Introduction
Need Identification
Hypothesis
Aim and Objectives
Research Methodology
Scope and Limitations
[1]
'Building Art is a synthesis of life in materialised form. We should try to bring it under the
same hat and not in a splintered way of thinking, but all in harmony together.'
-Alvar Alto
1.1
INTRODUCTION
Architecture is the art of creating coherent spaces both covered as well as open. According
to William C. Ellis1, traditionally, open spaces appear to have been carved out of solid
masses of buildings forming structures of open spaces while in modern architecture, the
buildings are placed on large open lands forming a structure of solids. The Built
Environment is defined as, ' a material, spatial and cultural product of human labour that
combines physical elements and energy in forms for living, working and playing is called
Built Environment'. There is a third kind of space which is known as the semi-covered or
semi-open space. They help in avoiding an abrupt transition from the open to the built.
According to Architect Sarabjit Singh Bahga3 'for a gradual transition from covered to open
spaces, semi-covered/semi-enclosed spaces in the form of verandahs, roof-overhangs,
canopies or pergolas may be designed to decrease the degree of abruptness of change.'
The Oxford Dictionary defines Dichotomy as 'a division or contrast between two things that
are represented as being opposed or entirely different'. Some examples of dichotomies that
exist in nature are Day and Night, Black and White, Human and Nature, Figure and Ground,
Yin and Yang, etc.
[2]
Similarly, open and built (in architecture) is also a dichotomy because both the kinds of
spaces are completely contrasting in nature to each other but are also complementary to
each other and cannot function properly in the absence of each other. A recent research on
the significance of Built-Open Relationship states that 'The character of open spaces, to a
large extent, is dictated by the building masses surrounding them. The character of the
building masses can get enhanced or subdued by the open spaces.' [Ar. Ashima Saxena and
Dr. Ashutosh Sharma,2013]2.
Right from the Greek Agora to the Roman Forum to the great historical places and piazzas of
the Medieval and Renaissance period, till the making of many new capitals of modern era
such Edwin Lutyens New Delhi, Pierre Charles LEnfants Washington DC or Oscar Nieymers
Brasilia it has been the relationship between the open spaces and the surrounding buildings
which have been the benchmark of architectural accomplishments. The intimacy and quality
of relationship between the covered and open spaces is the key to good architecture. Thus,
the relationship between the Open and the Built should be of utmost priority to the
designer.
1.2
NEED IDENTIFICATION
For centuries, man has built his dwelling in harmony with the open space and the open
space was the focus of the entire settlement. It is kind of a given that we should apply
design strategies, principles and ideas to all kinds of spaces viz. open, semi-open and built.
But in a many cases today it is seen that a lot of effort and resources go in the designing of
[3]
the building as in the built mass and the open space is treated just as a left over towards the
end. Some of the examples where such a situation can be clearly seen are :A. DLF The Pinnacle, Gurgaon
The Pinnacle is a group of luxurious high-rise residential towers by DLF in Gurgaon. These
towers ensure high-end comfort for the occupants indoors but when it comes to outdoors
we have a large chunk of green open space to whose design the architect did not do
complete justice. The form, texture, function and various other design strategies that have
been applied to design the built space have not been paid much heed to in case of the open
space. And hence the open does not compliment the built. The author feels that in case of
high rise residential towers like Pinnacle, to promote the use of open spaces by the people
and to enhance the built and open relationship, the open spaces must not be restricted only
to the ground level. The open spaces must be taken to different levels in the buildings in the
form of terrace gardens, bridges, etc so that people find it easier to access these as they are
in the vicinity and also it breaks the verticality of the large standalone towers.
[4]
In a nutshell, the void or the unbuilt in architecture is equally important as the solid or the
built. Moreover the users of the space live both indoors as well as outdoors. Therefore, it is
of utmost importance to the designer to give equal level of importance to the design of
both built and open spaces and achieve a perfect balance and harmony between the spaces
or in other words 'Optimal Space Design'4.
1.3
HYPOTHESIS
The extensive design of open spaces is crucial to define the relationship between the built
and the open spaces of any building complex in order to harmonise the dichotomy and
[5]
make open spaces comfortable enough for them to be appropriately utilized and to be able
to leave an indelible impact on the users minds.
1.4
The aim of this research paper is to have an in depth knowledge of this dichotomy between
the built and the open spaces.
The objectives of this research paper are as follows:
To study the importance of open spaces in the built environment and how the built
and open spaces complement each other rather than working as separate entities
altogether.
To analyse the role of building bye laws in governing the design of open spaces.
To examine the different types of built and open relationships at different level of
detailing and scaling.
To study live examples of spaces where this relationship between the built and open
is splendidly and seamlessly achieved.
To derive conclusions for Optimal Space Design in the present context where both
open and built complement each other and are in perfect balance and harmony.
1.5
RESEARCH METHODOLOGY
Correlating all the data from the online study, readings and conclusions from case
studies to suggest guidelines for optimal space design.
