A Thesis Report on

ADAPTIVE REUSE OF HISTORICAL BUILDING

AS YOG CENTER

Submitted in partial fulfillment of the requirement for

the Degree of

BACHELOR OF INTERIOR DESIGN

to

Amity School Of Architecture And Planning

AMITY UNIVERSITY UTTAR PRADESH

LUCKNOW

by

SOUMYA SHARMA
ENRL. NO. A8380317012

Under the Guidance of

Dr. Arun Kapur

DECEMBER 2020
 CERTIFICATE

This is to certify that the thesis titled ‘ADAPTIVE REUSE OF

HISTORICAL BUILDING AS YOG CENTER’ submitted by SOUMYA
SHARMA [ ENRL NO. A8380317012 ] as a part of four years Under
Graduate Program of Interior Design at Amity University , Uttar
Pradesh , Lucknow Campus is a record of bona fide work carried
out by her under our guidance.

The content included in this Thesis has not been submitted to any
other University or Institute for accord of any other Diploma or
Degree.

Dr. Arun Kapur

(THESIS GUIDE)

Dr. Deepti Pande Rana

(THESIS COORDINATOR)

Date : 8th December , 2020

(i)
 AMITY UNIVERSITY UTTAR PRADESH , LUCKNOW

CERTIFICATE OF FINAL THESIS SUBMISSION

1> Name : Soumya Sharma

2> Enrollment No. : A8380317012

3> Thesis Title : Adaptive Reuse Of Historical Building As Yog Center

4> Degree For Which This Thesis Is Submitted : Bachelor Of Interior Design

5> Faculty of university to which the thesis is submitted : Amity School Of Architecture
and Planning

6> The thesis has been prepared without resorting to plagiarism. ___YES ___NO

7> All sources used have been cited properly : ___YES ___NO

8> The thesis has not been submitted elsewhere for a degree. ___YES ___NO

9> All the corrections have been incorporated. ___YES ___NO

10> Submitted 2 hard bound copies. ___YES ___NO

Dr. Arun Kapur Dr. Deepti Pande Rana

(THESIS GUIDE) (THESIS COORDINATOR)

(ii)
 AMITY SCHOOL OF ARCHITECTURE AND PLANNING

AMITY UNIVERSITY UTTAR PRADESH , LUCKNOW

REPORT EVALUATION

COURSE NAME : THESIS PROJECT

COURSE CODE : APIDTP100

Name of Student : Soumya Sharma

Enrollment No. : A8380317012

Thesis Title : Adaptive Reuse Of Historical Building As Yog Center

Thesis Supervisor : Dr. Arun Kapur

Institution: Amity School Of Architecture and Planning

Remarks : Satisfactory / Not Satisfactory (in case not satisfactory, give comments)

_______________________________________________________________________________

_______________________________________________________________________________

-----------------------

Dr. Arun Kapur

(THESIS GUIDE)

_____________________ _______________________ ___________________

Dr. Deepti Pande Rana Prof. Jagbir Singh
(EXTERNAL EXAMINER) (THESIS COORDINATOR) (DIRECTOR , ASAPL)

(iii)
 ACKNOWLEDGEMENT

Foremost, I offer this endeavor to the almighty for empowering

me with the strength , wisdom , patience and good health.

A special thanks and regard towards Prof. Jagbir Singh, the

Director of ASAPL,AUUP LUCKNOW, for their encouragement
and support from the very beginning.

A gratitude towards Dr. Arun Kapur , my guide and mentor, the

assistance of whose knowledge and supervision makes this
thesis complete.

Furthermore, I would like to thank the thesis coordinators, Dr.

Deepti Pande Rana , Ms Aanchal Dhingra and all distinguished
panel members for acquainting with the professional realities of
the project.

(iv)
 DEDICATION

The entire endeavor is dedicated to my almighty , whose

principles helped me out to perform my duties of the profession.

My appreciation also goes to my parents and family who have

willingly and enthusiastically helped me out , at the times of
indecision and uncertainty , with their abilities.

