for easy understanding which may give a clear vision to the future. Many characteristics of human are inherited genetically. For example, an infant's desire for food is the character that is rooted in the human genetic code whereas an adult's specific desire for milk and cereal in the morning is, in fact, not an inherited character but is actually a culturally learned response to hunger. As such, culture being a learned behavior common among given human society shape the way of life of human beings and embed meaning to life. And furthermore, such cultural system may be further broken down into following categories:
o Systems of meaning, of which language is primary
Pusp Raj Bhatt (067/BAE/226) 7 SUDURPASCHIM CULTURE CENTRE
o Ways of organizing society, from kinship groups to states and multi-national corporations o The distinctive techniques of a group and their characteristic products
History is a series of past events of experiences connected with an object, a person or a place. In absence of it no past events can be conceived. Hence all the nations of the world takes pride in the glorious history of the nation and tries to preserve them. On the other hand natural and cultural heritage are our national heritage, obviously, is an important reason of the tourist flow in this area. Tourism is one of the main source for the national income it is one of the major potential for the sustainable development. Cultural and religious activities are the most responsive elements for the promotion of tourism.
PROJECT OBJECTIVES can be listed as: The project will help to enhance the various historical, natural and religious heritage of Far-Western Development Region. The project shall vision a place for cultural value of all territory equally where every individual will have equal access and participation. The project shall be a public space in an urban setting. Thus, the requirements for public space in Nepalese context will be identified. The project will be a place for various cultural performances, exhibitions and displays. A built space for indoor and outdoor activities will be created. The project will be a place for promoting cultural tourism that will ultimately help in the national economy even in a small scale. The project will be a place for learning Far-Western Culture, ongoing issues so that more understanding can be developed in people. The project will be a place for carrying out various researches.
1.7 LIMITATIONS Being a short duration Bachelor level thesis project it may have some limitations as follows: Limited given time for research, Lack of detail study resulting minor deviations in the results,
Pusp Raj Bhatt (067/BAE/226) 8 SUDURPASCHIM CULTURE CENTRE
Site context may have problems due to bye-laws or any other complications in any part of research, planning and design ETC.
1.8 METHODOLOGY
The methodology that will be utilized in this project is initiated with desk research then moved to primary & secondary research methodologies. The following method is adopted for further thesis research.
A. Initiation
a. Definition of Architectural Problem
b. Project introduction and understanding
c. Site selection and analysis
d. Proposal submission
B. Literature Review and Data analysis
a. Data collection: Literature reviews, building standards & Code
b. Existing Scenario survey
c. Project Review and requirement analysis
C. Case Studies and analysis
i) Primary Case Studies
ii) Secondary Case Studies
D. Program Formulation a. Finalization of requirements b. Design Concept c. Site Planning and Zoning d. Design Alternatives
Pusp Raj Bhatt (067/BAE/226) 9 SUDURPASCHIM CULTURE CENTRE
e. Final Design Proposal: Drawing and presentation with models E. Final Design Submission with outcome as a result.
1.9 PROJECT COMPONENTS
Following components shall be incorporated in planning and designing of Sudurpaschim Culture Centre:
Functional Spaces: 1. Temple 2. Exhibition hall 3. Cultural Museum 4. Auditorium hall 5. Conference halls 6. Library 7. Language Training class areas 8. Research department 9. Shops 10. Open public platform and Amphitheatre 11. Party Palace / Food Court 12. Open Spaces for Gathering and Conversations
Serving Spaces:
1. Administration areas 2. Cafeteria 3. Technical rooms 4. Parking 5. Circulation spaces 6. Stores 7. Toilets
Pusp Raj Bhatt (067/BAE/226) 10 SUDURPASCHIM CULTURE CENTRE
CHAPTER – 2
LITERATURE REVIEW
Pusp Raj Bhatt (067/BAE/226) 11 SUDURPASCHIM CULTURE CENTRE
2.0 PROJECT COMPONENTS DESCRIPTIONS
Exhibition space It will have display of different culture, tradition, customs, festivals, occupations, etc. with the medium of collections, artefacts, models, paintings, photographs, AV facility with information written in readable text. The exhibition space will be exterior and interior space to exhibit. In exterior exhibition, space mainly models and objects that are suitable to display in open air and generally events in occasions. In interior exhibition space, will exhibits that are more suitable to display in indoor space with artificial as well as natural light.
Museum The museum is designed to play the, international, national, regional, and the local role. Certainly a large multidisciplinary museum that is located in the regional town centers should have their role Cleary define and may wish to adopt an exhibition policy which enables them to act as a regional center and at the same time integrate the museum to the local community.
Temporary exhibition space This space will be provided for cultural programme of relative group. This is used separately and independently. Also can be rented for exhibitions that will be continuing for certain periods of time.
Cafe At the end of the exhibition space there will be a cafe that will provide cultural related foods, drinks and environment.
Shops In the return route, there will be rows of shop of shops of souvenirs, postcards, toys, CDs, books, replicas of exhibits, objects of decorations, handicrafts, traditional objects that can also be sued now in daily use like tools, musical instruments, etc.
Pusp Raj Bhatt (067/BAE/226) 12 SUDURPASCHIM CULTURE CENTRE
Library Library that contains collections of book, research reports, magazines, articles related with different aspects of different culture.
Research the museum will have a research centre for doing researches on culture, history and all related field of different group.
Conference hall Conference hall will be for conducting conferences, lectures, seminars, films and documentary shows on any related topics.
2.1 Exhibition Space
Exhibition Space has following five functions:
• COLLECT,
• STORE,
• CONSERVE,
• RESEARCH,
• PRESENT
Following are the basic Guidelines for the Exhibition spaces and Museum as:
Site and Location: The site of a museum requires vital considerations, the most important aspect of the site, and the complex as a whole, is to fulfill contemporary requirements with provision for future expansions. Museums should be located in easily accessible areas and not too far from the town center. A German survey throughout the world has shown that the average motorized city dwellers always look for an easily accessible area which is within a radius of 50 km from the city centre. Once the distance exceeds the enthusiasm rapidly declines. The site should also have enough open space which shall give good amount of natural light and ventilation.
Spatial Requirements: For a museum there is no such thing as an ideal space or plan as the type of space required depends entirely upon the type of museum and objects. Every collection has its own conditions, requirements, purpose and problems. Specific
Pusp Raj Bhatt (067/BAE/226) 13 SUDURPASCHIM CULTURE CENTRE
requirements of the collection influences the structure of the building, the form of the exhibition room and its related services, so it is easier to design for an existing collection rather than for future collections. For this reason, a museum should be planned keeping in view the prospects of acquiring artifacts in the future and be flexible and allow future expansion.
The spaces required by a museum can broadly be divided in two categories:
Public Areas: galleries, auditoriums for meetings, films, lectures, and library.
Private or Service Areas: offices of administrative and technical staff, store rooms, workshops, air conditioning plants, electrical plants, preservation laboratory etc. In addition to the public and service spaces there must be provisions for other spaces such as toilets, separate cloak rooms and water rooms for public and staff as well as enough corridors and staircases for circulation.
Public Areas: All those areas where the general public is admitted are public areas, it starts at the entrance, the entrance hall should be large so it can admit large crowds and should lead to the auditorium, library and committee rooms directly through corridors, without having to go through exhibition galleries.
Auditorium: The planning of auditoriums should be done in such a way that they accommodate multiple functions, lectures, cultural performances etc., and have an attached ante-room doubled as a green-room during performances. Sloping floors should be avoided, if possible, so it can also be used for conferences and temporary exhibits.
Library: Libraries require separate stacking and reading areas, and a study area. They can also house other facilities like photographic and print collections along with access to the internet. Reading and study areas require sufficient natural light.
Enquiry and Sales Counter: Enquiry should be located at the entrance hall to provide guidance to the public. Generally a sales counter is located in the vicinity for the purpose of selling museum publications, guidebooks, post-cards etc. But the trend of museum gift shops, which sells more than self-publications, is gaining popularity.
Pusp Raj Bhatt (067/BAE/226) 14 SUDURPASCHIM CULTURE CENTRE
Galleries: Galleries are the most important part of a museum as they are the main objective of a museum. Gallery planning and systematic presentation is a vital issue in the design. The design of spaces in a Gallery, sizes of rooms, ceiling heights etc depend entirely on the type and nature of collection/ objects. Long and narrow galleries are suitable for exhibiting the paintings and the sculptures require tall halls or open courtyards.
Private/ Service Areas: The service areas are the behind the scene areas and are important for the proper functioning of a museum. At least 40% of the total area should be provided for spaces like preservation laboratory, offices for administrative and technical staff, workshops, stores, working spaces etc. All these areas should be well planned and interlinked; they should be properly maintained and kept useable. Too many entrances and exits should be avoided, for security, but a separate entrance to the service areas should be provided accessible from electrical and air-conditioning plant and also connected to the stores so that objects can be directly taken to the store without interfering with the public areas.
OTHER AREAS
Toilets and Cloak Rooms: Separate facilities should be provided for the public and the staff; which should be well equipped and well maintained. The public facilities should be directly accessible from the entrance hall.
Staircases and Corridors: Staircases and Corridors should be wide enough to accommodate a normal crowd, and should not be crowded by displays, although area signs and notice boards should be placed in a limited number. These spaces should have a pleasant atmosphere which can be enhanced using vegetation, they should be well lighted and non-slippery.
AREA STANDARD FOR MUSEUM ARCHITECTURE: – 50% of total built-up area. -8% of total area -15% of total area -8% of total area -8% of total area - 30% of total area
Pusp Raj Bhatt (067/BAE/226) 15 SUDURPASCHIM CULTURE CENTRE
-gallery space ≤ 45% -gallery space ≤40% -25% of total area
STANDARD DESIGN DATA FOR MUSEUM ARCHITECTURE: -5.4m. -24.4m -10m. -5m2 hanging surface to each with artificial lighting in darker space -10m2 areas with Natural lighting. A museum is a medium of mass communication, and is in fact the most important medium as in others mediums such as film, photographs, publications etc only representations of objects are portrayed but in a museum they are present in reality. The required characteristic aspects of a museum are discussed below: CIRCULATION Circulation in a museum is an important aspect not only for ease in conveyance but also to increase the quality of space and the presentation. Circulation in a museum can be seen in two different sectors firstly the circulation and relation of spaces in the entire museum, both public and private areas, and secondly the circulation of visitors in the public areas especially the gallery.
Pusp Raj Bhatt (067/BAE/226) 16 SUDURPASCHIM CULTURE CENTRE
General considerations:
visitors to the galleries.
continuous.
avoided with exhibits in one side.
is not forced to pass the object one has already seen.
move in different speed.
Mass circulation pattern: Clear and economical circulation pattern is preferable in an extensively public complex like museum. Much time should be spent in experiencing the gallery spaces than getting from one gallery to another.
Access and entrance: The pedestrian entry and vehicular entry can be segregated to heighten accentuate the experience of entering into the secluded setting of much importance.
Pusp Raj Bhatt (067/BAE/226) 17 SUDURPASCHIM CULTURE CENTRE
Different circulation patterns A circulation pattern determines the extent to which a visitor would enjoy or get tired during exhibition. Better circuit directs a visitor towards all exhibits as well as provides choices. Some of possible circulation patterns are as follows:
Pusp Raj Bhatt (067/BAE/226) 18 SUDURPASCHIM CULTURE CENTRE
1. Comb circuit: A comb circuit with a central axis offers many alternatives and at the same time correspondents to the classification of museum contents
2. Rectilinear circuit: Found to be most simple and easy of all
3. Twisting circuit: A layout based on the arrangement of rooms around a central atrium with a circulation core at the central.
4. Fan shaped circuit: it provides lot of choices at the same time confuses the visitor.
5. Decentralized circuit: It provides lot of choices to the visitors but can also result in security problems.
6. Chain layout circuit: It represents a sequence of displays units in which each space of individually designed space in terms of contents lighting etc.
7. Intenery layout circuit: often involves the use of ramps or introduce element of surprise.
8. Nest of small cubicles circuit: It is deliberately aims to make a visitor linger. 9. Star shaped circuit: Radiating from its central point, it provides access to sections of more or less equal significant rooms.