[6]
1.6
The study shall be limited to the city level and building level . The study shall only briefly
focus on the historic evaluation of open-built relationship and the building bye-laws. Not all
the bye laws regarding open spaces will be discussed as a part of this research paper. The
conclusions derived from the research may not be applicable in all kinds of settlements and
building typologies as it is only restricted to Delhi and other parts of India with a similar
climate. The research paper enumerates only the active open spaces and not the passive
open spaces. The research paper will only list down the various theories of proportioning
system and not focus on them in detail The conclusions derived after the research should
not be considered as standards. They are just suggestions for optimal space design which
can be applied by the designers as per their own discretion.
[7]
[8]
CHAPTER 2
OBSERVATIONS FROM THE PAST
Residences
Places of Learning
Places of Worship
[9]
'To provide meaningful architecture is not to parody history but to articulate it.'
- Daniel Libeskind
Learnings from the architecture of the past often help us in shaping a better future.
Understanding the relationship between the open and the built in the past, how it used to
work under different parameters can help us establish a balance between the two (open
and built) in the present and also the future. This chapter will focus on studying a few
typologies of the past where open space was the core or heart of the designed space and
the open-built dichotomy was impressive.
The typologies are :
Residences
Places of Learning
Places of Worship
2.1 RESIDENCES
Most of the houses in Old Delhi or Shahjahanabad before 1857 had a peculiar courtyard
typology and were called Havelis which were filled with nobles and members of the royal
court. Haveli is the term used for a private mansion in India usually the one with historical
significance. The Havelis were usually single or double storeyed and were either painted or
stone carved. The Havelis of Shahajanabad apart from using chowks and their elements as
the perfect architectural response to the citys diverse culture and climate also used the
courtyard that would define the perfect spatial organization of those times.
The hierarchy and complexity of spaces and activities with the haveli made it behave more
like a muhalla or community living. Due to social norms of a joint family system, large
houses were built, introvert in character i.e looking inwards facing the courtyard.
[10]
Courtyard planning also helped to keep the interior private, but the need to separate men
and women required more complicated arrangements. Where possible, women were kept
to their own inner part of the house, the zenana. This might be a rear courtyard, or an
upper floor. High walls, with pierced screens (jalis), for air and limited views, helped
maintain privacy, along with the careful use of bamboo blinds (chiks) and curtains (pardas).
The courtyard had a very important implication on the gender bias that existed in those
times.
Fig 2.2: Ground Floor Plan (Left) and First Floor Plan (Right) of a traditional Haveli "A" in Shahajanabad.
[Source: Research Paper on Havelis of Shahjahanabad]
Fig 2.3: Transverse Section (Left) and Longitudinal Section (Right) of a traditional Haveli "A" in Shahajanabad.
[Source: Research Paper on Havelis of Shahjahanabad]
In old traditional residences, the courtyard was the focal point of the house around which
the entire built was structured. Reynolds (2002) refers to courtyards as, ' special places
[11]
that are outside yet almost inside, open to sky, usually in contact with the earth, and
surrounded by rooms'. Most, if not all, rooms of the house had a direct connection with the
courtyard. Courtyards served privacy purposes where they maximized interior relationships
and openness while keeping the outside separate. Courtyards can be square, rectangular,
round or amorphous, generated by placement of rooms or buildings around it.
Fig 2.4: Photographs showing the shaded courtyard of a traditional Haveli in Shahajanabad.
[Source: Chandni Chowk - a history of Old Delhi, Patrick Horton]
In hot arid climates such houses provide a greater measure of comfort. The courtyards
supply light and cool air to the rooms around it. Air circulation within this confined space
relies largely on the proportions of the surrounding walls and positioning of window
openings in the surrounding rooms. Breeze and shading in the courtyard help in creating
comfortable living conditions during day and sleeping conditions during night. Courtyards
have been generally referred to as a microclimate modifier in the house due to their ability
to mitigate high temperatures, channel breezes and adjust the degree of humidity. The
properties of self-shading and thermal lag is used to reduce heat gain in courtyard houses by
using the right proportions and building materials.
[12]
Apart from the various spatial and climatic benefits, the courtyard also plays a vital role in
the various socio-cultural and religious activities. The courtyard is the core of the house,
where different functions can take place during different parts of the day. This outdoor
room can be used as an extension of the kitchen during mornings or as an extension of the
living room during evenings to entertain guests. The court acts also as a space for
interaction for all family members. Women and those serving the household performed
everyday activities in the courtyard and the verandahs wrapping it, while on summer nights
they would pull beds into the courtyard to sleep under the cool sky. The design of the
courtyard was symbolic of the familys social status, lifestyle, wealth, art and cultural
inclinations.
Most Hindu courtyards are distinguished by the placement of a Tulsi (basil) plant which is
watered and worshipped. The most universal religious application of the open courtyard is
perhaps congregation for religious festivals.
The relation of open space in a residence is functional utility. The open space is accessible
through a transition of verandah around which is a semi covered space. The activities of
house spill from rooms to verandah to courtyard depending upon the climate, nature of
activity and time of the day. One can see that the open space complements to the built and
is well related with openings and transition spaces.
[13]
[14]
Fig 2.6: Left - The open courtyard Madrasa type (al-Sultan Qalawun Madrasa in Cairo), Right - The roofed or
domed courtyard Madrasa type (al-Sultan Inal Madrasa in Cairo)
[Source: Reproduced by authors from Organization of Islamic Capitals and Cities 1990]
The exterior layouts of these Madrasas respected the shape of the site they were
constructed on. Thus, the ground floor plans of these Madrasas were mostly irregular in
shape. Most of the interior spaces were oriented towards the Qibla direction (the prayer
or Mecca direction).