(v)
TABLE OF CONTENT

BONA FIDE CERTIFICATE ……………………………………………………………………...….…(i)

CERTIFICATE OF THESIS FINAL SUBMISSION ……………………………………………..………(ii)

EVALUATION CERTIFICATE …………………………………………………………………….…..(iii)

ACKNOWLEDGEMENT ………………………………………………………………...….……….(iv)

DEDICATION …………………………………………………………………………..…………….(v)

CHAPTER 1 – INTRODUCTION

1.1 KEYTERMS AND DEFINITIONS

1.2 ADAPTIVE REUSE AND ITS SIGNIFICANCE
1.3 AIM
1.4 CONCEPT
1.5 SCOPE OF WORK

CHAPTER 2 - LITERATURE STUDY

2.1 CASE STUDY1 (HUMMING PUPPY STUDIO, SYDNEY BY KAREN ABERNETHY)

2.2 CASE STUDY 2 (GEORGE PATTERSON HOUSE, SYDNEY , AUSTRALIA)

2.3 CASE STUDY 3 (LAL BARADARI , LUCKNOW , INDIA)

2.4 GUIDELINES AS PER INTERNATIONAL RESEARCH JOURNAL OF ENGINEERING

AND TECHNOLOGY

2.5 KEY ARCHITECTURAL ELEMENTS REQUIRED FOR DESIGNING YOGA AND

MEDITATION SPACES.

CHAPTER 3 - WORK UNDERTAKEN

3.1 SITE ANALYSIS

3.2 CONCEPT
3.3 BUBBLE DIAGRAM
3.4 SITE PLAN

REFERENCES
CHAPTER 1 INTRODUCTION

KEYTERMS AND DEFINITIONS

ADAPTIVE REUSE
It is conventionally defined as the reusing existing old structures for new purposes , other than which it
is was originally built for.

REUSABILITY
Capable of being used multiple times.

STRATEGY
Adaptations that are used for successfully performing/serving important functions in long-run.

PRESERVATION
The act of conserving in perfect or unaltered condition.

ADAPTIVE REUSE AND ITS SIGNIFICANCE

Conserving a heritage building, area or structure is significant as it preserves the cultural and societal
history and identity of the area.Every such place or structure has its own character and value.This
preservation can be done as restoration , reconstruction and adaptive reuse.

Advantages of Adaptive Reuse :

1> It rejuvenates the historical and cultural value of that structure.

2> It creates and develops the ‘sense of place’.
3> Older building comparatively had better construction materials ,so they have longer life span.
4> They have better building envelope , proper heating , cooling and ventilation. And all these
factors helps to achieve energy efficiency
5> It Increases the economic value.

AIM

The goal is not to diminish or overshadow the original architectural essence and style , but to build a
connection between the overall outlook of the building with its interiors.

CONCEPT

Modifying a historic residential building into a YOG CENTER.

As we aware of the fact that Bharat (INDIA) is the land from where Yog (Yoga) originates .It is found in
Ancient texts that Adhyatm (enlightment) is the ultimate duty of a human being.And the ancient
Indian texts are comprehensive of the various Yogic techniques.Keeping in mind of the above
mentioned facts , the integrity and need of Yoga Spaces in the current sophisticated scenario is been
thought of .

Fig 0 . The various yoga postures as practiced by the subjects during a

full yoga session.

1.Yoga mudra asana 15. Karnapeedasana

2. Yoga mudra asana 16. Bhujangasana
3. Paschimottanasana 17. Utthanpadasana
4. Supta pavan muktasana 18. Shavasana
5. Pavan muktasana 19. Kapalbhati
6. Dhanurasana 20. Bhastrika
7. Matsyasana 21. Kaki mudra
8. Vajrasana 22. Yoni mudra
9. Supta Vajrasana 23. Bhramari pranayama
10.Gomukhasana 24. Sukhasana
11.Gomukhasana 25. Omkar meditation
12. Sarvangasana 26. Meditation
13. Halasana 27. Sukhasana
14. Halasana 28. Shavasana
CHAPTER 1 INTRODUCTION

SCOPE OF WORK

Requirements of a Yog Center :

1> Open Space Concept – By providing a welcoming entrance and central courtyard which
connects all others areas of the Center, for building a connectivity among surrounding while
performing various activities.

