thesis report

CHAPTER 1 INTRODUCTION

1.1

GENERAL

1.1.1 NIFT’S VISION To emerge as a centre of excellence and innovation proactively catalyzing growth of fashion business through leadership in professional education faith concern for social and human values.

1.1.2 HISTORY OF NIFT National Institute of Fashion Technology was set up in 1986 under the aegis of the Ministry of Textiles, Government of India. It has emerged as the premier Institute of Design, Management and Technology, developing professionals for taking up leadership positions in fashion business in the emerging global scenario. NIFT has been granted statutory status under the act of Parliament of India in 2006, empowering the Institute to award degrees and other academic distinctions.

The Institute is a pioneer in envisioning and evolving fashion business education in the country through a network of fifteen professionally managed domestic centres at Bangalore, Bhopal, Bhubaneswar, Chennai, Gandhinagar, Hyderabad, Kangra, Kannur, Kolkata, Mumbai, New Delhi, Patna, Raebareli and Shillong.

NIFT has set academic standards and excelled in thought leadership by providing a pool of creative genius and technically competent professionals. The Institute provides a common platform for fashion education, research and training. 1

1.1.3 ABOUT NATIONAL INSTITUTE OF FASHION TECHNOLOGY NIFT has evolved as a Centre of Excellence imparting multidisciplinary and pragmatic education to its students. With a vision to have a strong global connect, NIFT has entered into collaborations with leading fashion institutes and organizations across the globe. NIFT has signed MOUs with reputed institutes/ universities like University of the Arts London, UK; University of Leeds, UK; DE Montfort University, UK; Ryerson University, Canada; Royal Melbourne Institute of Technology, Australia; Domes Academy, Italy and University of Philadelphia, USA to name a few. NIFT’s strategic alliances allow its students to undertake the Twinning (study abroad) opportunity in the leading international fashion institutes. The study abroad opportunity can be undertaken by the students of different disciplines across NIFT Centers in Semester III and IV of the Master Programs and Semester VI and VII of Bachelor Programs. To provide an academic gradient, NIFT’s international linkages

allow

the

students

to

participate

in

international

competitions/seminars/research forums/ exhibitions et al.

To facilitate exchange of teaching pedagogy, concepts, and professional ideas, the faculty at NIFT participates in academic exchange programs, international fairs, seminars, exhibitions, conferences and trade shows thereby bringing their substantial experienceto the classroom and thus enriching the knowledge pool at NIFT.

1.1.4 SPECIAL FEATURES IN NIFT CAMPUS  Visual continuity is very essential as fashion has to be criticized and people’s reaction and opinion matters, for it to become the trend.  Interactive spaces:Spaces that inspire to think and design and dream.  Should be vibrant to go with fashion which is something that keeps on changing and is always new.  Should create enthusiasm and interest in students.  Should create interactive spaces between different labs and studios because all courses are linked and are interdependent. 2

 Should be innovative andshould not create a sense of a very formal atmosphere. Creative students like informal spaces than formal spaces in general  Spaces to display apparels, manekins, clothes etc. in a public space visually accessible to everyone.  A resource centre with material library and Amphitheatre

arevery

essential for conducting fashion shows, weeks etc

1.2 GENERAL REQUIREMENTS FOR NIFT: 1) Administration 2) Faculty block 3) Academic block which includes all the design studios and labs (leather, accessory, textile, knitwear design and also in fashion communication & Apparel production. ) 4) Computer labs 5) Garment construction labs 6) Pattern making labs 7) Yarn knitting labs 8) Resource centre and library , Material museum 9) Canteen 10) Girls hostel 11) Boys hostel 12) Art block 13) Amphitheatre 14) OAT 15) Security cabins 16) Electricity substations 17) Smart classroom where every sector can work together- interactive design

1.2 AIM: To design a lively and vibrant campus for NIFT to assist the Indian apparel/fashion industry in meeting the industrial competitiveness in the global plane.

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1.3 OBJECTIVES To emerge as the centre of excellence and innovation , that will help create, design and dream, proactively catalizing growth of fashion business through leadership in professional education with concern for social and human value. To create strong nodal points that attracts the students. The design involves lot of complex thinking process to create a lively and a vibrant campus that equals the best in the world at NIFT. To provide multidisciplinary curricular towards a skill oriented, broad based education integrating it with IT and modern industry practices. To design with visual continuity keeping in mind that fashion has to be criticized to be refined. To design studios such that it offers ample opportunity to students to experiment and innovate, while the laboratories provide hi technology work areas covering real time aspects of the industry. The education structure should emphasize hands on experience through practical setups and state of the art of technology. Fashion industry is ever-changing.To relate this concept and design a flexible and adaptable campus. To study about traditional architecture in Rajasthan and try incorporating climatic related design aspects into the design.