10. Spiral circuit: It is led by spiral pathways, connecting to different rooms.
LIGHTING Light has substantial impact on perception of space and upon emotional response of visitors. Lighting is one of the major planning factors guiding the space quality in a museum. It is also a basic element for the expression of a space. There are mainly two lighting options for gallery lighting and they are: natural lighting and artificial lighting.
The amount of light and its quality for galleries have to be considered in relation to contrast, glare, color effects, Color of light, brightness of object and room lighting. Good contrast of brightness is desirable for satisfactory visibility. Eyes can easily focus on a good contrast, but strong contrast is tiring and confusing. Light coming from one direction gives a sharp contrast. It is better to have light from both directions which predominance of light
Pusp Raj Bhatt (067/BAE/226) 19 SUDURPASCHIM CULTURE CENTRE
from one. The object to be seen should be brightest but not glaring. Light, properly controlled at source, can give diffused light avoiding glare. Color tends to change under the influence of light. Blues and greens look brighter in daylight and duller in incandescent light. Sunlight contains a high proportion of these colors. Color of light is most important whatever the source may be. Windows on north side give cold yet uniform light. This light named north light was preferred in old days in the Gallery galleries. Today, direct sunlight diffused by means of diffusing glasses is more favored. Artificial light can be produced by lamps and filters in great variety of colors. The colors useful for Galleries are those blended character which approximate Color mixtures of natural light. This can be done in a simple way. Gallery can be lighted with indirect lighting by using fluorescent lamps gibing approximate Color mixtures and objects on display lighted by mixed daylight by incandescent lamps giving localized floods or spots on the individual objects.
Methods of natural lighting: The basic strategies of natural lighting can be broadly classified into two categories: a. Side lighting b. Top lighting a. Side lighting: The windows in the sidewalls of the gallery provide side lighting. Its strategies rely on apertures located in building’s perimeter walls and it is also dependent upon the orientation of the building. Depending upon the need and use of space these windows may be placed at a high level or normal level. Windows on one side give unilateral light whereas the windows on two sides give bilateral lighting. This type of lighting is preferable for sculptures. However there is a possibility of glare and reflection by use of this lighting which can be difficult to avoid. b. Top lighting: In this system of lighting, the daylight access through roof top apertures. These are not dependent on the orientation of the building façade and are effective for lighting single storey or low-rise building. One of the most prominent examples of the use of skylight is the dome feature used in Islamic architecture. In this type of lighting system, the light is evenly distributed over the floor instead of the wall, where it is needed. This source of light can be effectively used by introducing the diffusing glass or louvers to
Pusp Raj Bhatt (067/BAE/226) 20 SUDURPASCHIM CULTURE CENTRE
reduce the impact of glare. This type of lighting is useful for improved illumination and superior light quality with better color and rendition.
Methods of artificial lighting: Artificial lighting can be used in two ways, direct and indirect lighting. Direct artificial lighting is used for illuminating the objects and falls directly on wall, whereas the indirect lighting is used for room lighting. There are the various modes of direct lighting: 1. Fluorescent light 2. Spot light
Pusp Raj Bhatt (067/BAE/226) 21 SUDURPASCHIM CULTURE CENTRE
3. Louvered lights 4. Trough light 5. Troffer light
General consideration of light The lighting system used must satisfy the functional requirements of the space and type of objects displayed.
illuminance, reflected glare and frame shadows optimally.
ighting must be selected for sensitive materials and should have limited exposure to light.
directional spotlights) to reveal their three-dimensional quality and surface structure.
Difference between day lighting and artificial lighting:
Factors in choosing lighting schemes:
Pusp Raj Bhatt (067/BAE/226) 22 SUDURPASCHIM CULTURE CENTRE
fixture deign, etc.
Pusp Raj Bhatt (067/BAE/226) 23 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 24 SUDURPASCHIM CULTURE CENTRE
Light attic Guidelines for case lighting
incandescent lamps can cause to become too hot. rol light, vent heat, and increase energy efficiency. Use point sources if sparkle is desired (e.g., on jewelry displays).
Pusp Raj Bhatt (067/BAE/226) 25 SUDURPASCHIM CULTURE CENTRE
Shadows and silhouetting A single point source can create strong shadow to emphasize the form of objects. Shadow should be cast on plain background free of visual noise. Silhouetting backlight objects, making the object dark and the back ground bright. Silhouetting can frustrate a viewer attempting to distinguish details in the object and the bright background can be a source of glare.
Pusp Raj Bhatt (067/BAE/226) 26 SUDURPASCHIM CULTURE CENTRE
Background Backgrounds play a very important role in presentation of art objects. Color scheme and texture of the background should be selected keeping in mind the richness, texture and form of objects. Backgrounds should be able to bring out the characteristics of the objects shown against them. Object should be prominent against the background and not the background itself.
Pusp Raj Bhatt (067/BAE/226) 27 SUDURPASCHIM CULTURE CENTRE
Other consideration
maximum space is left vacant.
Pusp Raj Bhatt (067/BAE/226) 28 SUDURPASCHIM CULTURE CENTRE
s also necessary to control noise and vibration in the gallery.
Ventilation For the purpose of ventilation to control the internal environment, but for the physiological and psychological comfort of people natural ventilation is favored. Natural ventilation can be provided in the galleries using high windows on one side and doors or lower windows on the other. But for the welfare of important objects air conditioning needs to be provided.
Display and arrangement The types of displays differ as per the types of objects. All objects in a museum cannot be presented in the same manner, similarly the angle of viewing also varies according to the type of object exhibited. Changing color schemes and designs of props in different galleries can reduce monotony. Some useable features in display are moveable partitions and screens which provide additional wall space. Backgrounds also require attention as they should not be too imposing and should be able to bring out the characteristics of the display. Another important consideration is the display level, all objects cannot be displayed at eyelevel so the levels should be changed according to the object and the available viewing distance. So all objects should be displayed keeping in view the following factors:
Composition: The physical arrangement of objects in relation to each other and the environment influences how the eye reads the exhibition. The composition should accentuate, emphasize and focus attention of the viewers. One should always remember that the objects are more important than the surroundings.
Lighting: The characters of objects are only visible due to the presence of light. Light should always be sufficient but not glaring. The influences and requirements of light in an exhibition have already been discussed before.
Texture: The interplay of textures of objects and the background are very effective in display, rough and smooth, light and heavy, shiny and dull, clear and opaque, loose and tight, are some of the effective combinations. For example jewellery is always displayed on soft silks and velvets; the softness of the background accentuates the hardness of the metal and also matches its richness. Pusp Raj Bhatt (067/BAE/226) 29 SUDURPASCHIM CULTURE CENTRE
Color: Color is another eye appealing factor, like texture the color of the background and the object should complement each other, and the background should enhance the appeal of the display. Utilitarian devices like pedestals, platforms etc. should be in the same color as the background so as to make them identical. Color can also be used for visual effects and illusions for example blues recede to the background, reds and yellows advance in space and neutral colors like grays stay in position and reflect light giving a brighter appearance. Moreover reds and yellows attract the eyes and blues and greens are soothing to the eyes.
Scale: The scale of the object in relation to the space in which it is displayed is an important factor. Smaller objects should be shown in smaller and lower spaces whereas large sculptures etc. require larger and open spaces for display.
FACTORS AFFECTING THE VISITORS Museum visit, in one hand, is a recreational activity, whereas can also be tiring as it requires a lot of concentration and sensitivity, both visually and mentally. There is conflict between the object and visitor, as the latter demands for comfort. Long tiring observation of exhibits can result in mental stress and loss of enthusiasm termed as visitor fatigue. The museum architecture at this point, is to help through solution with spatial organization.
Various factors to be considered for visitor comfort are illustrated as follows:
Comfortable climatic conditions This can be attained through the use of air conditioning, natural ventilation, diffused natural lighting etc.
Interval between exhibits and relaxation A change in environment after certain length of visit may it be through an outdoor space or just a scenic window or even a relaxing seating arrangement can help reduce the exhaustion in visitors .apart from visual diversity, the architecture should also suggest a rhythmic variation of movement, such as slow and fast walking ,sitting down etc.
Pusp Raj Bhatt (067/BAE/226) 30 SUDURPASCHIM CULTURE CENTRE
Visual stimuli Vision plays a vital role in museum visit which means the lighting of the exhibition influences the visitors’ readiness to react and may induce activity of fatigue.
FACTORS AFFECTING THE MUSEUM ENVIRONMENT: Various Factors may come into account in order to maintain the ideal museum environment. Some of major which I look to imitate during the course of design are as follows.
Theme of display: Galleries are accepted by the public as a place where knowledge is presented in palatable manner. So the display of exhibits on splendid chronological order of selected theme is preferred to maintain good museum environment.
Display technique: The arrangement of objects in space or composition in three dimensions, lighting, texture, Color and scale are the main guiding principle for presentation in Galleries with good museum environment that may be either open or close display.
Color scheme: Often preferred monochromatic color scheme with respect to exhibit to maintain good museum environment but may vary to different gallery.
Types of Exhibits: Various exhibits are preferred to draw interest of visitor.
Visitor comfort: Visitor comfort through air conditioning, natural ventilation and proper lighting and planning amenities space at regular interval could add plus point to enhance museum environment.
Recreational area: Allocating recreational area in designed environment could act as refreshing space for visitor which ultimately result good museum environment.
Good Ambience: Good surrounding environment could add ultimately good museum environment.
Lighting: Proper lighting to both exhibits and surrounding space could enhance the museum environment.
Pusp Raj Bhatt (067/BAE/226) 31 SUDURPASCHIM CULTURE CENTRE
Circulation: Functional circulations enhance the museum environment.
Zoning: Proper zoning of required space help to create good museum environment.
2.2 MULTIPURPOSE HALL
Site selection criteria
Organization
room etc.
rehearsal, technical room and etc. at
Toilet for ladies and gents 50 m2/800 seats i. e. 0.0625m2/seat or one toilet per 35 seats
Seating Major part in the design of and auditorium Classification of hall according to number of seats accommodated
– 1500 seats – 900 seats
Basic form of seating 1. Proscenium shape: audience arranged in one direction only 2. Open thrust shape: audience arranged in three direction 3. Arena shape: audience arranged in four direction
Pusp Raj Bhatt (067/BAE/226) 32 SUDURPASCHIM CULTURE CENTRE
Acoustic consideration Acoustic limits: The acoustic characteristics of a space, in simplified terms, are dependent upon the behavior of sound reflection and on the period of reverberation. The period of reverberation must be short for clarity of speech; it is usually preferred longer for music, and longer still for choral singing. It depends manly upon two factors: the amount of sound absorbed and reflected by the surfaces of the auditorium and the volume of the auditorium and stage. Design of reflecting and absorbing surfaces can assist acoustics but there is a limit to the size of a space in which sufficient clarity of unaided speech can be maintained.
Artificial amplification of the sound is possible, but not usually desirable.
Seating rake and layout: The rake of seating is as important for sound as it is for sight. Reinforcement of sound by reflections from the ceiling makes it reasonable to provide a rake rather less steep than in ancient classical open-air theatres which had rakes of 35º or Pusp Raj Bhatt (067/BAE/226) 33 SUDURPASCHIM CULTURE CENTRE
more. However a sight line clearance from one row to the next at any part of the house should never be less than 75 mm and in large theatres 100 mm or more is desirable. If seats are set out on a circular or part circular plan there is risk that the concave surface of the risers may cause focusing of sound.
Size and shape: The smaller the average distance between the audience and the actor the better the acoustical result for normal drama, although for music or musical shows this is not necessarily true. In theatres for up to 200 or 300 people there should be no difficulty, but in larger theatres the acoustic design problems become more intractable. Because of the reduced average distance between stage and audience, open-stage theatres might be acoustically satisfactory with rather larger audience.
Balcony overhangs: In auditoria, for natural sound, as distinct from cinemas, deeply overhung balconies should be avoided. It is best to restrict the depth from the front of the balcony to the rearmost row of seats under it to not more than twice the dimension from the audience head level (say 1150 mm from floor) to the balcony soffit, at the front line of the balcony.