The most common prototype of the early madrasas is the four-Iwan plan. An example of this
prototype can be seen in the Mustansriyya Madrasa in Baghdad. In this prototype, the four
Iwans (South-Eastern Iwan or Qibla Iwan, North-Western Iwan, South-Western Iwan, and
North-Eastern Iwan) surround the central courtyard. The other spaces were located on the
sides. In addition to each Iwan, facilities for many functions have been designed: a
residential unit for the sheikh (teacher), small units for students, small court, sabil (free
water fountain), minaret (tower), the tomb for the patron of the madrasa, corridors and
transitional spaces, sadla (secondary Iwan), ablution space, and water closets.
Therefore, just like the residences (2.1) of the past the courtyard played a vital role in the
functioning of the Madrasa also. The Madrasa typology of learning institutes is still
functional in various parts of the world like India, Pakistan, Philippines, Bangladesh, South
Africa, etc.
Here also one sees that traditional courtyard plan incorporated the function of open space
by building around it and a transition space acted as a climatic filter from outside to inside.
There is a great dependence of functional activities on the open space which acts an
extension to built space around it. In modern institutional buildings the climatic comfort is
[15]
achieved by artificial means and the activities are restricted to indoors only. Transition
spaces which were vital link of open to built is missing. This has led to isolation of open
space from built hence these become unrelated and leftover spaces. Built mass is no longer
designed around open spaces but inside a surrounding open space. Part of this is because of
mandatory setbacks which consume a great deal of open space. Need for parking and
vehicular access makes the open space fragmented.
[16]
The open space around the main temple complex is bustling with people during cultural and
religious events and festivals. The holy fire or the havan kund is also lit on a platform in the
[17]
open air under the sky, and oblations were offered to the fire. Out of all the components in
the temple it is only the garbhagriha that is a massive solid built mass rest all are either
open or semi-open. This created a superior spatial experience for the devotee when he
transits from one space to another and each space has a different spatial character.
'Approaching the shrine is a movement from open spaces to a confined small space; from
light to darkness, from a profusion of visual form and decoration to the visual simplicity of
the cave.'3
Fig 2.9: Plan of Kandariya Mahadeva Temple showing Spatial Organisation in a Hindu temple
[Source: www.wikipedia.org]
Similarly in case of a mosque which is the place of worship of Islam, the open space is the
core of the complex and the entire built is structured around the courtyard called sehan.
The courtyard is used by the masses in large numbers during festivals such as Eid and
Muharram to congregate and pray.
[18]
'Though the mosque as such has undergone many architectural changes, the building
remains essentially an open space, generally roofed over, containing a mirb4 and
a minbar5, with a minaret sometimes attached to it.'6 Thus, even in the case of a mosque the
prime function i.e. praying was performed in the sehan so the open space rather than being
just a left over space used to be highly active.
[19]
1 Iwan is a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open.
2 http://www.islamic-art.org/glossary/NewGlossary.asp?DisplayedChar=13
3 http://templenet.com/Articles/hintemp.html
4 Mihrab is a prayer niche in the qiblah wall (that facing Mecca) of a mosque.
5 Minbar is the pulpit from which the sermon (khubah) is delivered.
6 http://www.britannica.com/EBchecked/topic/393679/mosque
[20]
CHAPTER 3
STUDYING BUILT-OPEN RELATIONSHIP
MACRO or City Level
o Plazas and Squares
o Streets
MICRO or Building Level
o Form
o Function
o Scale and Proportion
o Texture
o Various Types of Built Open Relationships in a
Building
[21]
'A city is a language, a repository of possibilities, and walking is the act of speaking that
language, of selecting from those possibilities. Just as language limits what can be said,
architecture limits where one can walk, but the walker invents other ways to go.'
-Rebecca Solnit
Fig 3.1: Left - Figure Ground Plan of Connaught Place, Right - Reverse Figure Ground Plan of Connaught Place
[Source: http://www.archinomy.com/case-studies/2138/connaught-place-a-metropolitan-city-centre]
The above figure ground plans of Connaught Place show how the relationship between the
built and the open make the entire urban space wholesome and impactful.
The various open spaces commonly observed at the city level would be plazas, streets,
squares, etc.
[22]
Fig 3.3: View of Rome from the Dome of St. Peter's Basilica
[Source: http://en.wikipedia.org/wiki/St._Peter's_Square]
The image above clearly depicts how the space stands out from the rest of the city fabric
that seems to be perfectly planned around it.
[24]
3.1.2 STREETS
The streets are long building blocks arranged in parallel rows, separated by open spaces.
They are different from roads as they are spaces to linger around and enjoy while roads are
purely a functional space for transportation. There are a variety of activities that place along
a street and people like to walk only in those streets that are comfortable; rather thermally
comfortable; apart from other aspects of safety and comfort. Streets are an important part
of open public space in the city. For many urbanites, it is the streets that represent the
outdoors (Jacobs, 1993). People depend on streets for functional, social and leisure
activities, for travel, shopping, play, meeting, and interaction with other people, and even
relaxation .