2> Adequate Illumination – Maximum natural Lighting to maintain natural radiance and for
energy efficiency.

3> Proper Ventilation – Renewal of circulating air is the most primary concern while performing
Yog.

4> Acoustics – Removing ambient noise, incorporating some natural sounds like of Moving Water
Binaural beats , through Indoor Gardens.

5> Ceiling Height – For giving optimal Yog Environment.

6> Color Schemes – Warm and Earthy tones that provide inner peace.

7> Orientation of areas – North/NE for meditation , South/SE for physical exercise.

8> Physical exercise studios with custom designed ceiling for physical activities like Aerial Yog.

9> Meditative Areas or Separate Rooms for the purpose with natural indoor garden.

10> Dressing Rooms including all amenities , lockers, shelves, cabinets etc.

11> Kitchen Space which gives options to volunteer.

12> Therapy Rooms – Reflexology and Massage Rooms.

13>Meeting and event space.

14> Landscape that connects with building interiors.

CHAPTER 2 LITERATURE STUDY

CASE STUDY 1 - HUMMING PUPPY STUDIO, SYDNEY BY KAREN ABERNETHY

OVERVIEW

The double height Victorian building is converted into a multi-sensory Yoga Studio.

ARCHITECT : Karen Aberthy Architectects

COLLABORATIONS : Louisa Macleod

LOCATION : Sydney , Australia

BUILT AREA : 1200 SQUARE MTS.

Fig. 1 HUMMING PUPPY STUDIO

PURPOSE OF STUDY

• To understand the usage of different areas for respective functions

• To inculcate an ability to create the ambience required for the project.
• To extend knowledge of the upgraded technology used across the globe.

UNIQUE FEATURES

1> ACOUSTICS :

✓ Frequencies and humming tunes are used for creating concentration and relaxation inside the
studio space/yoga space.
✓ Schumann Resonance frequency : Detuning is done by recording 40 Hz and then modulated
the amplitude of the wave at a period of 7.83 Hz.
✓ A pulsating singing bowl strike of 12 cycles per minute, which corresponds to the period of an
ocean wave and a human at rest, was also incorporated into the hum to promote relaxation.

Fig. 2 BOWLS AND SUBWOOFERS USED FOR GENERATING TUNES

2> TECHNOLOGY :

✓ The system’s user interface is a tablet device, and a simple touch starts and stops the humming.
✓ Two subwoofers have been specified to reproduce the low frequencies of the hum with clarity,
creating a beautiful, enveloping sound environment.
CHAPTER 2 LITERATURE STUDY

CASE STUDY 1 - HUMMING PUPPY STUDIO, SYDNEY BY KAREN ABERNETHY

SPACES
1> ENTRANCE
The design is immersive in accordance with the industrial building. Neutral colors are used.

Fig. 2,3 BOWLS AND SUBWOOFERS USED FOR GENERATING TUNES

2> RECEPTION

✓ A spectacular, angled screen, lined with a dichroic filter separates the zones between the
lounge area and change areas.
✓ Long white, hanging curtains frame the elegantly high windows.
✓ Whitewashed bricks soar up towards the white powder coated beams and original timber rafters.
✓ Modern lighting, grey glass globes suspended from black steel lend the space a sculptural
element.

3> BATHROOM

✓ Differently hued wall tiles behind the vanities were selected to subtly reference the varying
textures of the existing walls.
✓ The split circular angled mirrors above the vanities brings about the feeling of refinement.

4> YOGA SPACE/ROOMS

✓ The materials and fitting were selected based on a conceptual framework about light and
reflection , black plywood floor and black ceilings are done

✓ The sensory deprivation induced from reducing the light and sound designed to enhance the
other senses creating a more profound yoga experience.