Reverberation will improve acoustic conditions for the audience provided it is neither too much nor too little. Reverberation is directly proportional to the volume of the auditorium and inversely proportional to the amount of absorption in it. Allowing for the fact that common materials such as plaster or wood, however hard, will necessarily have some absorption, it is found that a volume of about 3m³ per audience seat gives just about the right total absorption (audience plus surfaces) to provide a satisfactory reverberation time for ideal speech conditions. This approach to design is satisfactory for up to 300 seats. If about 0.6 m² is taken as the amount of floor area occupied by one person, including some allowance for circulation space, a room height of about 5 m is obtained. If the auditorium is a larger one (say exceeding 200 to 300 seats) the proportions will be poor with such a low ceiling height; a volume exceeding 3m³ per seat therefore becomes unavoidable and it is then necessary to add absorbents to the room surfaces to obtain the optimum reverberation time. Reflectors: When the auditorium is large and the maximum distance to an audience seat is over 18m, ceiling reflectors are a great help. They should be designed so that the reflectors
Pusp Raj Bhatt (067/BAE/226) 34 SUDURPASCHIM CULTURE CENTRE
are a great help. They should be designed so that the reflections are concentrated more on the most distant seats. Materials for reflectors must be smooth and non-porous and should weight not less than 5 kg/ m² for speech only, or 25kg/ m² for music.
The same principle should be applied to an open-stage theatre, but the provision of a reflecting surface which will direct sound back over the actor’s head from wherever he happens to be on the stage, is very difficult to achieve. One complication is that such reflectors will conflict with lighting positions.
Safety: Hazards and safeguards.In the orthodox proscenium type of theatre the greatest hazards are those arising from fire on the stage. The strategy for dealing with an outbreak of fire on the stage is to confine it within four walls of the stage tower and to use the powerful upward draught created by the chimney effect of the tower to draw heat and smoke away from the audience.
Ventilation: Ventilation of the auditorium is designed to maintain a flow of air towards the stage at all times. There should be a system of lobbies to prevent the sudden rush of air through exits from the stage. There is a prohibition on high-level natural ventilation over the gallery which is a complete reversal of earlier requirements. All such compartments like dressing rooms, corridors, property rooms, offices, workshops, stage basements, etc. should be ventilated directly or by individual fire-resisting trunking to the open air.
Stage Floor Material: The material used for stage flooring should be fir resistant and usually of hard wood not less than 32 mm finished thickness. Other properties sought in a boarded floor are that it should not warp or shrink badly as a result of heat or moisture changes.
Methods of changing scenery: The elaboration of the methods of changing scenery depends upon the prospective use of the building. The more frequent the changes of production are likely to be, the more extensive should be the provision of facilities and space for handling scenery. Those that demand less space in plan are more valuable than elaborate machinery. Scenery can be moved in and out of the view of the audience vertically above by using a flying system and vertically below by using lifts. It can be moved horizontally to the sides and rear on movable stage sections or rotated on revolves.
Pusp Raj Bhatt (067/BAE/226) 35 SUDURPASCHIM CULTURE CENTRE
Flying: Vertical movement by means of a flying system has the great advantage that scenery can be moved in or out very quickly and does not take up valuable floor space when it is stored in the fly tower. Even if for various reasons it is not possible to have a fly tower, it is still essential to be able to suspend things over the stage such as stage-lighting equipment, curtains, pelmets, legs and borders. All these can be suspended from tracks or pulley blocks attached to the structure of the roof.
The width of the fly tower itself is determined by adding a further 2m to one side to allow for counterweights and the fly gallery from which they are operated. It is usual to add a further 11/2-2m to the other side of the stage for another gallery.
The minimum internal width of the fly tower should, therefore, be W+8m.
Storage of scenery: Scenic flats need to be stored in pairs, face to face, resting on the bottom rail to prevent warping. Their size depends upon the scale of the stage, but average dimensions would be 1.2 m x 5m. Flats are best stored in packs- the number of flats required for one setting- and racks should be provided for each pack. These racks should be situated in the scenery store adjacent to the stage or workshop or both. It is desirable that the temperature of the store be approximately that of the stage itself.
Construction and repair of scenery requires plenty of space within easy reach of the stage, good working conditions with supplies of gas, water and electricity, and the right conditions for storing timber. All storage should be easily accessible from backstage without going through the auditorium. At the same time, the storage and working space should be separated from the stage by soundproof and fire resisting construction.
Stage lighting
Lighting positions: Proscenium or end stage To meet the demands upon it, the stage-lighting installation must make provision for lighting any part of the stage from as wide a range of angles as possible. There are basic lighting positions which are essential if the performance and setting are to be seen with clarity.
Pusp Raj Bhatt (067/BAE/226) 36 SUDURPASCHIM CULTURE CENTRE
Some light must come from the general direction of the audience. The source need not always be in the auditorium itself; for instance, an actor standing upstage in a proscenium theatre could be lit from the audience direction by using light downstage, but still inside the stage area. When the actor is downstage close to the audience, some lighting positions must be in the auditorium. Spotlights are rarely directed straight at actors, but are usually crossed.
Access to lighting positions over the stages: All lighting positions have to be reached so that individual units can be directed, focused, colour filters changed and the fittings maintained. It is most convenient if the electricians can reach the lanterns from permanent walkways or platforms with room to walk without stooping, but this is not always possible over the stage where hanging space is in great demand.
The lighting control room: The best position for the operator of the lighting control board is in a control room in the auditorium with an observation window allowing him an unrestricted and undistorted view of the stage, wing to wing and floor to borders. The floor level of the auditorium should be arranged so that the operator’s view is not obstructed by any member of the audience standing or sitting in front or by the overhang of the balcony.
The control room houses the lighting console and the operator and needs space for writing the lighting plot, storage and maintenance activity. A space 3 m x 2.4 m should be allowed and it can change as per the size of the equipment. The normal access to the control room should be outside the auditorium and preferably separate from the public areas, but the door direct into the auditorium is desirable for rehearsal. There should be an easy connection from the control room to the stage and dimmer room and any associated data stores without having to go through the auditorium.
The sound control room: The sound control should be situated near to the lighting control room, but it has different requirements and is better separated and sound insulated from it. An interconnecting door has the advantage of rapid communication and in small theatres it may be acceptable to continue the two.
Pusp Raj Bhatt (067/BAE/226) 37 SUDURPASCHIM CULTURE CENTRE
Projection box: Where a film projection is included the question of its relation to the control rooms must be considered. In general it is better for it to be separate and fire precautions may take this essential.
Rehearsal spaces: A rehearsal room is what we shall call a place where the whole company can prepare a drama or opera. A rehearsal studio is the term given to a space for the preparation of dance and ballet productions and, like the rehearsal room, its dimension must be related to the size of the stage upon which the production will eventually appear.
Visual limits: For a performer, there is a limit to the distance at which he can project his performance and hold his audience. This depends partly on his skill and partly upon the eyesight and acuteness of hearing of the audience. For most plays, it is essential that the audience should be close enough to discern facial expressions. The usually accepted maximum is 20 m from the geometrical centre for an open stage or from the setting line of a proscenium stage. For musicals and opera, in which facial expressions are less important, the distance can be increased up to 30 m. If it is necessary most of the time for performers to be seen against a background of special scenery, as in the conventional proscenium theatre, the sight lines and maximum distance from the performer restrict the number of audience it is possible to fit in. The number of people required to be accommodated in the auditorium should not be the sole criterion for selecting the width of proscenium opening.
Pusp Raj Bhatt (067/BAE/226) 38 SUDURPASCHIM CULTURE CENTRE
2.3 Library
Site selection criteria a
Design consideration for library planning
sabled/handicapped users as well
Circulation route > 1.2 m Clear spaces between shelves Min 1.3 – 1.4m Area required 2.5 m2 / reader Room height ≥ 3 m Usable floor area 300 m2/ 10000 books
Space analysis 15 books / ft2 For books
For reader 2.5-3 m2/ reader
Pusp Raj Bhatt (067/BAE/226) 39 SUDURPASCHIM CULTURE CENTRE
For staff 1 staff/ 250 readers 100 sq. ft / staff
For mechanical operation 20% of total floor area
Space Allocation Area m2
Main Entrance Foyer 190
Staff Service Entrance 20
In-Counters 51
Out-Counters 38
Self issue terminals 3/term.
Staff accommodation 53
Librarian’s office 20
Library manager office 13
Delivery Area 16
Interview Area 14
Local Study Workroom 38
Reserve Stacks 155
Security Control Room 17
Sorting Office 63
Staff Room 115
Pusp Raj Bhatt (067/BAE/226) 40 SUDURPASCHIM CULTURE CENTRE
Stock Workroom 127
System Room 38
Other Spaces 200
Pusp Raj Bhatt (067/BAE/226) 41 SUDURPASCHIM CULTURE CENTRE
2.4 Offices
• Reception Area – Reception or information area should be located at the main entrance.
• Waiting Area – It can be accommodated within the reception or can be separated.
• Office Area - 18- 30m2 depending either the condition it is used.
• Staff Room – 7-9m2 per person (individual 10m2 minimum)
• Additional Spaces –
Computer –2m2
Photocopy – 2m2
• File Storage ---
File cabinet –6-8m2 per 1000 files
Box files – 3m2 per 100 files
• Chief and other head of section---18 – 30 m2
• Meeting Hall -- Minimum 30m2 and it should
be located on peace full zone.
• Photocopy Room – 8 - 10m2
• Additional Space – Collecting –2m2, binding –2m2, Lamination 2m2
Pusp Raj Bhatt (067/BAE/226) 42 SUDURPASCHIM CULTURE CENTRE
There are different types of office spaces:
Pusp Raj Bhatt (067/BAE/226) 43 SUDURPASCHIM CULTURE CENTRE
2.5 Language Classrooms
• Arrangement depends on the subject, number of students and teaching method
• Classroom should provide all students with good view of the board
• Space per student for seating in comfort 70 x 65 cm, and on average 60 x 80- 55 x 75 cm. 0.6 m2
• Angle of elevation from the eye to the upper part of the object on the screen or chalkboard should not exceed 30 degree.
1. ASSEMBLY ROOM: Large groups for professional lecture
Space required per student = 1.2 sq. Ft.
2. SMALL ROOM: For seminar, conferences, informal discussions, provided with movable tables and chair. Arm chair may be used.
Space required per student = 1.5 sq. Ft.
Pusp Raj Bhatt (067/BAE/226) 44 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 45 SUDURPASCHIM CULTURE CENTRE
2.6 Temple
1. The GARBAGRIHA or Shrine Room: This consists the object representing the deity, statue. It may be covered by a canopy or the roof of the Garbagriha itself may be in the form of pyramid. There should be an ambulatory called the pradakshina between the statue and the outer wall.
2. The MANDAPA or Pillared Hall: This is the worshippers assemble. They approach the Garbagriha through the antarala which steps up. Prayers are seated upon the floor.
3. The ARDHAMANDAPA or Porch: This is traditionally oriented towards the rising sun, and also is raised above the ground by steps.
Pusp Raj Bhatt (067/BAE/226) 46 SUDURPASCHIM CULTURE CENTRE
2.7 Shops
• A small open-fronted small scale shop is Kiosk, from which newspapers, refreshments, special foods, tickets, etc. are sold.
Pusp Raj Bhatt (067/BAE/226) 47 SUDURPASCHIM CULTURE CENTRE
2.8 Parking
For Ramp: 1:16 to < 1:20,
1:12 to < 1:16, max rise 30” and
max rise 30” and Max horizontal 40’
max horizontal 30’
Pusp Raj Bhatt (067/BAE/226) 48 SUDURPASCHIM CULTURE CENTRE
CHAPTER – 3
CASE STUDIES
Pusp Raj Bhatt (067/BAE/226) 49 SUDURPASCHIM CULTURE CENTRE
3.1 PROPOSED CASE STUDIES AND RESEARCH
National Case Studies:
Nepal Academy Hall
Nepal National Library
The National Museum, Chhauni
Russian Centre for science and culture, Kathmand
Inter - National Case Studies:
Plassen Cultural Center, Norway
Roberto Cantoral Culture Centre A. NATIONAL MUSEUM, CHHAUNI
Chhauni Museum located at the foothills of Swayambhu. It is known by our national museum. The neo- classical Rana palace was rehabilitated as museum. It is the main building of chhauni museum. It also includes, the Juddha Jatiya kalashala which is the first building designed actually for the museum purpose. Besides, it also includes Buddhist Art Gallery, envisaged with Japanese fund in 1997, which is also a building designed to meet the functional requirements of a museum.
Pusp Raj Bhatt (067/BAE/226) 50 SUDURPASCHIM CULTURE CENTRE
One striking feature about the Chhauni museum is the ample of open space it has.