According to Camilo Sitte, "in modern urban planning, the relationship between built and
open space has been reversed. In the past, open space - streets and squares created a
closed and expressive design. Today, the building plots are arranged as regular selfcontained shapes and whatever is left becomes square or street".5
Depending upon the form of the street, the character of the street and of the activities that
take place around the street is governed to a large extent. And also the form of the built
mass along the streets also govern the kind of activities that take place on or along the
street.
For example a wider street provides less enclosure and encourages the movement of cars
whereas a narrower street provides a more intimate character with more enclosure and
encourages more and more pedestrians to use the street. And the spacing between the built
blocks also have an impact on the enclosure of the street. Lots of gaps between built blocks
reduce street enclosure.
[25]
Fig 3.4: Top - More gaps and wider street leads to lesser enclosure, Bottom - Lesser Gaps and narrower street
leads to more enclosure
On the other hand, keeping the width of the street constant, the height of the built mass
surrounding the street also brings about a drastic change in the character of the street.
Fig 3.5: Left - Shorter Built Blocks lead to lesser enclosure, Bottom - Higher Built Block leads to more enclosure
[26]
This evidently proves that both built and open spaces function in conjunction to one
another and the relationship between them is immensely responsible for governing the
spatial experience at the MACRO level or the cityscape level.
opened bud. The nine pools around the building form the principal landscaping. At the same
time, they represent the green leaves of the lotus plant, thus completing the picture of a
lotus afloat on water. Apart from serving an obvious aesthetic function, the pools also help
ventilate the building.
3.2.2 FUNCTION
A thing is defined by its essence. In order to design it so that if it functions well a
receptacle, a chair, a house its essence must first be explored, it should serve its purpose
perfectly i.e. fulfil its function practically and be durable, inexpensive and beautiful.
- Walter Gropius
As already discussed in Chapter-2, all the spaces of the complex be it built, open or semiopen had a specific function for which they were designed due to which each space had its
own individual importance. Be it the courtyards in the havelis of Old Delhi or the sehan in
the Madrasa or the open spaces in a temple and mosque, each of these building complexes
had a clear demarcation of the function to be performed in each kind of space (built, open
or semi-open) due to which a functional balance was achieved. Moreover a space becomes
more meaningful if it has a function that is associated with it. However nowadays most of
[28]
the designs have focus on designing most of the functions in the interiors while the exteriors
are mostly used for recreation or just like a green space. So, the functions should be
assigned to both open and built spaces so as to have a perfect balance amongst these
spaces.
Human Scale - Human scale refers to the size of a form when compared with our
own human size. Human dimensions and scale have a determinative effect both in
our perception and also in our creation of buildings and spaces.
Intimate Scale - Intimate sizes are smaller than what is normal. Not Lilliputian. These
dont shock you, but they are smaller than what we expect. Not everybody would
recognize intimate as a separate category. It is more of a sub-category of humanscale. Intimate scale is sometimes used in our houses, usually in the form of nooks
and alcoves.
Monumental Scale - Monumental scale refers to the scale in which the size of the
form dominates the immediate environment. Monumental scale is impressive. Most
[29]
of our public buildings are monumental in scale. This is a statement of hierarchy. The
institutions represented by those buildings are bigger than us and we should stand in
awe of them.
Shocking Scale - Shock scale can be either smaller or larger, but it is so out of the
ordinary that it jolts us.
Fig 3.7: Top Left - Human Scale, Top Right - Intimate Scale, Bottom Left - Monumental Scale, Bottom Right Shocking Scale
[Source: http://www.house-design-coffee.com/human-scale.html]
Proportion is one of the main features of various masses and spaces. According to Francis
D.K. Ching the various theories of proportion commonly used in Architecture are :
Golden Section
Classical Orders
Renaissance Theories
Modulor
Ken
Anthropometry
Scale
[30]
There is a visual relationship between the parts of a building and the building as a whole. If a
space of required area is to be designed, the length, the width and the height of the space
will depend upon the functionality of the space and the nature of activities taht are to be
performed in that space. A research paper on Human response to Courtyards states that the
verticality of a form is perceived first and the lateral dimension later. Therefore, if the height
of the built form is more than the width of the defined open space, the space feels
claustrophobic, whereas if the height is the same as that of the open space, there is balance
and harmony. Also, if the height reduces to a quarter or less than a quarter of the width of
the open space, the space lacks an enclosing space and tends to become vague and loose.
3.2.4 TEXTURE
According to Francis D.K. Ching, texture is defined as 'the visual and especially tactile quality
given to a surface by the size, shape, arrangement and proportions of the parts. Texture also
determines the degree to which the surfaces of a form reflect or absorb incident light'6.
There are broadly two types of textures viz-a-viz :
Tactile Texture - Tactile textures are peculiar to every material by virtue of its
manufacture or natural composition, but they may be altered to produce a variety of
expressive qualities. Any stone may be used in its natural, irregular state, or it may
be chiselled in a rough or smooth texture or highly polished to convey a range of
meanings from vigour to refinement.