Fig. 4 BATHROOM Fig. 5 YOGA ROOMS

CHAPTER 2 LITERATURE STUDY

CASE STUDY 1 - HUMMING PUPPY STUDIO, SYDNEY BY KAREN ABERNETHY

DRAWING DETAILS

PLANS

Fig. 6 LVL 1 FURNITURE LAYOUT PLAN

2> TECHNOLOGY :
Fig. 7 LVL 2 FURNITURE LAYOUT PLAN

ELEVATIONS

Fig. 8 SECTIONAL ELEVATION SHOWING ALL SPACES

CHAPTER 2 LITERATURE STUDY

CASE STUDY 2 - GEORGE PATTERSON HOUSE, SYDNEY , AUSTRALIA

OVERVIEW

The Sydney warehouse , after it was damaged by two simultaneous fires on 2 January,1996 converted
to the hotel complex. All service and access facilities for the bars and function rooms were housed in
a new ten-storey building to allow the original showroom spaces and the large hole created by the
fire to be retained as single open spaces.The new building houses lifts, fire stairs, kitchens, loading
dock, offices and a penthouse.

DESIGNER : A.L. & G. McCredie & J.W. Ashcroft

BUILDER : Quentin McGill

LOCATION : George Street ,Sydney , Australia

Fig. 9 RESTORED SITE INTO - ESTABLISHMENT HOTEL

PURPOSE OF STUDY

• To understand the challenges and damage faced by the building

• Usage of interior solutions performed for several structural and interior inadequacies.
• To provide a long term management and viability through retainment of appropriate and
compatible new uses of spaces.

THE CHALLENGES

✓ The severe fire damage required a prospective owner/developer with more than the usual
imagination and commitment.
✓ The building had been without weather protection and exposed to extensive water damage.
Even elements in sound condition could not meet current loading codes.

FIG. 10 THE BUILDING DAMAGED BY FIRE IN 1996

THE SOLUTIONS

✓ The structural inadequacies of the timber joists were resolved by adding a concrete slab above
the existing floors.
✓ This allowed the joists and flooring to remain exposed from the underside.
CHAPTER 2 LITERATURE STUDY

CASE STUDY 2 - GEORGE PATTERSON HOUSE, SYDNEY WAREHOUSE TO HOTEL COMPLEX

✓ The brick walls were extended to approximate their original height to house the reconstructed
spaces, incorporating modern steel windows
✓ The original showroom spaces, with their cast–iron columns and elaborate pressed metal
ceilings, were retained as single large spaces, by housing all service areas and vertical access
at the George Street end, in a new building immediately to the north of the existing building.

FIG. 11 FIG. 12

Fig 11 : The modern fabric has been successfully incorporated into the heritage space.
Fig 12 : Missing sections of the pressed metal ceilings were reconstructed to reinstate the sense of quality and grandeur in the
public spaces.

SOURCE : www.environment.nsw.gov.au
CHAPTER 2 LITERATURE STUDY

CASE STUDY 3 - LAL BARADARI , LUCKNOW , INDIA

OVERVIEW

✓ After independence, the Lal Baradari was used as a club for the staff where teachers had
relaxed over a game of badminton, cards and chess, or read the newspaper. The building now
houses the State Lalit Kala Academy of fine arts and is also used as gallery for holding art
exhibitions.

✓ The site has a large building complex with a three small courtyard at the center which is
presently covered with raised concrete platform and has ventilation system on all sides with
glass and jaalis all around it.The site has got a single entrance and a building block has got two
grand entrances at two adjacent corners facing north-east.

✓ The walls of the building have got several openings with foliated arches and decorative works
on them.

BUILDER : Saadat Ali Khan

LOCATION : Qaiserbagh, Lucknow , India

Fig. 13 LAL BARADARI - RESTORED

PURPOSE OF STUDY

• Detailed analysis of the challenges of the building for the implications of reuse strategy.
• Usage of interior solutions performed for several structural and interior inadequacies to provide a
long term management and viability.

THE CHALLENGES

✓ The severe fire damage required a prospective owner/developer with more than the usual
imagination and commitment.
✓ The building had been without weather protection and exposed to extensive water damage.
Even elements in sound condition could not meet current loading codes.

1> THE WALLS

Fig. 14 LAL BARADARI ;

THREE IMAGES SHOWING : DETERIOTATION OF WALL DUE
TO WEATHERING AND WATER SEEPAGE , VEGETATION AND
ALGAE GROWTH AND PARTIAL EXPOSE OF BRICK WORK.
CHAPTER 2 LITERATURE STUDY

CASE STUDY 3 - LAL BARADARI , LUCKNOW , INDIA

THE CHALLENGES

2> FINISHES AND PLASTER

✓ The carvings on the walls and below the projections are exposed to the weather conditions and
are deteriorated and de-shaped at few places.