Especially on Fridays, these garden spaces comes into live when the various excursion teams from school, visit the museum. The sight of children playing around the buildings housing historic artifacts actually helped me understand the significance of these museums in our future. Museum houses the pieces of our identity, which is essential for our self- existence, and self-determination.
Brief History The National Museum of Nepal, known as “Nepal Rastriya Sangrahalaya” was established in 1928 A.D. as the Arsenal museum in the historical building, which built in 1819 during the period of the prime minister ship of General Bhimsen Thapa (1806-1837). The initial name of this museum was “Chhauni Silkhana”which laterally means the storehouse of arms. Initially it was open for the guest of the Rana family only. It opens as a public museum in the year 1938 by the Rana Prime Minister Juddha Shumsher JBR. This museum consists of Nepalese history, Natural history, Portraits of Personalities, Ethnology and various fields of Nepalese art objects being the oldest, largest and the only one multipurpose museum of the country. It has important and leading role to play for the development of museum in Nepal. Obviously, it plays the initial role to give the non-formal education for the people.
Location The museum is located at Chhauni on the way to Swayambhu Mahachaitya. It is about 20 minute drives from the city center Hanumandhoka, local transport services are available to visit the museum.
Pusp Raj Bhatt (067/BAE/226) 51 SUDURPASCHIM CULTURE CENTRE
Architectural Expression The museum complex is composed of three building of different style, particularly a mix of Neo classical and Malla Architecture. It is planned around a large central garden, thus having an introvert nature instead of dominating over surrounding. The maintained landscapes add aesthetics and direct circulation into different buildings. The centrally located Buddist art Gallery forms the focal point from the main entrance. With relatively smaller buildings and simple elevation treatment, the complex lack monumentality and consequently mingles with surrounding architecture and environment.
Site Zoning: There are three main buildings which house the exhibits. There is no fixed parking area either for visitor or for the museum authority. The main historic building stands dominating the area and other buildings which were added later are arranged in the site in such a way that a lot of spaces fall in the negative side. the reasons could be that, earlier it may have been designed to serve as an open museum, there are certain
Pusp Raj Bhatt (067/BAE/226) 52 SUDURPASCHIM CULTURE CENTRE
facts which suggests so; like some exhibits are being displayed in the garden , but at this time they have been neglected and no care have been given to such exhibits.
Building: One post Victorian building and the other two, the first building may have been an adaptive use, but remaining two buildings seems to be designed by an architect. The Judha Jatia Sala building is the first building to be designed as a museum building to house the exhibits but the outlook seems to be combination of traditional Nepalese architecture, Post Victorian architecture and a touch of Indian architecture. The third building is done almost in traditional Kathmandu valley architecture with a mix of various traditional elements, such as struts of temple, windows of traditional building, doors of temple etc.
Planning and function The overall building complex is planned in institutional touch which are arrange in two mutually perpendicular directions with respect to the main entry This eases in the orientation of the visitors as all three block are clearly perceivable from the central court, which also directs towards the museum shop, parking and the canteen. The placement of these public zones around the court creates a clear circulation pattern and provides a visitor with choices.
Functionally, the building seems effective in its objective with simple planning and orientation. However there is no segregation of visitor and service entry, creating discomfort at the time of freight circulation. The rest room is placed at the rare end of site, which is not easily approachable. In addition, the museum often fails to provide enough parking spaces for large number of visitors.
Space Allocation details: ric building and the small guard post building of the main building.
Pusp Raj Bhatt (067/BAE/226) 53 SUDURPASCHIM CULTURE CENTRE
There are several other shades constructed to house various function.
reception.
Gallery Sections in the Museum: Historical Museum Gallery: This houses Natural Science, Dolls, Arms Armories, Painting, Philatelic, and Weapons section. Being the oldest, largest and rich collection of National museum of Nepal still could not expose their cultural properties; along this it has diversity of collections of art object and ethnographic artifact.
Juddha Jatiya Kalasala: Stone section, Terracotta section, Painting section, wooden section, Bronze section.
Buddhist Art Galleries: Terai, Kathmandu and Northern Himalayan Section. Up stair are Mandala Section, Displayed in three dimensions with statue, painting and ritual art objects.
Internal layout: As we enter the museum premises, there is no guidance to where the different galleries are.
Building 1: Historic Building As we enter the ground floor of this building, there are two different spaces one housing the administration and other housing the gallery or the exhibit area.
This building is adapted to house the exhibits thus links between galleries is disoriented. One does not know where they are. 1st floor housing exhibits of shah and Rana era has circular circulation, thus one has to go through various other zones to be at one they like.
Building 2: Juddha Jatiya Kalashala
Pusp Raj Bhatt (067/BAE/226) 54 SUDURPASCHIM CULTURE CENTRE
As this building has been designed for exhibition purpose has good linkages within the gallery. Some modern display facilities have been added in this building. It seems that there is more exhibits than the room can hold i.e. they are tightly displayed.
Building 3: Buddhist art gallery In this building which has been designed to exhibit and has the best gallery spaces, has various modern facilities added. This building functions as true museum as far as possible. There is one small A/V area as well as a small lecture hall. All and all it can be said that the taste of people change with time and buildings should also be changed accordingly. The first two building seems to me have not done so but the third one has somewhat tried to fulfill that fact thus is the best exhibition building. Display panels and boxes are good in some areas but needs to be changed in almost all galleries. Some galleries have got modern display boxes too.
Figure 4 GF of Juddha Art Gallery
Pusp Raj Bhatt (067/BAE/226) 55 SUDURPASCHIM CULTURE CENTRE
Circulation: Circulation is effective and easy, as defined by partition and position of exhibits .A twisting circuit takes a visitor to all the exhibits in Juddha Jatiya kalashala, where corridor is the main circulation core providing option to the visitor for different rooms On the other hand the remaining two galleries are guided by simple linear circulation pattern. The Buddhist Art Gallery consists of large gallery space which is effectively interrupted by exhibits and partition to define circuit but allowing view at the same time. The defect in the Museum is the lack of seating where a visitor can relax for a while it makes the whole journey tiresome and strenuous.
Pusp Raj Bhatt (067/BAE/226) 56 SUDURPASCHIM CULTURE CENTRE
Lighting: There is both natural as well as artificial lighting, it seems the natural lighting is used improperly; direct solar radiation falls on the exhibits is so many areas. Artificial lighting system is not so good compared to what it should be. Fluorescent lighting is used for the purpose of object lighting. In some areas spot lights have been used but in almost in all areas the lighting level too low. Use of same lighting for both room lighting as well as object lighting seems to me the biggest fault. But Modern display boxes have got good artificial lighting system.
Display Techniques: Typical line-up technique can be seen for the display of the objects. The show case is designed for a number of similar types of objects. Sometimes, low height partition wall or a display board stand up to hold an object of interest.
Firefighting system: Fire extinguishers are used for firefighting purpose but they are not checked timely. So no one can say will the work properly if fire caught the building.
Security system: There is no modern security system, only security is provided by the museum staff, which are placed at the corner of the hall but in some cases they does not exists. Only security system is that they don’t allow taking your bags inside and staff are briefly checked when they come out of the museum premises.
Conclusion Despite so many problems national museum consists so many collection that museum itself glimpses the entire country. The museum because of lack of proper space it is working as the store house for the national treasures.
Pusp Raj Bhatt (067/BAE/226) 57 SUDURPASCHIM CULTURE CENTRE
B. NEPAL NATIONAL LIBRARY
Location: Harihar Bhawan, Lalitpur
Established: 1957 (2013 B.S.)
Size of Building: Ground Floor of Harhar Bhawan Building
Staff: 9 PEOPLE
No. Of readers: 150- 200 People / Day
Style: Neo-classical style
• 7’-4” corridor serves as a passage way into different sections
• Each section with office and book stacking
• Reading spaces in corridors
• Singular floor
• Natural lighting used: lower illumination in few spaces
• Skylight used
• Congested shelving
• 5’ shelf height
• Chair height: 1’
• Natural lighting
• Office space included inside the building.
Pusp Raj Bhatt (067/BAE/226) 58 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 59 SUDURPASCHIM CULTURE CENTRE
C. NATIONAL ACADEMY HALL, KAMALADI Royal Nepal Academy at Kamladi was built in 1971. It is the first theatre built considering the theatrical activities. The academy complex houses an auditorium, administrative buildings and a publication. The main auditorium building comprises of a theatre, library, multipurpose hall, seminar hall, and offices.
Site Planning
Entrance
There are 4 entrances to the complex. The southern gate is used as main entrance. The northern gate is used as entry to the administration and also serves as a service entry to the premises.
Other two gates at the East and West are also used as secondary entrances. In some occasions like funeral procession of dignitaries, the two gates are opened, used separately for Entry and Exit, serve effectively for continuous flow of people.
Parking
Parking for more than 100 cars is provided in the complex. To add to these, closed garages are provided to accommodate seven cars. But the parking seems to be planned incorrectly since it can only be conveniently AUDITORIUM BUILDING used by administrative staffs
and is placed very far from the main entry to be used by visitors and audience during functions in the complex.
Pusp Raj Bhatt (067/BAE/226) 60 SUDURPASCHIM CULTURE CENTRE
Building Configuration
Massive central building accommodates auditorium, library, multipurpose hall, seminar hall, and administrative offices. Whereas, other administrative staffs of the academy are provided with
offices in a courtyard type introvert building. Main Administration of the complex is housed in a two-storeyed central building inside the courtyard.
ADMINISTRATION BLOCK
Circulation
Connections to all buildings in the site are provided through metalled roads. There are no pedestrians defined as such. These connections just reflect the symmetrical planning of the main auditorium building, which has created confusion to the entrances to the building; though vehicular traffic to all parts of the complex is made convenient through such approach.
Pusp Raj Bhatt (067/BAE/226) 61 SUDURPASCHIM CULTURE CENTRE
Auditorium
Pusp Raj Bhatt (067/BAE/226) 62 SUDURPASCHIM CULTURE CENTRE
Foyer and Lounge
Foyers are provided in two levels i.e. for both lower level seating and balcony.
Total Foyer space = 0.4 m2 per seat
VIP Lounge is also included which is directly connected to foyer and the seating.
Seating
No. of seats in lower level = 800
No. of seats n Balcony = 400
Total seats = 1200 (appx.)
Fan shaped seating arrangement is followed in the auditorium.
Pusp Raj Bhatt (067/BAE/226) 63 SUDURPASCHIM CULTURE CENTRE
3.2.2.2 Stage and spaces connected to it :
PLAN OF THE STAGE
Adequate sized stage is provided with proper green room and backstage alley.
Size of stage = 12m x 12m (appx.)
Stage height = 10m (appx.)
Orchestra pit is provided but it is not properly used, the space is currently used for sound controls. The height of stage tower provides for adequate technical support for vertical arrangement of sceneries, curtain, and lighting provision for stage, but the facility is not used properly.
BACKSTAGE STORE ALLEY
STAGE ORCHESTRA PIT
SEATS REHEARSAL
CUM HALL GREEN MAKE-UP
ROOM CHANGINGS
Pusp Raj Bhatt (067/BAE/226) 64 SUDURPASCHIM CULTURE CENTRE
Relation of Stage with other Spaces
Service spaces
a. Toilets
No. of urinals = 1 unit per 60 seats
No. of Ladies / Gents W.C. = 1 unit per 100 seats (appx.)
No. of W.C. provided for performers and technicians = 8 units
b. Orchestra Pit
A 3m wide orchestra pit provided 1.5m below the stage level is not used for its purpose but serves well for sound controls.
c. Stores
Stores are provided in two levels, one besides the stage and other at the basement level below the stage. Store at Stage level is about double the size of the stage space while store or a hall below the stage is left vacant.
d. A.C. room and Electrical Panel Board
Central A.C. and room for Electrical Panel Board are provided in the semi-basement below the VIP lounge.
Area of the room = 50 m2 (appx.)
A.C. room is provided with direct access from outside for heavy vehicles.
e. Staircase and Lift
Two stair cases of 2 m width each serve the building for public flow to upper floors. An elevator of capacity about 4 people is used only by administrative staffs.
There are no provisions made for emergency escape. Two spiral staircases connect the offices at upper floors directly to the stage area but they aren’t used in any occasion.