[31]
Visual Texture - Visual textures are produced by the patterns given to the lighting of
the surface both through the way the materials are worked (e.g., vertical or
horizontal chiselling of stone) and through the way they are employed in building
(e.g., vertical or horizontal boarding, projection and recession of courses of brick)
Textures of not only the built mass but also the open space governs how people use that
space and it also plays a vital role in the overall spatial experience of the space.
[32]
[33]
[34]
CHAPTER 4
BUILDING BYE LAWS
Definitions
Laws Regarding Open Spaces
Inference
[35]
'Good people do not need laws to tell them to act responsibly, while bad people will find a
way around the laws.'
-Plato
4.1 DEFINITIONS1
Building - Any structure for whatsoever purpose and whatsoever material constructed and
every part thereof whether used as human habitation or not and includes foundation,
plinth walls, floors, roofs, chimneys, and building services, fixed platforms, verandahs, balcony, or projection part of a building anything affixed thereto or any wall enclosing or intended to enclose any land or space and signs and outdoor display structures, monuments,
memorials or any contrivance of permanent nature/stability built under or over ground .
Open Space - An area, forming an integral part of the site, left open to the sky.
Permanent Open Air Space - An open air space is said to be permanent if :
its freedom from encroachment in future by a structure of any kind is assured either
by law or by the fact that the ground below it is a street or is permanently and
irrevocably appropriated as an open space provided that in determining the open air
space required in connection with construction work on a building any space
occupied by an existing structure may, if it is ultimately to become a permanently
open air space, be treated as if it were already a permanently open space.
Every room intended for human habitation shall abut on an interior or exterior open
space or an open verandah open to such interior or exterior open space.
The open spaces to be left around the building including setbacks, covered areas
total built-up area, limitations of F.A.R shall be as per Masterplan/Zonal Plan
recommendations.
Every open space provided either interior or exterior shall be kept free from any
erection thereon and shall be open to the sky nothing except cornice, chhajja or
[36]
weather shade shall overhang or project over the said open space so as to reduce
the width to less than the minimum required.
All habitable rooms shall have for the admission of light and air one or more
apertures, such as windows, glazed doors and fan lights, opening directly to the
external air or into an open verandah not more than 2.4m in width. In case light and
ventilation to habitable space is through an internal courtyard, the minimum
dimensions of such courtyard, shall not be less than 3mX3m for buildings upto 10m
in height.
Good Planning practice for designs of residential areas should include :o Light and air in the building
o Protection against noise, dust and local hazards
o Open space for various family needs
o Easy circulation and access, safety from accidents
o As far as possible regular shape of plots
o A logical arrangement of residential plots by sizes and shapes
[37]
4.3 INFERENCES
Building bye-laws provide set guidelines to the architects to plan their building in a set
framework and one must abide by them to ensure a habitable and safe built environment
for all. The Delhi Building Bye-Laws have set certain rules regarding the planning of open
spaces in a built complex. Their main aim of providing these open spaces is to ensure proper
light and ventilation into a habitable space and also to ensure fire safety for the building by
providing the open spaces in the form of setbacks all along the periphery of the site and all
the building blocks on site. So as far as the fire safety and ensuring ample amount of natural
light and ventilation is concerned, the architect is bound in a restricted framework in which
he must plan and design. But other than that the building bye-laws do not restrict the
architect from designating certain functions to the open spaces. The bye-laws clearly state
that as a part of the good planning practice for the residential areas open space for various
family needs should be provided. So, it's upto the discretion of the architect and the needs
of the client which decide to a large extent how the open spaces of the built complex shall
be designed. Leaving aside the residences even for other building typologies, the bye-laws
do not mention it but the architect must design the open spaces for various needs of the
people in case of other building typologies too. The open spaces in a complex should not
just be a leftover green space or a set back or a shaft to provide light and ventilation to the
interiors. They should be much more meaningful and functional. The bye-laws definitely
restrict the architect to design certain open spaces in a clinical manner but for the design of
the rest of the open spaces it is only the client and the architect that are solely responsible.
[38]
1 All the definitions are as stated by the Delhi Development Authority in Building Bye Laws Document of 198
[39]
CHAPTER 5
CASE STUDIES
Selection Of Case Studies
Jawahar Kala Kendra, Jaipur
India Habitat Centre, New Delhi
[40]
[41]
5.2.1 FORM
The plan of Jawahar Kala Kendra is a square, subdivided into nine smaller squares with one
of the squares displaced as to create the main entrance. This was done to replicate the
gesture which created the original city plan of Jaipur. The plan is also a direct reflection of
the Vedic Mandala of nine squares where the nine squares represent the nine celestial
planets. The central square in the nine squares acts as the centre of the building project,
surrounded by all the functions of the Kendra. So the core is actually a void space, radiating
out all the built functions through smaller courts around it. All the built functions wrap
around the core, organizing the Kendra as a self sufficient, contained unit; with the central
square scooped out to give an open core.
[42]
The central open court and the seating arrangement represent the sun. So, the central open
space has moved on from just being a utility space to being a representation of something
that is an important part of the cosmos: THE SUN.
A typical repetitive staggered form has been used by architect Charles Correa in various
spaces and elements of the Jawahar Kala Kendra.