✓ Algae and bio growth over the external finishes can be seen at the rare parts of the building
which is due to see page from the drains and rain pipes.

(1) (2) (3) (4)

Fig. 15 LAL BARADARI ;

(1) EXTERNAL WALL ARE ABOUT TO LOSE ITS LIME PLASTER
(2) FLAKING AND PEELING OF PLASTER
(3) DAMAGE OF DECORATIVE WORK
(4) WATER LEAKAGE THROUGH PIPE.

3> SLAB

The vaulted slab system, resting on the I-section which acts as a beam, transferring the load on the
walls, has been used in the buildings.

Fig. 16 LAL BARADARI ;

IMAGE SHOWING :
VAULTED SLAB RESTING ON AN I-SECTION
SUSPENDED CABLES TO THE CEILING
DEVELOPMENT OF CRAZING IN THE SLAB
CHAPTER 2 LITERATURE STUDY

CASE STUDY 3 - LAL BARADARI , LUCKNOW , INDIA

THE CHALLENGES

4> FLOORING

Exterior

✓ The flooring work of the exterior portion has been done with the hand chiselled red sand stone
blocks.
✓ Several damages are in the flooring. It seems as the level of the raised than its original level as the
building ground floors is below the external level.

Fig. 17 LAL BARADARI ; DAMAGING IN EXTERIOR FLOORING

Interior

✓ The flooring in the ground floor has been redone using the cement mortar.
✓ The flooring on the upper floors has also been done in cement where as in several parts we can
also find the original flooring.
✓ The stairs are paved with red sand stone.

THE SOLUTIONS

✓ The structural inadequacies of the timber joists were resolved by adding a concrete slab above
the existing floors.
✓ This allowed the joists and flooring to remain exposed from the underside.
CHAPTER 2 LITERATURE STUDY

GUIDELINES AS PER INTERNATIONAL RESEARCH JOURNAL OF ENGINEERING AND

TECHNOLOGY

Guidelines

1>Adaptation is acceptable only where the adaptation has minimal impact on the cultural
significance of the place.

2>Adaptation should involve minimal changes to significant fabric achieved only after considering
alternatives.

3>Adaptation does not mean imitation or following inflexible rules. A wide range of solutions to a
design problem may emerge after careful analysis and sympathetic interpretation.

Reuse Strategy

1> Typological: Before the reuse of the building, Literature study is a must about the original and new
use to be incorporated.

2> Technical: Structural study and analysis with dimensions should be known and noted of the
building.

3> Strategical: The building along with its surroundings should be taken into context thus reusing the
building while keeping in mind the ‘character, sense and spirit’ of the place.

Use and function

1> Environmental factors should include site features, climatic conditions and embodied energy of
existing building.

2> Economic factors include the budget for sustainable construction, reuse, and durability.

Quality of Design

It should be suitable to the surroundings and the society, innovative designs, preservation of the
historical and heritage elements should be carried out. It should also be structurally sound and strong
to be durable.

Materials and Technology

Use of old and new techniques can be merged resulting in innovative techniques.
The materials of the original structure should be ideally maintained and used unless it is in a very
dilapidated structure.
The new additions and preservation that are proposed can be a combination of old and new
techniques and materials in the construction.

Flexibility and reversibility

The building should be able to undergo dynamic changes and adapt to other reusability options in
case change of use needs to be done due to society demands or economic demands in future.
CHAPTER 2 LITERATURE STUDY

KEY ARCHITECTURAL ELEMENTS REQUIRED FOR DESIGNING YOGA AND MEDITATION

SPACES

1> MAIN SPACE

• It is that central space of any Yoga Center/Studio where people gather for various Asanas ,
practices, in generally a free plan. This place is flexible and adaptable to different purposes.
• Some rooms have an elevated platform from where the instructor of the session guides.
• Shelvings or countertops are appreciably used for storage purposes of Visitiors’ tools , such as
Towel,Blankets,Slipper,Water bottles etc.) , during attending sessions.
• Mirrors can be used as per the need of the clients/visitors.