1.4 SCOPE OF THE PROJECT: Fashion design is the most high profile career and very glamorous too. It involves in it the latest trend of fashion and taste of creative work and involvement with variety and texture of clothes. And the designers work with materials, designing, working with senior designers. Although theprofession of fashion designing is a very creative work and also very refreshing as it produces something new from within itself but every designer has to prove his philosophies, capabilities, vision, discussions, samples, sketches, and many more. And there is no involvement of his personal life, his style, his needs, his attitude but then also he has to produce the exciting designs with different colours and materials. A designer makes the film stars as a super star and gives a new direction to his personality.

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1.5 SELECTION OF THE SITE There are around 300 students from Rajasthan who apply to NIFT every year, and with an indigenous NIFT Centre the number is surely going to shoot up.

The design involves a lot of complex thinking process to create a lively and a vibrant campus implemented with facilities that equals the best in the world at NIFT. Creative architecture and spaciousness defines all NIFT buildings, which house fully equipped lecture halls, design studios and laboratories, resource centres, activity centres, gym and hostels

1.5.1SITE SELECTION AND JUSTIFICATION: Jodhpur is the second largest city in the Indian state of Rajasthan. It is located 335 km (208 mi) west from the state capital, Jaipur and 200 km(124 mi) from the city of Ajmer. The city is known as the "Sun City" for the bright, sunny weather it enjoys all year. It is also referred to as the "Blue City" due to the blue-painted houses around the Mehrangarh fort. The climate of Jodhpur is generally hot and semi arid, but with rainy season from late June to September. The average rainfall is around 450mm.Temperatures are extreme throughout the period from March to October, except when monsoonal rain produces thick clouds to lower it slightly. In the months of April, May and June, high temperatures routinely exceed 40 degrees Celsius, generally low humidity.

fig1 .1: Location mapfig 1.2: satellite map 5

1.5.1.1. INFORMATION ABOUT THE SITE The location map and satellite image is shown in fig 1 and fig 2 respectively Site is 20 acres,abuted by NH65 and SH58. Upcoming Jodhpur ayurvedic collegeis located 500 m away and IIT jodhpur is located 15 kms away Rural craft and creation is located 7 kms away and the site is 15.7kms away from Jodhpur railway station.

1.5.2 FEASIBILITY STUDIES Fashion Industry in India is in nascent stage at the moment and has great potential to make its mark on the world stage. Indian fashion has thousands of years of tradition behind it. India has a rich and varied textile heritage. Fashion Industry in India is growing at a rapid pace with international events- Indian Fashion Week etc NIFT, one of the most sought after institutes in India and with maximum number of centres (total 13) all over,

Other institutes are -Shristi (Bangalore), -Pearl academy of fashion (New Delhi), -Indian institute of crafts & design (Jaipur), -Footwear design & development institute (Noida) -Symbiosis institute of Design (Pune). -DJ Academy, Coimbatore and -Indian Institute of Technology

1.5.2.1 WHY DO WE CHOOSE RAJASTHAN OVER JODHPUR The city serves as an important marketplace for wool. Rajasthan is the second largest producer of polyester fibre in India. Jodhpur is home to many talented and skilled craftsmen like textile dyers, metal engravers and ‘die-makers, and probably the last of the tailors of the classic Jodhpur breeches, famous for its textiles and materials. 6

Its bazaars indigenous materials and designs can be worked with and brought into the global market via NIFT ‘s designers. Major educational hub: - IIT, Rajasthan - NLU, Jodhpur - JNU, Jodhpur national university - Ayurveda university - JNVU - MBM Engineering college - Dr S.N. medical college and group of hospitals - Ayurveda university - Jodhpur institute of engineering - Jodhpur engineering college and research institute…etc

1.6 IDENTIFIEDLITERATURE CASE STUDIES

1.6.1. Fashion Institute of Technology, NewYork The Institute is located on the two sides of the 27th street, 7th avenue, New York It is connected with a corridor glazed bridge. The resource centre and the dormitories are located on the left side whereas the academic block is situated along the right side.

1.6.2. NIIT UNIVERSITY, Neemrana, Rajasthan. Located midway between Delhi and Jaipur. Rajasthan architecture is characterized by high density compact settlements with shaded streets, enclosed open spaces, massive construction, water conservation practices and inward looking architecture with lot of focus on visual ornamentation. All these are means to counter the effect of heat, dust and to create a micro climate which enabled people to survive in the midst of desert. These time-tested principles have survived for centuries.

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1.7 IDENTIFIED CASE STUDIES

1.7.1. Pearl Academy of Fashion, Jaipur The Pearl Academy of fashion, Jaipur is a campus which by virtue it s design is geared toward creating an environmentally responsive passive habitat. The Institute creates interactive spaces for a highly creative student body to work in multifunctional zones which blend the indoors with the outdoors.