Fig 5.3: Photographs depicting the Use of Staggered Form in Jawahar Kala Kendra
[43]
5.2.2 FUNCTION
The building was made to house a combination of facilities, collection of textiles, jewellery,
illustrated manuscripts and other crafts that Rajasthan excels in, a street of studios for
traditional craftsmen to work in, a library, a small performing centre for arts and an
experimental theatre. The centre is frequently occupied with artists and arts loving people.
Many exhibitions and performances by local artists are displayed at the centre. The annual
festivals of classical dance and music are held in the centre. The centre hosts many
workshops of dance and music. These functions have been aptly placed in the nine squares
of the complex depending upon the quality expressed by each planet.
[44]
Fig 5.4: Axonometric Views of the Nine Squares Depicting Functional Distribution and Celestial Qualities
[45]
Fig 5.5: Section Through Shani Mahal, Surya Mahal and Mangal Mahal
The central Surya Mahal (the void or courtyard) which is used for performances and
otherwise for people during their leisure time is 30m by 30m in size surrounded by 8m high
walls as enclosure. The height to width ratio is roughly 1:4 which gives a feel of less
enclosure and more openness to the user. It is an example of monumental scale.
[46]
The dome over the Mangal Mahal gives a feeling of openness and grandeur. The height of
the space is almost equal to the width of the space which ensures balance and harmony. It
is also an example of monumental scale.
There are a lot of sitting spaces in various spaces of the complex which are an excellent
example to depict human scale. The proportions of the seaters in the space are perfect for
the proportions of the human body. The height and width of the space is almost equal to
ensure balance and harmony in the space.
Fig 5.9: Various Sitting Spaces in the Complex in accordance to Human Scale
5.2.4 TEXTURE
The building is a concrete frame structure with brick and stone as the infill material.
Sandstone is used for external cladding. A lot of spaces have been painted red to give a
sense of warmth to the space. Varied materials have been used for flooring. There are
[47]
places with simple concrete flooring, sandstone flooring whereas the interior spaces like the
museum, library, etc have marble flooring. The flooring pattern in the central square of the
Surya Mahal which is the diagram of a lotus representing the sun, is used to emphasize the
presence of a geometrically strong centre. The area around the stage in the Surya Mahal is
grass (permeable). The complex is well landscaped with trees and bushes to enhance the
experience of the users while walking through the complex. One of the walls of the library
makes use of a reflective glass facade to provide the view of the pond outside to the
readers.
[48]
The entry for the users with vehicles is quite interesting. The entry from the parking side is
through a gate followed by a semi-covered pillared passage into a large space with a dome
on top. This experience of the space from an open space to a semi-covered transition space
into another covered space is unique because of the play of scale, volume, material and
levels. (Refer Fig. 5.5 and Fig 5.8)
[49]
There is a spectacular play of light and shadow which enhances the experience of a person
walking through the building, especially in the square comprising of the library or the Guru
Mahal. Here the architect, Charles Correa has used PVC pipes to create a pergola to cover
the passage and pond. This is an interesting semi-covered transition space which becomes
all the more magnificent in the presence of sunlight when an interesting shadow pattern is
cast due to the pergola.
The extensive use of levels in the Jawahar Kala Kendra accentuates the transition of open to
built spaces to a great extent. At places levels are used as seaters (Refer Fig. 5.6 and Fig. 5.7)
whereas as at some places there just a transition from one space to another. There is
combination of both gradual and steep levels that is used in the complex.
[50]
The landscaping in the complex also plays an important role in linking the various spaces of
the complex. The use of different kinds of sculptures, plants, water bodies, etc creates a
surreal experience for the user. For example - The paths leading to the different seaters
(Refer to Fig.5.9) have been beautifully landscaped with sculptures and plants to enhance
the transitional experience of the user.
[51]
5.3.1 FORM
The Indian habitat Centre has different building volumes articulated to form interconnected
internal shaded courtyards which act as major public spaces. The built forms are grouped
around these huge courtyards shaded by a space frame and made lively by the landscaping
elements. The complex has a very well planned segregation of spaces. All blocks/areas
which are expected to experience a large and regular inflow of public have been placed very
close to the entrances; the office areas being given the access from the courtyards.
Although the public and the semi-public areas have been placed in separate built blocks, the
courtyards and the landscape areas form a very good connection between the two.
[52]
5.3.2 FUNCTION
The India habitat Centre is a hub for cultural, economic, business and social events. Dramas,
plays, etc are also organized at the centre. There is banquet hall, a party lawn and also a
Restaurant. The Habitat Centre not only houses offices and research organizations but in
order to facilitate their interaction, the centre provides a range of facilities like conference
venues, exhibition halls, seminar rooms, restaurants and performance venues for cultural
activities. Apart from the building blocks, the open spaces are also well functional. The
open-air amphitheatre serves to hold performances and is otherwise used just for sitting,
relaxing and having lunch by the employees in the complex. The well shaded and
landscaped courtyards act as spill over spaces for the offices in the buildings.
[53]
[54]
Fig 5.20: Top Left- use of Landscaping to achieve Human Scale, Top Right - Use of Bridges to cut down the scale
of the space, Bottom - Use of space frame to provide more enclosure
[55]
However at certain places, the monumental scale is not cut down to human scale, which
results in the space being left unused most of the time. The users do not connect to the
space and hence do not like to experience that space. For example - As show below in Fig 5.21 and Fig - 5.22 a small pergola structure in a vast expanse of space does not invite a lot
of people due to the lack of a more human scale in the space.