STANDARD MEASURES :

A Yoga mat when fully unfolds is stretched in an area of approximately 1.70 mts x 60 mts.
It is suggested to leave at least 50 cm between the mats, to allow the free movement of users during
the exercises.

2 1

5
3

Fig. 18 YOGA STUDIO : FURNITURE LAYOUT SHOWING DISTINCT AREAS

2> BATHROOMS / DRESSING ROOMS

• It is good to keep a dual use of such

spaces , simultaneously for
Bathroom and Dressing Room.

• Sink area should be kept separated

from toilet area , associated with
lockers , shelves and benches.

• Toilets should be located adjacent

to the main room to provide a quick
and easy access from the main
entrance area. Fig. 19 DRESSING ROOMS/BATHROOMS ADJACENT TO MAIN SPACE
CHAPTER 2 LITERATURE STUDY

KEY ARCHITECTURAL ELEMENTS REQUIRED FOR DESIGNING YOGA AND MEDITATION

SPACES

3> CIRCULATIONS
Circulations play various functions such as corridors or hallways , reception , can contain storage
spaces when incorporated with built-in shelves , waiting and resting areas.

4> OTHER SPACES

These spaces include several classrooms, massage cabins or jacuzzi, sauna and swimming pools
areas.

5> ENVIRONMENTAL CONDITIONS

• ACOUSTICS
Generally , these spaces must be completely silent, to avoid ambient noises. Sometimes it is
recommended to arrange sounds of nature (such as sound of moving water, spring , bird chirpings ,
Binaural beats etc.) in interior spaces can help a better realization of different practices.

Fig. 20 NATURAL AMBIENCE IS CREATED BY USING NATURAL LIGHTING AND SOFTSCAPES

• VENTILATION
It is a basic principle to allow cross ventilation across the room for renewing the oxygen inside.
For this, it is necessary to generate a first opening in the facade that receives the prevailing winds,
and a second opening (preferably bigger) on the opposite wall.

Fig. 21 VENTILATION OBTAINED THROUGH OPENINGS AT THE FACADE

CHAPTER 2 LITERATURE STUDY

KEY ARCHITECTURAL ELEMENTS REQUIRED FOR DESIGNING YOGA AND MEDITATION

SPACES

• ILUMINATION

• Ample amount of direct sunlight builds connection with the solar energy helping the
meditators/practitioners in their meditation/ dhyan.
• Warm and adjustable artificial lighting must be done for the practices carried out at night , helps
meditators to build intension of the practice.
• Glare must be avoided and light does not fall directly on people, and have been used zenithal
openings, windows at floor level, fuzzy screens, and light courtyard surrounding the main room.

Fig. 22 NATURAL AND ARTIFICIAL ILLUMINATION OF MAIN YOGA SPACE

• AESTHETICS AND MATERIALS

• Distracting elements or exaggerated decorations must be avoided.

• It is recommended using warm materials and soft and earthy tones/colors (or directly white)
which help attendees to achieve concentration.
• Practices carried out in permanent contact with the ground, thus floors are usually covered with
wood or materials rather 'soft' and warm in texture and feel.

• ORIENTATION AND GEOMETRY

• Certain orientations and configurations build Cosmic Geometry , (as we see the use of Fractal
Geometry in Sanatan Dharm Temples ) that enhances the effectiveness of the exercises and
meditation
• Beneficial cardinal directions, like North and North-East for meditative purpose ,South-South East
for physical exercises.

Fig. 23 STAGE WISE DEVELOPMENT OF TEMPLE PLAN USING FRACTAL GEAOMETRY

CHAPTER 3 WORK UNDERTAKEN

SITE ANALYSIS

GEOGRAPHICAL BACKGROUND OF MONUMENT

SITUATED OF THE BANKS OF RIVER GOMTI

✓ 121M ABOVE SEA LEVEL

✓ CLIMATE : WARM AND TEMPERATE

✓ AVG. ANNUAL TEMPERATURE : 25.7 °C

ADDRESS : BIBIAPUR MARG, CANT, LKO, UP ,226002

LATITUDE & LONGITUDE :

26.7913° N, 81.0110° E

AVERAGE RAINFALL :
896.19 MM APPROX.