1.7.2. NIFT, Hyderabad. Designed by Sanjay Mohe Creates a positive connection between the building and pedestrian paths potential for shared plaza or entry arrangements

1.7.2. NIFT, Chennai Designed by Sanjay Mohe Inspired by a cube with dissembled triangles different colours Introverted planning around an atrium and a courtyard. Triangles act as wind catchers

1.7.2. NIFT, Delhi The NIFT campus is located at the Mehrauli road in New Delhi’s Hauzkhas Institutional area. It is easily accessible from the AurobindoMargOrBalbirSaxena Marg.

1.7.2. NIFT, Bangalore Designed by STUP consultants, Mumbai Arrangement of spaces concentrated toward centre. Concept is snail Pedestrian pathways around each block

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1.8 METHODOLOGY:

Identification of Topic

Establishing the need of the Thesis

Aim

Project Objectives

Literature Studies

Standards

Identification of Case Studies

Live Case Studies

Synthesis and inference from case study

Establishment of requirements

Site Analysis

Concept

Site planning/Initial layout

Schematic Development

Pre final schematic drawings

Final layout/final presentation drawings 9

CHAPTER 2 LITERATURE STUDY

2.1 DESIGN CONSIDERATIONS TO CAMPUSES The following design elements apply to the East and City Campuses of UNL, and should be taken into consideration in all building and site development. These elements are generally considered by most architects and landscape architects, and are articulated here as a reminder and check list.

2.1.1 Scale and Proportion: The scale and proportion of a building impacts the “sense of place” within the campus. New buildings and additions should acknowledge surrounding context, but recognize and establish human scale. The design of the building should take into consideration how the design affects a person standing at the face of the structure as well as the building scale is read.

2.1.2 Building site: How the building is situated on the site will have a significant impact on the success of the design solution. Care should be taken to site the building in a way that creates a positive connection between the building and pedestrian paths, for it must be remembered that on an essentially pedestrian campus most building visitors will arrive on foot. The building should acknowledge the setback or alignment of the adjacent buildings. Adjacent buildings should also be studied in regard to their entry locations, potential for shared plaza and/or entry arrangements, and for the development or enhancement of outdoor spaces and spaces between buildings. The location of building service entrances also deserves special consideration. The view from and to existing campus landmarks should also be analyzed and incorporated when sitting in a new building. 10

2.1.3 Form: The form of the building can greatly impact the texture of its area of campus. A consistent form used throughout a specified area provides a cohesive, identifiable appearance to that area. The roofline, proportion and visual mass of building affect the overall form. By using similar building forms, a high degree of unity between buildings on the campus can emerge, even among buildings of differing architectural style.

2.1.4 Materials: The material from which structures or landscape elements are constructed can have a significant effect on the image of the campus projects. Defining a palette of appropriate building materials, including their colours, can allow a designer freedom of expression, yet establish a unity among campus buildings.

2.1.5 Building elements and style: Significant building elements such as cornice lines, building datum lines, pronounced entries or porticos, colonnades, awning, elements, stairways, and masonry detailing comprise a vocabulary of “design features” that help to create a cohesive campus identity. Designs which respond to and incorporate these common features will further the goal of campus visual unity.

Fig 2.1: Nift Hyderabad- pergola

fig 2.2: Nift Delhi, Entrance

2.1.6 Site planting: Plantings should be provided around academic buildings and residential living units and open spaces between buildings should be planted to create continuity on campus. Special attention should be given to all building entries with plant materials selected for scale ,texture, seasonal 11

color and overall visual impact.

Building entries that face major mails and streets should be treated as “front porches” with seating areas, planting beds, lights and benches providing opportunities for small, informal gatherings. Pedestrian pathways , many of which lie along the former street grid, should be preserved wherever possible. Trees and shrubs should be used to buffer parking lots, building services areas, open storage areas and high volume streets.

2.2 INTERIOR SPACES:

2.2.1 .Laboratory Laboratory is defined in the dictionary as a building set apart to experiment in natural science. In lab construction, the present tendency is to move away from the traditional design incorporating rooms of final size to a more flexible arrangement with movable walls and furniture. Issue in laboratory design: (i) Flexibility (ii)Safety (iii)Quality of environment

2.2.1 .1 Pattern making table(170*120*750) A common table is provided for each student for drawing, pattern making and cutting of garments. To save spaces these tables may be units of two ends face to face, further they may be joined lengthwise also to have a long continuous work surface. The basic working area recommended for students is providing by a tablet(170*125*750). Spaces provided between tables should be enough for working on mannequins and comfortable space for circulation.