Pusp Raj Bhatt (067/BAE/226) 65 SUDURPASCHIM CULTURE CENTRE
Inferences
The stage area seems to be designed very consciously since it is equipped with all facilities for theatrical functions.
The technical aspects of the auditorium are well thought for. However, many considerations should have been made architecturally while designing such a massive building.
Overall planning of the complex doesn’t seem relevant after studying accesses, circulation and, parking.
D. RUSSIAN CULTURE CENTRE The study aims for understanding the functioning of venue for cultural exchange, functions performed here and formal spaces procured to contain the various events.
GENERAL INFORMATION History: Established in 1979 as a library, 1991-shift to current location Location: Kamal Pokhari, Kathmandu Site context: Mixed use, residential and commercial Ownership: Russian Embassy Objective: Cultural exchange between Nepal and Russia Activities: Diplomatic meetings, exhibitions, cultural programs, film festivals, workshops, language classes etc Facilities: Membership to Library, Workshops, Language classes The Russian Centre is a multifunctional building with different functions being integrated into the single entity. It was built with the purpose of exchanging cultural amenities between Nepal and Russia. This building consists of a variety of functional spaces such as office spaces, an auditorium, conference hall, exhibition space etc. Apart from the main block the site also includes a technical room at the western side and a guard house at the entrance. The surrounding built environment is of mix type with residential, commercial building on its surrounding premises.
Pusp Raj Bhatt (067/BAE/226) 66 SUDURPASCHIM CULTURE CENTRE
PROJECT COMPONENTS Exhibition Space (foyer) Auditorium (939 sq.m, 191 seats) Conference Hall (84 sq.m, 50 seats) Library (151 sq.m) Language class rooms Office spaces Guard House and other service areas Landscape
Architectural Expression Brick exposed and slope roof at entrance evoking Nepalese architectural character
windows
ent levels add more interest in overall composition. Accessibility and approach
-east corner
Planning and functions hall distributed around central entrance foyer cum exhibition space y and control, though no visual restriction sometimes.
Pusp Raj Bhatt (067/BAE/226) 67 SUDURPASCHIM CULTURE CENTRE
Entrance Hall The entrance hall is a double height sky lit foyer which serves as a foyer, exhibition space and spill out area for the auditorium. The central circular skylight and the other source of natural lighting punctures in the roof create an interesting and vibrating interior environment. All the functional spaces are arranged around this central foyer space.
Exhibition Space The central entrance foyer and the wide corridor on the first floor are used as an exhibition space. The admittance of sufficient natural lighting and the feeling of openness make the exhibition space lively.
Conference hall The conference hall of Russian Culture is a 50 seated audio-visual hall. The total area of this hall is 84 sq.m (10.5m X 8m). The area has the capacity of 1.68 m2/person. The conference hall is double height with proper acoustical treatment on wall floor and ceiling. There is also a good provision of fire exits and AC system.
Auditorium esigned for performing cultural program and for showing documentaries but not used for theatrical performances. is fan shaped and the seats are arranged in a slightly curvilinear pattern. all one with 191 seating capacity. ovision of fire escape and fire hydrants are used for fire safety. mechanical ventilation.
-6” and height being 1’-2”. -10”. -6”. with green rooms and store.
Pusp Raj Bhatt (067/BAE/226) 68 SUDURPASCHIM CULTURE CENTRE
arate foyer for the auditorium. Acoustical Treatment r, walls and ceiling – carpeted - ceramic tiles used as a sound reflector up to the height of 1.2m the gap beneath which are layer of wire mesh and glass wool - undulating surface with reflective surface f perforated gypsum board on the ceiling as well as on the wall of stage for sound absorption
Upper Gallery It is a 3m wide corridor used as a gallery space which is also used for exhibition purposes.
Pusp Raj Bhatt (067/BAE/226) 69 SUDURPASCHIM CULTURE CENTRE
Library
ruction to the reading spaces fsets in plan and also there is space for group reading.
Pusp Raj Bhatt (067/BAE/226) 70 SUDURPASCHIM CULTURE CENTRE
Office Spaces It is located on the ground and first floors. There is provision of back entries to offices in the ground floor.
Circulation
pattern with multiple entry and exits.
functions, main entry leading to entrance foyer, side entry to classrooms and also back entry to office spaces. There is a common entrance foyer i.e. no separate foyer for the auditorium.
Space Analysis
taircase to the auditorium: 2m
Lighting
interior space
Pusp Raj Bhatt (067/BAE/226) 71 SUDURPASCHIM CULTURE CENTRE
Inferences
public in nature
functions
E. JOENSUU LIBRARY, FINLAND
Location: Joensuu, Finland Completion: 1992 Size of building: Gross floor area: 5715 m. Sq. Volume: 26,500 m. Cu. Staff: 35 people No. of readers: 2,500 – 3,000 People / Day Stucture: Concrete, Soapstone, Metal saltwork grid Architects: Tuomo Siitonen and Partners
• Designed on a “library town” principle. • Originated into four blocks by “interior streets.” • At an intersection of streets, is the public café and news paper reading zone. • Staircase rises from the mian street traversing the building. • The rectangular volume of the building of the building has been geometrically and structurally sub-divided with fittings into open squares and low shelving blocks. • One of the two squares contains the lending office, while the other is conceived as an oasis with artwork and pools • The squares are sky lighted • The sloping ceilings over the shelving blocks act as reflectors. • Part of the light for the reading rooms comes through the opal glass ceiling.
Pusp Raj Bhatt (067/BAE/226) 72 SUDURPASCHIM CULTURE CENTRE
F. PLASSEN CULTURE CENTRE The case is a suitable example of cultural centre consisting of almost all necessary functional activities and designed with consideration. So, it helps to understand more about the purpose of cultural centre and spaces that are required.
General Information
Objective: To provide flexible social hub, to promote jazz culture
etc
Pusp Raj Bhatt (067/BAE/226) 73 SUDURPASCHIM CULTURE CENTRE
Architectural expression:
space, large glass windows
Folding architecture rough shape and design, increase of overall usable space
'There must be room for celebration in this building, both inside, on top of it and around it.' Competition head Jon Ammundsen Project components, functions and planning Roof plan: Stairs for seating, exhibition, sunbathing, sculptor garden, outdoor performances Ground floor plan: Information area, Jazz museum, library, workshop, cafe, concert hall First floor plan: Exhibition, library, rehearsal area Second floor plan: Library, gallery space
Pusp Raj Bhatt (067/BAE/226) 74 SUDURPASCHIM CULTURE CENTRE
GROUND FLOOR PLAN
ROOF FLOOR PLAN
Pusp Raj Bhatt (067/BAE/226) 75 SUDURPASCHIM CULTURE CENTRE
FIRST FLOOR PLAN
SECOND FLOOR PLAN
Pusp Raj Bhatt (067/BAE/226) 76 SUDURPASCHIM CULTURE CENTRE
Inferences
to local context, both cultural context and site context
G. ROBERTO CANTORAL CULTURE CENTRE
General Information
Architects: Broissin Architects Location: Coyoacán México DF, Mexico Project Year: 2012 Project Area: 9,287 sqm Acoustic: Omar Saad, George Augspurger Structural Engineer: Armando Serralde Surface Area: 17,679 sqm
Pusp Raj Bhatt (067/BAE/226) 77 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 78 SUDURPASCHIM CULTURE CENTRE
CHAPTER – 4
SITE STUDIES
Pusp Raj Bhatt (067/BAE/226) 79 SUDURPASCHIM CULTURE CENTRE
1.1 SITE LOCATION AND INTRODUCTION
The site will be in Kathmandu valley as per the goal of the project to fulfil the objectives. The site is proposed to be in the area of maximum population from Far-Western Cultural Group. 38,525 Square meter which is almost 75-11-02-02 Ropani. The territories of the site lies in middle of Bagdol Institutional Zone, Lalitpur.
1.2 SITE INFORMATION
Site Area: 38,525m2 (75-11-2-2)
Location: Baghdol, Lalitpur
Latitude: 27°40’15” N, Longitude: 85°17’55” E
Site surroundings: elevated landform amidst open areas giving a landmark potential to the site.
North : Open land nearby and residential zone
South : Baghdol Residential Area and Bagmati River
East : Baghdol Residental Area
Pusp Raj Bhatt (067/BAE/226) 80 SUDURPASCHIM CULTURE CENTRE
West : Open Playground Nearby and Bagmati River / Chobhar Hill
Ownership: GON, Department of Water Supply and Sewerage
Topography: Flat land surrounded by 5m. high road embankment
Vegetation : Grass and Bushes
Hydrology : Water fills during rain and Dry in other seasons
Shape : Trapezoidal in shape
Visibility : Excellently Clear
Access : 320m displacement and 550m road length from Ring road
Circulation: The site is surrounded all sides by 4m Road
Dimensions: 210m, 195m, 117m, 106m, 150m as in figure
Status: Currently Unused but Land Acquainted by GON in 2034
Services: Basic services like electricity, water supply, telecommunication, drainage are present nearby.
Wind Direction: North-West to South-East
Pusp Raj Bhatt (067/BAE/226) 81 SUDURPASCHIM CULTURE CENTRE
Strength
• Accessibility – Surrounded by roads in all sides.
• Depressed landform strongly defined by road embankments.
• High Visibility and nearby River
Weakness
• Inside core residential area and outside the Ring Road
• Site for Sewerage Transplant proposed 36 yrs. back but failed
Opportunities
• Potentials for future expansion
• Area being a new development
Threat
• Site for Sewerage Transplant proposed 36 yrs. back but failed
• Rain water fills during rainy season needs proper outlet
Pusp Raj Bhatt (067/BAE/226) 82 SUDURPASCHIM CULTURE CENTRE
NETWORK
- Road width 4m access to the road
- Access from ring road
- Water supply accessible to the site
- Transmission line access to the site
- Facility for the sewerage line
- Clear Vistas to the Bagmati River to Chobhar Hills
Pusp Raj Bhatt (067/BAE/226) 83 SUDURPASCHIM CULTURE CENTRE
BYE-LAWS
• Institutional Zone
• Min open space in front is 12m and other sides is 6m
• Permissible Floor Area Ratio – 2.50
• Permissible Ground Coverage – 50%
• Min. Parking Space 20% of site
Pusp Raj Bhatt (067/BAE/226) 84 SUDURPASCHIM CULTURE CENTRE
Different Networks:
River Network (Site in circle)
Pusp Raj Bhatt (067/BAE/226) 85 SUDURPASCHIM CULTURE CENTRE
CHAPTER – 5
PROGRAM FORMULATIONS
Pusp Raj Bhatt (067/BAE/226) 86 SUDURPASCHIM CULTURE CENTRE
5.1 THE PROGRAM FORMULATIONS
Pusp Raj Bhatt (067/BAE/226) 87 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 88 SUDURPASCHIM CULTURE CENTRE
CHAPTER – 6
DESIGN DEVELOPMENT
Pusp Raj Bhatt (067/BAE/226) 89 SUDURPASCHIM CULTURE CENTRE
6.1 THE PROJECT Purpose: Culture is the part of our human life which is existed with their own language, religious activities, history, dance, songs, festivals etc. To protect and developed Far- western culture by making it into the Kathmandu valley, this project was proposed. Target group for the culture centre are the more than 0.5 million people residing in Kathmandu valley from Far-western region temporarily and permanently, who immensely need a dedicated place to celebrate their all type of cultural activities, festivals etc. Though targeted for the group from Far-western, the space can be used by other groups for their celebrations in the Auditorium hall, Open Exhibition Space, Gathering space for mass of people etc.
Outcome: It will help to safely transfer Far-Western Culture not based on any ethnicity or race of any special kind of people but comprehensively of a region which is full of historic essence, full of festivals of happiness, specific language etc. from one generation to another generation by different ways. Which also makes easier to research the related field for researcher. A gathering place for people will systematically bring together people from all around. 6.2 THE CONCEPT - The very famous Deuda Dance is played in the Far-Western Region which is taken for the basic concept development for the project, - People form a circle, hand joined to hands, which is as in the fig. 1 below graphically (plan and elevational form),
Fig. 1
Pusp Raj Bhatt (067/BAE/226) 90 SUDURPASCHIM CULTURE CENTRE
- A single person of the dancing circular ring is taken which is graphically as in fig. 2 from fig.1, - The dancing body figure is gradually changed to the plan form of the project clearly as in the diagram below:
Fig. 2
Pusp Raj Bhatt (067/BAE/226) 91 SUDURPASCHIM CULTURE CENTRE
Pusp Raj Bhatt (067/BAE/226) 92 SUDURPASCHIM CULTURE CENTRE
6.3 THE COMPONENT FUNCTIONALITY
Entry: The site is accessed from the East direction mainly with one back entry on south of the site,
Parking: Parking is achieved on the left side of the main entry. For maximum 1000 people at a time, there is 336 Bike parking is provided for and 60 Car parking.