TOTAL GARDEN AREA : 3.00 ACRES

TOTAL BUILT-UP AREA

Fig. 24 TOPOLOGY OF LUCKNOW CITY
STABLE BUILDING :5635 SQ. FT.
MAIN BUILDING : 5845 SQ. FT.

LEGENDS

1> DILKUSHA PALACE

5 6 7
2> N-E BUILDING (STABLE)
3> PLATFORM
4> CEMETRY
5> SOUVENIR SHO 3
6> CAFETERIA LANDSCAPE
7> DRINKING WATER
2
8> TOILET
3

4
DILKUSHA
KOTHI
1

8 COLD WINDS PREVAIL FROM

SOUTH DUE TO THE PRESENCE
OF RIVER GOMTI NEAR THE SITE

SCALE – 1 : 1500
CHAPTER 3 WORK UNDERTAKEN

SITE ANALYSIS

OVERVIEW

✓ ARCHITECTURE STYLE : ENGLISH BAROQUE

✓ ARCHITECT : MAJOR COMMANDER GORE OUSELEY
✓ MATERIALS USED IN CONSTRUCTION :
LAKHAURI BRICKS,PLASTERED WITH LIME
DECORATED WITH PLASTER MOULDINGS.

Fig. 24 SATELLITE IMAGE OF NORTH-EAST BUILDING

NORTH EAST BUILDING

Fig. 25 NORTH-EAST BUILDING Fig. 26 SATELLITE IMAGE OF DILKUSHA PALACE

✓ FAÇADE OF N-E BUILDING AND

DILKUSHA PALACE
✓ A few towers and external walls
are present.
✓ Patterned walls at the façade are
visible.

NORTH-EAST BUILDING :
IT WAS A TWO-STOREY BUILDING, THEN
USED AS STABLE FOR HORSES.

✓ Lakhauri bricks,plastered with lime

✓ Decorated with plaster mouldings.
✓ Whole interior space is open to
sky.

DILKUSHA PALACE:
IT WAS A THREE-STOREY BUILDING

✓ Chambers are blocked for

preserving further damage.
✓ Towers had circular staircases.
✓ Whole interior open to sky
CHAPTER 3 WORK UNDERTAKEN

SITE ANALYSIS

BUBBLE DIAGRAM SHOWING PROXIMITY OF SPACES

CAFETERIA

KEY PLAN

ENTRY/EXIT

MAJOR ADJACENCY

MINOR ADJACENCY

SITE PLAN SHOWING DIFFERENT SPACES

MEDITATORS’ UNITS

NORTH EAST BUILDING PLAN

✓ TOTAL AREA :531 SQM.
❑ A : 22 sq.mt
❑ B : 15 sq.mt.
❑ C : 9 sqm

MEDITATORS’ UNITS
CHAPTER 3 WORK UNDERTAKEN

NORTH EAST BUILDING PLAN – TOP VIEW PLAN AND FURNITURE LAYOUT PLAN
CHAPTER 3 WORK UNDERTAKEN

NORTH EAST BUILDING – ELEVATIONS

CHAPTER 3 WORK UNDERTAKEN

NORTH EAST BUILDING – ELEVATIONS

ETFE MEMBRANES FITTED IN BAMBOO FRAMES INSTALLED FOR ROOFING IN

COURYARD.
CHAPTER 3 WORK UNDERTAKEN

NORTH EAST BUILDING – RENDERED IMAGES

CHAPTER 3 WORK UNDERTAKEN

NORTH EAST BUILDING – RENDERED IMAGES

 REFERENCES

LINKS AND WEBSITES

(i) http://mohua.gov.in/cms/Model-Building-Bye-Laws.php ; MINISTRY OF HOUSING AND URBAN

AFFAIRS

(ii) https://www.hummingpuppy.com/the-studio

(iii)https://www.archdaily.com/797259/the-key-architectural-elements-required-to-design-yoga-
and-mediation-spaces

(iv) https://issuu.com/

(v) https://www.environment.nsw.gov.au/resources

(vi) https://www.google.com/earth/

(vii) https://www.wikipedia.org/