Fig 5.21: Section showing Inability to cut down Monumental Scale to Human Scale
Fig 5.22: Unused pergola space due to lack of Human Scale around it
[56]
5.3.4 TEXTURE
The entire facade is cladded with red bricks which give a majestic and warm look to the
structure. The red of the brick is well in contrast to the concrete bands and glazed tiles in
the facade. Vertical and Horizontal ribbon windows have been used with a special glass that
restricts the entry of sunlight.
Most of the horizontal ribbon windows have slots for planters which add to the beauty of
the entire complex and also break down the horizontality of the ribbon windows. These
slots are multi-coloured which make them visually appealing.
[57]
The fountains and ponds in the building add a different dimension to the space by make it
cooler and aesthetically more appealing.
Fig 5.25: Pond near the Royal Plaza Enhances the Walking Experience
The play of light and shadow created by the space frame covering the courtyard, on the
building facades and the flooring is quite appealing. The blue metal space frame on the top
[58]
cuts through the beam of sunlight to allow different kinds of patterns to be created which
keep on changing during different times of the day.
Fig 5.28: Shadow Pattern cast on the internal facades due to the penetration of Sunlight through the Space
Frame
The open spaces (courtyards) are mostly stone paved. The more, public open spaces such as
the amphitheatre and the Royal plaza are a combination of both hardscape (stone) and
softscape (grass).
[59]
Fig 5.29: Left - Photograph showing Main Entrance from Lodhi Road, Right - Section through the Main Entrance
from Lodhi Road
The complex has a variety of sculptures that affect the users' experience of the space as
they walk through the internal courtyards into the built space. Some are only for people to
look at while there is this particular one just at the entrance which creates a sound when
kicked. It acts as an interactive element for the users.
Fig 5.30: Left and Centre - Photograph showing sculptures in IHC, Right - Sculpture at the Entrance which
produces sound when kicked
[60]
Architect Joseph Allen Stein has made extensive use of levels in the India Habitat Centre,
which act as a transition from one space into another. And most of these level differences
have ramps for differently abled too which makes the spaces accessible to all. The level
difference is gradual in some places and not so gradual in others invoking different moods
and experiences.
Fig 5.31: Use of level difference as a transition from one space to another
The levels have been well utilised to create an amphitheatre which is used for performances
and otherwise just during leisure time for sitting, having lunch, etc by the people. The
privacy is achieved by a wall of trees at the back of the sitting space.
Fig 5.32: Left - Section through Amphitheatre, Right - Photograph showing Amphitheatre
[61]
Some of the sitting spaces are not comfortable to be in during summers as they aren't
shaded while some aren't properly scaled and lack enclosure. For example - The area named
Plaza Steps though well landscaped and accessible to differently abled is not used during
summers because of lack of shade from the harsh sun.
[62]
Stein has also designed the courtyard outside the Stein Auditorium very well. It acts as a
buffer space and a pre-function area for events and sometimes just for sitting. The
courtyard has an interesting roof created by R.C.C Beams and a dome. It is a well designed
and scaled courtyard which acts as a transition space from the exterior to the auditorium.
Fig 5.35: Left - Courtyard outside Stein Auditorium, Right - Dome and Network of R.C.C Beams over the
courtyard
[63]
CHAPTER 6
CONCLUSIONS
[64]
The research paper has thrown light on the complex issue of the Open-Built Dichotomy and
how both spaces are interdependent on each other.
Chapter 1 vividly described the issue of the open-built relationship and how the treatment
of open spaces in not paid much attention through a few examples.
Chapter 2 briefly described what the role of open spaces was in the past. It focussed on
three typologies - Residences, Places of Learning and Places of Worship. In the residences of
the past or to be precise, the Havelis, had a variety of function which it catered to and
moreover it was the core of the building around which the entire built mass was planned. It
also provided climatic comfort in accordance to the climate of Delhi. The places of Learning
or the Madrasa to be precise had its core function i.e. learning assigned to the open space
known as the sehan. In the places of Worship, the temple and the mosque too, a lot of
major socio-cultural events took place in the open or the semi-open spaces. In the temples
only the shrine is kept in the built space known as the garbhagriha and all the other spaces
were mostly semi-open and open and each space has a different character. The transition
from one space to another was unique and interesting. In the mosque the core function that
is praying takes place in a big open courtyard. All these observations basically prove that the
functionality of spaces is a major factor in governing how importance a space is and how
well should it be designed. If there are functions associated to both built and open spaces, a
balance and harmony is maintained and the relationship between the two ties the whole
complex together.
Chapter 3 briefly discussed the types of active open space at an urban level i.e. the Streets
and Plazas & Squares. It also discussed the various factors that affect the Open-Built
Dichotomy and inferences from a few types of built-open relationships in a building.
Form
Scale and
Proportion
Function
[65]
Texture
The elements of design i.e. form, function, scale and proportion, texture, etc that are
applied for the design of built masses must also be applied for the design of open spaces in
order to produce open spaces that correspond with the built mass perfectly.