Temple: A symbolic representation of Hindu temple, which is provided before entering to the main block. Many festivals like Gaura on Krishnajanamastami etc. need essentially the temple, placed on the right side just after entering to the site.
Dewal: A traditional Shikhara shape Dewal structure nearby the temple on the North part of the site. Dewal is not initially visible immediate after the parking to symbolize the hidden history of these Architecturally valuable monuments of the Far-western but a wide entry to the temple and dewal gives an essence of fragrance with interesting landscapes. Entrance to the Main Buildign welcomes with double height entry opening to the wide open lobby with Big open area Basically aimed for the mass gathering during the festivals. Any type of Stage performances are also made possible at west side of the planning.
Administrative Building: On arrival to the lobby there is a double height reception cum waiting space provided for the visitors. Along with the reception on the right side, Administrative building is provided.
Academic Block: An academic block is just placed on the side of administrative building, clearly no disturbance during classes is assured making separate but incorporated.
Pusp Raj Bhatt (067/BAE/226) 93 SUDURPASCHIM CULTURE CENTRE
Museum Block: Museum block is the main attractive space provided with Open Exhibition area and Indoor Exhibition area meant to display Historically important samples from the far western. Indoor space is the permanent display space where as Outdoor exhibition shall contain Human Scale samples for certain time to time.
Auditorium and Lobby: As we enter to the main block, a lobby welcomes on the left side which is the waiting space for the Auditorium hall. The vertical circulation from the lobby leads to the Auditorium hall. 300 Seats are provided in the auditorium hall with exits on the lower part of the auditorium which leads to the Parking area from one side and to the eating area from another side.
Cafeteria Space: Indoor and outdoor eating area is provided along with the Auditorium hall. The back entry serves for any necessary materials to transport to the kitchen and store area of the cafeteria.
Multipurpose Hall: A multipurpose hall is provided on the top of the common toilets and open area. The open space for the multipurpose opens to the top of cafeteria.
Library: Library is provided with reading area separated on the top of the Administrative block. Which serves for the research, historic studies of cultural values from Far-Western.
Exhibition Hall: An exhibition hall is provided on the top after the museum hall.
Pusp Raj Bhatt (067/BAE/226) 94 SUDURPASCHIM CULTURE CENTRE
BIBLIOGRAPHY STANDARDS • Joseph de Chiara & John Callender (1987, 2nd edition). Time Saver Standards for Building
Types, International edition, ISBN: 0-07-099076-X
• Ernst and peter Neufert (3rd edition), Architects’ Data
THESIS REPORTS:
- Culture Centre at Mahendranagar (Krishan Datta Bhatta)
- Dipak Shrestha, Prithivi Culture Centre (2002)
- Anand Manandhar, (2014)
- Surendra Kumar Syangbo, The Regional Museum of Culture (2014)
BOOKS:
- Paschim Nepal Ko Khas Adhirajya, (Dr. Suryamani Adhikari)
- Far-West in Nepal, Namaste Sudurpaschim (Rajendra Thapa)
- Khas Samrajyako Itihaas / Baise Rajya Ko Itihas (Dr. Suryamani Adhikari)
- Nepal Ka Khas Jaati (Dr. Bipin Adhikari)
- Dor Bdr. Bistha, People of Nepal
- Nepal antiquary, series no. 1, people of Nepal, Nov. 1980
- Nepalka Jatiya Sanskar-(2070 part one), edited by: Pro. Dr. Pream Khatri. Nepal pragya prtisthan.
ISBN no. 978-9937-589-13-0
WEBSITES:
http://www.greatbuildings.com/
http://www.google.com/
http://www.wikipedia.com/
Pusp Raj Bhatt (067/BAE/226)
DRAWINGS
SUDURPASCHIM CULTURE CENTRE INTRODUCTION Thesis Final Presentation
SUDURPASCHIM (FAR-WESTERN) is one of the five development Tangible Culture Intangible Culture regions of Nepal with rich cultural values also known as non also termed as material Culture 'Culture is the whole complex of distinctive spiritual, material, material Culture intellectual and emotional features that characterize a society or a Art, Architecture, Structures, Social norms and values, social group. It includes not only arts and letters, but also modes Sculptures, Costumes, Dance, Rules, Belief, of life, the fundamental rights of the human being, value systems, Ornaments Festivals, Superstitions as traditions and beliefs' - World Conference on Cultural Policies (Mexico, 1982) negative culture CULTURE is the refined understanding or appreciation of arts and LANGUAGE • Developing as a other manifestations of human intellectual achievement regarded Regional Cultural collectively / the customs, ideas and social behavior of a particular Heritage Promotion people or people group (Concise Oxford Advanced Dictionary - 11th edition ) Festivals SOCIETY and Protection CULTURE Centre. • For 0.5million people residing in Valley from Far- OUTLOOK ECONOMY Western. BACKGROUND and HISTORY Historically Doti Kingdom Niranjan Malla First Ruler of Doti Kingdom (around 1200 AD) Prithivi Pati Shahi Last Ruler of Doti Kingdom (1790) Study of a Culture developed during the reign of Malla and Shahi Kings with significant value TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE Thesis Final Presentation HISTORY FUNCTIONAL SERVING TOTAL COMPONENTS SPACES COVERAGE OBJECTIVES : Museum FUNCTIONAL COMPONENTS:COMPONENTS: Auditorium 1.TEMPLE PROVIDE SPACE TO CELEBRATE Research Library 2.DEWAL Shops Public PROTECT AND PROMOTE CULTURE 3.EXHIBITIONEXHIBITION HALL Language Places Main 4.CULTURALCULTURAL MUSEUM Classes RESEARCH AND STUDY OF THE HISTORY Foyer 5.AUDITORIUMAUDITORIUM HALL Food Court SOCIAL AND ECONOMIC VIABILITY 6.SEMINAR HALLS Conference Temple 7.LIBRARY EXHIBITION, MUSEUM AND RECREATION Exhibitions 8.LANGUAGELANGUAGE CLASSES Dewal 9.RESEARCH LIBRARY A Far-Western Cultural Centre is a multicultural space where sharing of own culture and hearing of other’s culture 10.CAFÉ / FOOD COURT will take place. 11.SHOPS Bubble Diagram of Functional Components A space will be used for the Protection and Promotion of the Far- 12.OPENOPEN PUBLIC PLATFORM Western regional culture with PRACTISE. 13.OPENOPEN SPACES FOR GATHERING & CONVERSATION The Practicing People are those who are willing to celebrate and SERVING SPACES CHALLANGES missing those moments being away from the celebrations in the 1.ADMINISTRATION AREAS DIVERSITY Far-Western. 2.CAFETERIA A learning platform for the Tourists by experiencing and 3.TECHNICAL ROOMS revitalization by the people in the era of TECHNOLOGY and 4.PARKING SITE GLOBALIZATION. 5.CIRCULATION SPACES 6.STORES TARGET GROUP METHODOLOGY 7.TOILETS
SITE PROGRAM INITIATION LITERATURE CASE STUDY DESIGN ANALYSIS & CONCEPT
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE LITERATURE Thesis Final Presentation
AUDITORIUM & MULTIPURPOSE EXHIBITION HALL & MUSIUM STANDARDS Five functions MUSEUM TYPE DISPLAY STORAGE of the museum: (% Ground Floor Area) • COLLECT, National 35 29 • STORE, • CONSERVE, Local authority 57 25 • RESEARCH, Independent 58 12 • PRESENT All museums 53 19 Recommended lighting levels (lux) Different Types of Exhibits: • Office: 300 ambient, 500 task • Demonstration theatre: seating area 300 • Demonstration area 600 • Exhibition hall: 500/300/100 • Workshop: 200/500/750 a MULTI PURPOSE HALL: • Circulation areas 200 c A large space accommodation for use by the • Shop 600 b office for training, meeting, seminar, orientation etc. • Toilets 150 Volume: 4-5 cu m/person AUDITORIUM HALL: 2 a = Hanging/Wall mounted Height: min 5.5m clearance Green Room: 3.4 m /p b = Free Standing 2 Minimum size: 16.5 X 9 sq.m. Laundry & Repair: 20 m c = Contained Spaces Stage: min 10m X 5.5m sq.m. Make Up Room: 10 m2/p Singer Practice: 15 m2 Dance Practice: 1000 m2 Wig Store: 5-10 m2 Offices: 10 m2 / Office Observation: 4 m2 Platform: 0.75m for 300 <_ 0.6- ON 0.15m 0"0”: SLOPESTEPS UP TO 12% capacity in average
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE LITERATURE Thesis Final Presentation
LIBRARY STANDARDS RESTAURANT STANDARDS Dining area Walkway width Upto 100m2 1.10m Upto 250m2 1.30m Upto 500m2 1.65m 2 Circulation > 1.2 m Space Allocation Area m2 Upto 1000m 1.80m 2 route Main Entrance Foyer 190 Over 1000m 2.10m Clear spaces Min 1.3 – 1.4m Staff Service Entrance 20 between In-Counters 51 Restaurant Kitchen spaces are taken as: Out-Counters 38 shelves • 1.60-2.10 sq.m./person up to capacity 2 Area 2.5 m / reader Self issue terminals 3/term. 100 required Staff accommodation 53 • 1.50-2.0 sq.m./person up to capacity 250 Room height ≥ 3 m Librarian’s office 20 • 1.30-1.80 sq.m./person more than Usable floor 300 m2/ 10000 books Library manager office 13 capacity 250 1 sq.m. to 1.3 sq.m. is allocated per area Delivery Area 16 person in dinning area Space Interview Area 14 One sixth of dinning area should be 2 analysis 15 books / ft Local Study Workroom 38 allocated to kitchen For books Reserve Stacks 155 Tables Seats Waiter Self Service For reader 2.5-3 m2/ reader Security Control Room 17 Service sq.m./seat For staff 1 staff/ 250 readers Sorting Office 63 sq.m./seat 100 sq. ft / staff Staff Room 115 Square 4 1.25 1.25 For 20% of total floor Stock Workroom 127 Rectangular 4 1.10 1.20 mechanical area System Room 38 Rectangular 6 1.05 1.10 operation Other Spaces 200 Rectangular 8 1.05 1.05 TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE LITERATURE Thesis Final Presentation
ADMINISTRATIVE OFFICES LANGUAGE CLASS ROOMS • Reception Area – Reception or information area should be located at the main entrance. • Waiting Area – It can be accommodated within the reception or can be separated. • Office Area - 18- 30m2 depending either the condition it is used. • Staff Room – 7-9m2 per person (individual 10m2 minimum) 2.5 sq.m. • Additional Spaces – There are different Class Room Distance Ratio &Layout Computer –2m2 types of office spaces: Photocopy – 2m2 • File Storage --- File cabinet –6-8m2 per 1000 files Box files – 3m2 per 100 files 2 • Chief and other head of section---18 – 30 m Language Lab Layout • Meeting Hall -- Minimum 30m2 and it should be located on peace full zone. • Arrangement depends on the subject, number of students and • Photocopy Room – 8 - 10m2 teaching method • Additional Space – Collecting –2m2, binding –2m2, Lamination 2m2 • Classroom should provide all students with good view of the board 500 • Space per student for seating in comfort 70 x 65 cm, and on average 60 x 80- 55 x 75 cm. 0.6 m2 • Angle of elevation from the eye to the upper part of the object on the screen or chalkboard should not exceed 30 degree.
1. ASSEMBLY ROOM: Large groups for professional lecture Space required per student = 1.2 sq. Ft.
2. SMALL ROOM: For seminar, conferences, informal discussions, provided with movable tables and chair. Arm chair may be used. Space required per student = 1.5 sq. Ft. TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE LITERATURE Thesis Final Presentation SMALL SHOPS & KIOSKS TEMPLE • A small open-fronted small scale shop is PARKING STANDARDS Kiosk, from which newspapers, 1. The GARBAGRIHA or Shrine Room: This refreshments, special foods, tickets, etc. consists the object representing the are sold. deity, statue. It may be covered by a canopy or the roof of the Garbagriha itself may be in the form of pyramid. There should be an ambulatory called the pradakshina between the statue and the outer wall. Bread Display 2. The MANDAPA or Pillared Hall: This is For Ramp: the worshippers assemble. They 1:12 to < 1:16, max rise 30” and approach the Garbagriha through the max horizontal 30’ antarala which steps up. Prayers are 1:16 to < 1:20, max rise 30” and seated upon the floor. Max horizontal 40’ 3. The ARDHAMANDAPA or Porch: This is traditionally oriented towards the rising sun, and also is raised above the ground Preferable Small Shop Width 5m. by steps.
Temple Schematic Plan Temple Longitudinal Section
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation RUSSIAN CULTURE CENTRE • It is a multifunctional building. • The purpose of exchanging cultural • History: Established in 1979 as amenities between Nepal and Russia. a library, 1991- shift to current • mix type surrounding premises with location residential, commercial etc. • Location: Kamal Pokhari, Kathmandu S.N. DESCRIPTION DIMENTION 1. CAPACITY 200 • Site context: Mixed use, 2. AREA OF AUDITORIUM 939m2 residential and commercial 3. DEPTH OF AUDITORIUM 16.2m Location: Kamal Pokhari, Kathmandu, Nepal • Ownership: Russian Embassy 4. STAGE 17.75*14.4m Objective: Cultural exchange 5. NO. OF SEATING ROWS 10 between Nepal and Russia 6. WIDTH OF STEPS 3’6” • Activities: Diplomatic 7. HEIGHT OF STEP 1’2” meetings, exhibitions, cultural 8. DISTANCE OF FIRST ROW 7’10” 9. WIDTH OF GANGWAY 3’6” programs, film festivals, 10. RISER HEIGHT 7” Landscape workshops, language classes S.N. DESCRIPTION DIMENTION etc Facilities: Membership to 1. ENTRANCE POYER 10*14m Library, Workshops, Language 2. UPPER GALLERY 3m classes 3. CIRCULATION CORRIDOR 1.5m 4. STAIRCASE TO AUDIOTORIUM 2m PROJECT COMPONENTS 5. FLOATING STAIRS TO OFFICE 1m • Exhibition Space (foyer) 6. CONFERENCE HALL 10.5*8m Office Spaces • Auditorium (939 sq.m, 191 7. LIBRARY (5000-6000) 2000 members seats)
Space Analysis: • Conference Hall (84 sq.m, 50 . Entrance foyer: 10x14m seats) . Corridor width varies according to services • Library (151 sq.m) . Upper floor corridor: 3m • Language class rooms . Circulation corridor: 1.5m • Office spaces . Staircase to the auditorium: 2m • Guard House and other . Staircase to the office: 1m Library service areas. TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6,, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation NATIONAL MUSEUM, CHHAUNI
• The National Museum of Nepal, known as “Nepal Rastriya Sangrahalaya” was established in 1928 A.D. • Built in 1819 during the period of the prime minister ship of General Bhimsen Thapa (1806-1837). • Location: Chhauni, Kathmandu on the way to Swayambhu Mahachaitya. • Architectural Expression: The museum complex is composed of three building of different style, particularly a mix of Neo classical and Malla Architecture.
Buddhist Art Gallery
Zoning of National Museum Ground Floor Plan First Floor Plan Judda Art Gallery Judda Art Gallery Judda Art Gallery Area: 1,3. Metal Works – 76 m² • Space Allocation details: 2. Store – 33 m² No fixed space for administration; 4. Terracotta Work Display– 44 m² Museum laboratory does not exist. 5. Woodwork Display – 34 m² Small space has been provided for museum canteen is near the 6. Circulation Core – 45 m² entrance gate. 7. Painting Display – 49 m² Museum shop is located at the guard house. 8. Stone Sculpture Display – 49 m² Toilets have been placed at the end of the site to the south. 9. Sculpture Display Area– 42 m² Historical Building
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6,, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation NEPAL ACADEMY HALL, KAMALADI
SITE PLAN • LOCATION: Kamaladi, Kathmandu SPACE CALCULATIONS • COMPLETION: 2027 B.S. Basement Below Stage Area – 90 m² • ARCHITECTURAL INTENTION: For the FIRST FLOOR PLAN Orchestra Room Area – 25 m² promotion of language, literature, culture, GROUND FLOOR PLAN Musical Organ Room – 35 m² philosophy and social sciences. Basement Room Area – 110 m² • First theatre of nepal Book Store Area – 65 m² INFERENCES Main Foyer Area – 170 m² • Use of natural Gents Green Room area – 35 m² and artificial Girls Green Room Area – 35 m² lightings in General Office Area – 55 m² proper place. Stage Area – 30 m² • Selection of proper Orchestra Pit – 20 m² Relation of Stage and other Spaces Lounge – 40 m² material for Sitting Area – 90 m² acoustic First Floor Foyer – 110 m² Auditorium Building treatment Royal Guest Room – 40 m² • Plantation Toilets – 30 m² and water Seminar Hall – 90 m² body to OAT – 90 m² (500 capacity) reduce noise Library – 18 m² (100 capacity) and to control Plan of the Stage Parking for 300 Vehicles Administrative Building microclimate. TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation
JOENSUU LIBRARY, FINLAND NEPAL NATIONAL LIBRARY, NEPAL Location: Joensuuoensuu, FFinlandinland • Location: Harihar Bhawan , LLalitpuralitpur Completion: 1992 • Established: 1957 (2013 B.S.) Size of building: • Size of Building: Ground Floor of Gross floor area: 5715 m. Sq. Harhar Bhawan Building Volume: 26,500 m. Cu. • Staff: 9 PEOPLE Staff: 35 people • No. Of readers: 150- 200 People / Day No. of readers: 2,500 – 3,000 People / Day Sky Light • Style: Neo-classical style Stucture: Concrete, Soapstone, Metal saltwork grid Public café & • 7’-4” corridor serves as a passage way into Architects: Tuomo Siitonen and Partners paper reading zone. different sections • Designed on a “library town” • Each section with office and book stacking principle. • Reading spaces in corridors • Originated into four blocks by • Singular floor “interior streets.” • Natural lighting used: lower • At an intersection of streets, is illumination in few spaces the public café and news paper • Skylight used reading zone. • Congested shelving • Staircase rises from the mian street traversing the building. • The rectangular volume of the building of the building has been geometrically and structurally • The squares are sky lighted sub-divided with fittings into • The sloping ceilings over open squares and low shelving the shelving blocks act as • 5’ shelf height blocks. reflectors. • Chair height: 1’ • One of the two squares contains • Part of the light for the • Natural lighting the lending office, while the reading rooms comes • Office space included other is conceived as an oasis through the opal glass inside the building. with artwork and pools ceiling. TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation PLASSEN CULTURE CENTRE General Information • Population of The Norwegian city • Location: Molde, Norway. of Molde has just 25,000, but • Site context: City centre, Gervell square every July 1,00,000 people take • Objective: To provide flexible social hub, part in the activities in Plassen to promote jazz culture Culture Centre. • Activities: Jazz festival (100,000 • In designing the city’s new cultural visitors), display, performances, exhibitions, center, the challenge faced by 3XN library etc. was to create a building that was • Project area: 5800 sq.m. flexible and robust enough to • Contractor: Brødrende Røsand AS provide a framework for cultural • Engineer: Norconsult AS Location: Molde, Norway life on both scales. • Landscape: Molde Municipality
ELEVATION 1
AUDITORIUM Discussion platform
ELEVATION 2 FIRST FLOOR PLAN SECOND FLOOR PLAN ELEVATION 4 1. Performance – 92 m2 8. Shop – 310 m2 15. Toilets – 20 m2 2. Workshop – 110 m2 9. Café+Info – 170 m2 16. Adult Library – 370 m2 3. Jazz Museum – 130 m2 10. Offices – 266 m2 17. Mirror Pool – 120 m2 GROUND FLOOR PLAN 4. Main Stage – 280 m2 11. Main Stage – 280 m2 18. Sitting – 380 m2 5. Library – 200 m2 12. Gallery – 82 m2 19. Office – 264 m2 6. Youth Section – 90 m2 13. Multipurpose – 276 m2 20. Child Library – 336 m2 7. Offices – 220 m2 14. Ex. Stairs – 65 m2 21. Exhibition Hall - 100 m2 LIBRARY ELEVATION 3 TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE CASE STUDY Thesis Final Presentation Roberto Cantoral Cultural Centre
General Information Architects: Broissin Architects Location: Coyoacán México DF, Mexico Auditorium Hall Circulation Project Year: 2012 Project Area: 9,287 sqm Acoustic: Omar Saad, George Augspurger Structural Engineer: Armando Serralde Surface Area: 17,679 sqm Location: Coyoacán México DF, Mexico Sectional Elevation
GFP FFP SFP Basement FP 1. VIP I Area – 15 m² 2. VIP II Area – 15 m² 9. Upper Harrow I Area – 100 m² 16. Record Studio – 10 m² 22. Stage Production – 22 m² 3. Lower Harrow – 100 m² 10. Balcony I Area – 20 m² 17. Control Room I – 12 m² 23. Main Dressing – 12 m² 4. King’s Row I Area – 25 m² 11. Balcony II Area – 25 m² 18. Coffee Room – 12 m² 24. Dressing Room I – 15 m² 5. Lower Choir – 25 m² 12. Upper Choir I Area – 35 m² 19. Chairman’s Meeting – 20 m² 25. General Dressing I – 20 m² 6. King’s Row II Area – 20 m² 13. Lobby Area – 35 m² 20. Waiting Room – 15 m² 26. General Dressing II – 30 m² 7. Operational Office – 130 m² 14. Lunch Counter Area – 50 m² 21. Chairman’s Office – 12 m² 27. Dressing Room II – 30 m² 8. Office Area – 60 m² 15. Office Area – 30 m²
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE SITE ANALYSIS Thesis Final Presentation Site Location: Bagdol, Lalitpur