Chapter 4 enlisted various building bye laws that are associated with the design of open
spaces and how it is not only the building bye laws but also the needs of the client and the
intent of the architect that affects the design of open spaces and hence the Open Built
Dichotomy.
Chapter 5 dealt with observing the Jawahar Kala Kendra and the India Habitat Centre for
their built-open relationship and analysing them under the various elements of design
stated above. Both the buildings are multi-functional and cater to the public. Both the
buildings have assigned certain important functions to the open spaces apart from just
recreation, parking, circulation, etc which ensure a balance between the open and built
spaces, functionally. The form of the open and built spaces in both was of equal importance.
All the building blocks in IHC were centred around interlinked internal courtyards which are
the heart of the complex. Landscaping elements such as sculptures, plants, water bodies,
etc are an integral part of both the buildings. They help in providing a superior spatial
experience to the user and in ensuring a unique transition of spaces. Play of levels, volumes
and heights in both the buildings is magnificent. It is not necessary for only semi-covered
spaces to act as a transition/buffer space, level differences can also act as transition/buffer
spaces. The spaces of Jawahar Kala Kendra have a combination of monumental and human
scale and both of them are actively used. The spaces in IHC on the other hand are mostly
monumental in scale which is cut down to human scale by the use of bridges, landscaping,
space frame over courtyards. The open spaces in IHC which are not cut down to human
scale or do not provide appropriate enclosure or are climatically uncomfortable are usually
left unused. The play of light and shadow in both the buildings is surreal. It helps in
accentuating the overall experience of the building.
The conclusions reached after the research paper are in complete agreement with the
hypothesis that was framed at the beginning of the research paper.
[66]
Given below are a few suggestions on the basis of the literature review of the research
paper and the case studies undertaken, that can be followed for better design of open
spaces and a better Open-Built Dichotomy.
The form of both open and built spaces must be given equal importance while
designing to avoid patches of unused spaces.
Functions must be assigned to both open and built spaces wherever possible to
ensure functional balance and harmony in the complex. Open spaces can be given
a whole new dimension instead of just being large grassy/green patches of land.
The scaling of both the open and built spaces should be according to the intent of
the space. The type of enclosure to be provided also depends on the same factor.
The materials for different spaces should be appropriately chosen depending upon
the factors such as heat reflection/absorption, intent of space, context, etc.
The transition from one space to another (open to built precisely) should not be
abrupt. It can be through a semi-open space, level difference, material/texture
difference, etc.
[67]
LIST OF REFERENCES
BOOKS
1. DDA Building Bye-Laws - 1983
2. Clare Cooper Marcus, Carolyn Francis, People Places: Design Guidelines for Urban
Space, John Wiley & Sons, Inc., 1998
3. Bentley, Murrain and Smith, Responsive Environments, Reed Publishing Ltd. 1985
4. Francis D.K. Ching, Architecture: Form, Space and Order, John Wiley & Sons Inc.-2007
5. Cliff Moughtin, Miguel Mertens, Urban Design: Street and Square, Third Edition,
Architectural Press, 2003
3. Pter Istvn Balogh, Dniel Takacs, The significance of Urban open spaces and green
areas in Urban Property Developments, 2011
(http://www.acta.sapientia.ro/acta-agrenv/Supl2011/11_Balogh.pdf)
4. Swasti Sthapak and Abir Bandyopadhyay, Courtyard Houses: An Overview, 2014
(http://recent-science.com/index.php/rrst/article/view/18707)
5. Delhi Heritage, INTACH, North Shahjahanabad
(http://www.wmf.org/sites/default/files/wmf_publication/North%20Shahjahanabad
.pdf)
6. Pallavi Kulshreshtha, Havelis in Shahjahanabad Region
(http://www.toollending.com/UCBxweb/homework/HW1/HW1%20results/PallaviK.pdf)
7. Sarah Glynn, The Haveli - A Social History, 2001
(http://www.sarahglynn.net/The%20Haveli.html)
8. Vani Bahl, Haveli - A Symphony of Art and Architecture, 2014
(http://www.newindianexpress.com/education/student/Haveli-%E2%80%94-ASymphony-of-Art-and-Architecture/2014/10/27/article2494669.ece#)
9. Buthayna H. Eilouti and Amer M. Al-Jokhadar, A Generative System for Mamluk
Madrasa Form-Making, 2007
(http://paperity.org/p/8992795/a-generative-system-for-mamluk-madrasa-formmaking)
10. Milena Krklje, Vladimir Kubet, Ksenija Hiel, Interrelationship Of Public Spaces And
Built-In Corner Buildings Based On The Examples Of Modernism In "Mali Liman" Area
In Novi Sad, 2009
(http://www.doiserbia.nb.rs/img/doi/0354-4605/2009/0354-46050902145K.pdf)
11. Vikas Mehta, Lively Streets: Exploring The Relationship Between Built Environment
And Social Behavior, 2006
(http://drum.lib.umd.edu/bitstream/1903/4165/1/umi-umd-3962.pdf)
12. Benzu JK, Lotus Temple, Delhi - Innovation in Architecture, 2011
(http://www.architecture-student.com/architecture/lotus-temple-delhi-innovationin-architecture/)
13. Joffre Essley, Human Scale and The Architect
(http://www.house-design-coffee.com/human-scale.html)
[69]