SITE HERE R I N G R SITE INFORMATION O A Site Area: 38,525m2 (75-11-2-2) D Location: Baghdol, Lalitpur Latitude: 27°40’15” N, Longitude: 85°17’55” E PR SUN PATH Site surroundings : elevated landform amidst open areasOP giving SALL a landmark potential to the site OS AGH Strength North : Open land nearby and residential zone ED ARI • Accessibility – Surrounded by roads in all sides. South : Baghdol Residential Area and Bagmati River SIT HILL East : Baghdol Residental Area E • Depressed landform strongly West : Open Playground Nearby and Bagmati River / Chobhar Hill defined by road embankments. Ownership: GON, Department of Water Supply and Sewerage • High Visibility and nearby River Topography: Flat land surrounded by 5m. high road embankment Weakness Vegetation : Grass and Bushes • Inside core residential area Hydrology : Water fills during rain and Dry in other seasons and outside the Ring Road Shape : Trapezoidal in shape Visibility : Excellently Clear • Site for Sewerage Transplant Present Site Condition Access : 320m displacement and 550m road length from Ring road proposed 36 yrs. back but failed Circulation: The site is surrounded all sides by 4m Road Opportunities Dimensions: 210m, 195m, 117m, 106m, 150m as in figure • Potentials for future expansion Status: Currently Unused but Land Acquainted by GON in 2034 • Area being a new development Services : Basic services like electricity , water supply , Threat Road Embankment at Site telecommunication , drainage are present nearby. • Site for Sewerage Transplant proposed 36 yrs. back but failed Wind Direction: North-West to South-East • Rain water fills during rainy season needs proper outlet TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE SITE ANALYSIS Thesis Final Presentation 30 NETWORK 25 SITE MAP °C) - Road width 4m access to the road 20 - Access from ring road 15 N - Water supply accessible to the site 10 - Transmission line access to the site 5 Temperature ( Temperature - Facility for the sewerage line 0 - Clear Vistas to the Bagmati River jan oct feb nov dec aug jan apr sept july mar may to Chobhar Hills june 30 300 Average Temperature (°C) Graph of Site Precipitation(mm) 25 250 20 200 15 150 10 100 5 50PR OP Average Rainfall days Rainfall Average 0 0 SAL BYE-LAWS OS • Institutional Zone jan oct LAG feb nov dec aug jan apr sept july mar may june ED • Min open space in front is 12m and Average Rainfall (mm Graph) HA RISI other sides is 6m HILTE Road Network (Site in circle) • Permissible Floor Area Ratio – 2.50 L • Permissible Ground Coverage – 50% Institutional Zoning (Site in circle) • Min. Parking Space 20% of site 12.5 Moderate Breeze 1018
10 ) Gentle Breeze
mb 1015 7.5 5 Light Breeze 1013 Light Air 2.5 ( Pressure 1010 Calm
Wind Speed and (mph) Gust 0 River Network (Site in circle) 1008 15 Day Wind Speed and Gust (mph) 15 Day Pressure Chart (mb))
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE COMPARATIVE ANALYSIS Thesis Final Presentation QUANTITATIVE ANALYSIS S.N. Description Russian Cultural S.N. Description Roberto Cantoral Centre S.N. Description Plassen Cultural Centre Cultural Centre 1. Country Nepal 1. Country Norway 1. Country Mexico 2. Location Kamalpokhari 2. Location Molde 2. Location Coyoacán 3. Capacity 200 3. Capacity 300 3. Capacity 300 4. User Nepalese / Russian 4. User Mix Use 4. User Mixed Use 5. Area 939 m² 5. Area 5800 m² 5. Area 9287 m² 6. Depth of Auditoria 16.2m 6. Performance 92 m² 6. VIP Area 30 m² 2 7. Stage Size 255 m2 7. Stage Size 280 m 7. Lower Sitting Area 100 m² 2 8. No of Seating Rows 10 8. Seating Area 380 m 8. Upper Seating Area 20 m² 2 9. Establishment 1979 9. Performance 92 m 9. Lobby Area 35 m² 2 10. Step Width 1.40 m 10. Workshop 110 m 10. Café Area 50 m² 2 11. Step Width 0.45 m 11. Jazz Museum 130 m 11. Record Studio 10 m² 2 12. First Row Dist. 3 m 12. Youth Section 90 m 12. Control Room 12 m² 2 2 13. Dist. Of Gangway 1.40 m 13. Offices 220 m 13. Offices 220 m 2 14. Riser Height 0.02 m 14. Shop 310 m 14. Chairman’s Office 12 m² 2 15. Entrance Foyer Size 10 m x 14 m 15. Café + Info 170 m 15. Waiting Room 15 m² 2 16. Upper Gallery 3 m 16. Offices 266 m 16. Stage production 22 m² 2 Area 17. Circulation Corridor 1.5 m 17. Gallery 82 m 2 17. Main Dressing Area 12 m² 18. Staircase to 2 m 18. Multipurpose 276 m Auditoria 19. Toilets 20 m2 18. Dressing Room I 15 m² 2 19. Floating Stairs to 1 m 20. Mirror Pool 120 m2 19. General Dressing 20 m Room I office 21. Child Library 336 m2 20. General Dressing 30 m² 20. Conference Hall 10.5 m x 8m 22. Adult Library 370 m2 Room II 21. Library for 2000 220 m² 23. Exhibition Hall 100 m2 21. Dressing Room II 30 m² members 24. Ex. Stairs 65 m2
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE PROGRAM FORMULATION Thesis Final Presentation PROGRAM FORMULATION
S.N. Components Area in m² S.N. Components Area in m² 1. Parking 3610 24. Museum toilets 90 2. Temple 100 25. Museum Store 125 3. Dewal 130 26. Circulation Covered 3850 4. Entrance Lobby 755 27. Internal Lobby 200 5. Foyer 270 28. Open Gathering Space 3800 6. Auditorium 850 29. Exhibition Area 2175 7. Public Toilets 190 30. Library Reading / Books 640 8. Shops 95 31. Library Control 50 9. Multipurpose Hall 460 32. Book Issue Area 50 10. Cafeteria Eating Area 700 33. Book Landing Area 45 11. Café Bar 40 34. Library Toilets 30 12. Outdoor Eating Area 570 35. Multipurpose Hall 460 13. Kitchen Store 80 36. Multipurpose Store 40 14. Kitchen Preparation 110 37. Auditorium Store 50 15. Kitchen Toilet 11 38. Auditorium Control 25 16. Kitchen Changing Room 11 39. Total Vertical Circulation 300 17. Reception Cum Waiting 135 40. Academic Office 50 18. Office Toilets 60 41. Academic Toilets 60 19. Office Account Admin 65 42. Museum Hall 1190 20. Offices 270 43 Open Display Area 1200 21. Office Head with PA 85 44. Guard house 60 Area Total Site Area = 36750 Sqm (72R-3A) 22. Classes 260 Built Up Area = 15107 Sqm (29R-11A) 23. Academic Meeting 40 Ground Coverage = 31.24 % (11482 sqm) FAR = 2.5 TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 CONCEPT SUDURPASCHIM CULTURE CENTRE Thesis Final Presentation DEVELOPMENT SUDURPASCHIM CULTURE RESIDENTIAL ARCHITECTURE Few Physical components FORM - The rectangular plan and rectangular elevation generates a cuboidal elongated shape with sloping roof. ROOF – Sloped Roof Stairs – External and External Stairs Bardali Typical House Khalo BhinDi Typical Temple 1.Materials of residence architecture of Kanauli far western Oochhi A.Stone phalyaNi B.Wood Putalo C.Slates for roofing toDa D.White coating (kamero tarchhine) E.Red coating (raato maato tarchhine) Gaura Festivall Temple Typical Water Spot Called Naulo
Dewal Architecture
Typical Door Foundation of Deuda Dance residential building
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6,, 2015 F I N A L
T H DEUDA DANCE GRAPHYCALLY REPRESENTING THE DEUDA GRAPHICAL ELEVATION OF DEUDA DANCE E DANCE FORM - IT IS PLAYED IN A CIRCLE S I S
P R E DEVELOPMENT PHASE UNIT TAKEN OUT OF A RING S E N PRELIMINARY PLAN T A X T ROAD I O N
Y Y
2
0 X 1 FINAL PLAN 3 DIMENSIONAL VIEWS TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT CONCEPT DEVELOPMENT PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 18 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: NA DATE: 6 OCTOBER 2015 ROAD F I N 16 A 12 L
LEGENDS T 10 9 15 1 ENTRANCE 9 H 2 PARKING 13 E 3 LOBBY / RECEPTION 11 4 FOYER S 5 AUDITORIUM HALL I 6 PUBLIC TOILETS 7 CAFETERIA 14 S 8 OPEN SPACE (KHALO) 9 INTERNAL MUSEUM SPACE P 10 OUTDOOR MUSEUM SPACE 3 11 SEMI-OPEN LOUNGE 1 R 12 EDUCATIONAL BLOCK 8 E 13 ADMIN BLOCK 14 GUARD HOUSE S 15 TEMPLE 16 DEWAL E 44 N T 2 A 66 T 7 I 5 O N
2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT MASTER PLAN PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 1 19 DEPARTMENT OF ARCHITECTURE SUDURPASCHIM CULTURE CENTRE SCALE: 32"=1'-0" DATE: October 6, 2015 X Z F ROAD I N A L 12 16
T LEGENDS 10 15 H 1 ENTRANCE 9 2 PARKING 13 E 3 LOBBY / RECEPTION 11 S 4 FOYER I 5 AUDITORIUM HALL 6 PUBLIC TOILETS S 7 CAFETERIA 3 14 8 OPEN SPACE (KHALO) 9 INTERNAL MUSEUM SPACE P 10 OUTDOOR MUSEUM SPACE R 11 SEMI-OPEN LOUNGE 8 1 12 EDUCATIONAL BLOCK E 13 ADMIN BLOCK S 14 GUARD HOUSE 15 TEMPLE E 16 DEWAL N 4 2 T Y 7 6 Y A T 5 I O N
2 0 1 5 X Z TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT SITE PLAN PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 1 20 DEPARTMENT OF ARCHITECTURE SUDURPASCHIM CULTURE CENTRE SCALE: 32"=1'-0" DATE: October 6, 2015 F I X X N A L
T H E S I S
P R E S E N
T Y Y Y Y A T I O
N X X
2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT PLANS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 1 21 DEPARTMENT OF ARCHITECTURE SUDURPASCHIM CULTURE CENTRE SCALE: 32"=1'-0" DATE: October 6, 2015 F I N A L
T H E S I S
P R E S E N T A T I O N
2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT BLOW UP PLANS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 22 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/16"=1'-0"DATE: OCTOBER 6, 2015 F I N A L
T H E S I S
P R E S E N T A T I O N
2 0 ELEVATIONS OF (MUSEUM, CLASSES, OFFICE) & (EXHIBITION, LIBRARY) BLOW UPS 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT ELEVATIONS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 23 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/16"=1'-0" DATE: October 6, 2015 F I N A L
T H E S I S
P R E S E N T A T I O N
2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT BLOW UP PLANS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 24 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/16"=1'-0"DATE: OCTOBER 6, 2015 F I N A L
T H E S I S
P R E S E N T A T I O N
2 0 ELEVATIONS OF (CAFETERIA, AUDITORIUM, TOILETS, MULTIPURPOSE) ) BLOW UPS 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT ELEVATIONS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 25 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/16"=1'-0" DATE: OCTOBER 6, 2015 OPEN EATING MULTIPURPOSE AUDITORIUM F TEMPLE GUARD HOUSE I N A L
T EXHIBITION HALL H LIBRARY E GUARD HOUSE MUSEUM OFFICE S DEWAL I S
P R E S EDUCATIONAL OUTDOOR EXHIBITION RECEPTION AUDITORIUM E CAFETERIA N T A T I
O LIBRARY FOYER LOBBY & TEMPORARY DISPLAY RECEPTION CLASSES N CAFETERIA AUDITORIUM
2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT SITE ELEVATIONS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 26 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/24"=1'-0" DATE: OCTOBER 6, 2015 F
I MULTIPURPOSE HALL N RECEPTION CLASS ROOM ENTRANCE LOBBY A TOP LVL +39 L TOILET DOUBLE HEIGHT LVL +27 FIRST FLOOR LVL +15 PLINTH LVL +3 ROAD LVL ±0 T H SECTION AT X-X E S I S OUTDOOR EATING CAFETERIA LOBBY MULTIPURPOSE LOBBY
TOP ROOF LVL +33 P ROOF LVL +27 R FIRST FLOOR LVL +15 PLINTH LVL +3 E ROAD LVL ±0 S SECTION AT Y-Y E N T A
T TEMPLE AUDITORIUM STAGE SEPTIC TANK RECEPTION FOYER DEWAL I ENTRANCE LOBBY TOP LVL +39 O DOUBLE HEIGHT LVL +27 FIRST FLOOR LVL +15
N PLINTH LVL +3 ROAD LVL ±0
SEPTIC LVL -13' SECTION AT Z-Z 2 0 1 TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT SECTIONS PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK 27 DEPARTMENT OF ARCHITECTURE ROLL NO: 067/BAE/226 SUDURPASCHIM CULTURE CENTRE SCALE: 1/24"=1'-0" DATE: OCTOBER 6, 2015 F I N A L
T H E S I S
P R E S E N T A T I O N
R 1'0" 2'0" 2 0 1 2'0" TRIBHUVAN UNIVERSITY THESIS SUPERVISOR: 5 INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT STRUCTURAL PLAN PROF. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 1 28 DEPARTMENT OF ARCHITECTURE SUDURPASCHIM CULTURE CENTRE SCALE: 32"=1'-0" DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE 3D’s Thesis Final Presentation
Exterior of Au itoriu Ha l Aeria View from East Exterior View
View from Cafeteria View from Entry Lobby Aeria View of C u tya d
Aeria View from North Aeria View S uth-East
TRIBHUVAN UNIVERSITY INSTITUTE OF ENGINEERING NAME: PUSP RAJ BHATT THESIS SUPERVISOR: CHECKED BY: DEPARTMENT OF ARCHITECTURE Prof. SUMAN NANDAN BAIDYA CENTRAL CAMPUS, PULCHOWK ROLL NO: 067/BAE/226 DATE: October 6, 2015 SUDURPASCHIM CULTURE CENTRE
ANNEX
Model Photos
SUDURPASCHIM CULTURE CENTRE
SUDURPASCHIM CULTURE CENTRE