2.2.1.2 Sewing machine (110*50*750) Sewing machines are provided for each student. Special function machine per two students & stream iron tables with boiler unit. It is necessary to press the material at various intervals during sewing process:therefore it should be located close to the sewing machine. A small screened fitting area with atleast two full length mirrors is also a necessary component.

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2.2.2 Lecture hall Major factors to be considered in designing a classroom are: 1.Seating and writing surfaces. 2.Spaces and furnishing for the lecturer. 3.Wall spaces including chalk boards, screens, etc facilities for projection and television.

2.2.2.1 Acoustics and lighting The seating arrangement is the most important factor in determining the size and shape of the classroom. A wider lecture room is preferred to a deeper one because the students closed to teacher, control ac cashier and provides for a better visibility and interaction with instructor. For normal use and length strength, a square lecture room with audiovisualfacilities, fan shaped room is preferred.

2.2.2.2 Area For classroom size of 30-40. The lecture room area would be from 1.2– 1.4sq m per student.

2.2.2.3Activities Lecturing demonstrating discussion , testing and evaluating. Desk should be provided at least per student as working. If these rooms are used by other departments then they should be accessible by all. Good visibility to a large extend is dependent on arrangements.

2.3 COURSES AND SPACE REQUIREMENTS:

2.3.1 Fashion Design This department

sees it fosters creative and aesthetic enquiry,

experiment, interests in art and craft , development of intellectual, perceptual and visual skills. During the course students are exposed to entire range of activities involving development of a garment form conceptualization to the finished product. 13

Requirements: 1.Classrooms 2.Fashion design studio 3.Art room Fashion design lab is used by the students for practically designing, detailing and producing a complete garment from an inspiration. Lighting is a major issue in the design of the labs. Natural and artificial light has to be incorporated to cater all the needs.

2.3.2 Textile design and development Surface design is the component of curriculum ,print embroidery and constructed textiles weave and knit aspect of the production , consumption and innovation in relation to the chief sector, handloom sector and fully merchandised sector. The three years course in textile design offered at NIFT aims at giving design training in weaving and printing in crafts as well as mass production technologies. Training is given to the student to weave clothes in looms and in different methods of dyeing of textiles. Textile workshop is equipped with handlooms as well as power looms

Requirement is 1.Classrooms 2.Weaving lab tables of size(1.25m*1.25) 3.Dyeing and printing lab

2.3.3 Accessory Design It aims at the understanding

of design of its concepts and theories,

fashion principles, interpretation of fashion accessories . the accessory design program lays emphasis on form generation , manipulation and craft, as based on design. Requirements 1. Classrooms 2. Labs- The labs are provided with long tables for cutting, pattern making, and mannequins for practical purposes. Display and locker facilities should be kept in labs. 14

2.3.4.Apparel Marketing and Merchandising This is a marketing oriented course (marketing and product development). It covers practical aspects of merchandising Requirements 1.Classrooms 2.Labs

2.3.5.Leather Garment Design It aims to provide training to students for managerial and designer s level in the leather garment industry. The major activities in the workshop is grading internationalizing. Identification of various types of leathers, pattern-making and garment construction.

2.3.6.The Knit Wear Design The program rests with the aim to provide chances to study and practice the interrelated aspects off knit wear and knit wear products, design along with required aspect of technology with sound knowledge of material. The knitwear technology has technical aspects like fashion art , pattern making and garment constructions. The course are exercised to develop skills, to demonstrative research analysis , costing and also technology application.

2.3.7.Garment Manufacturing Laboratory GMT lab is where students are trained in apparel technologies and techniques involved in fabrications and complete manufacturing of garments. Requirements: GMT lab would need pattern making tables for a fraction of the total number of students but would need a sewing machine for most of the students and possible special purpose machines are also to be provided in singular numbers . 1. Long cutting tables are to be provided with cables running one top for electric cutter. A clear aisle will have to be provided on both sides of the cutting tables . A twin stream iron with boiler unit is also to be provided. 2. Invidual lockers for storage acceding machines and maintenance of machines, also subject taught to students. 3. A good general lighting to be achieved with fluorescent light overall the work areas. Aisles should be a few as possible since they cause visual 15

disturbance. But as per law no seats should be more than 14 seats away from the aisle. Central aisle should be enough provisions. 4. Art rooms are to be used by fashion design students for the purpose of making sketches , artworks and rendering of garments. Art room is to be provided with

individual tables and stools/chairs. Instructors table,

a black board/soft board/steel board. 5. Tables in an art room are to be provided from all sides for the ease of movements while working .The size of table to be such that it allows for drawing on standard imperial size paper sheet.Asmall storage cabinet may be attached to the table itself . Small side pulls out of the table for keeping art material while working is a great help. Art room should have a good natural day light ,with high level windows also ample of artificial lighting is to be provided for. Windows should be fitted with some form of daylight control. Daylight preferably to be taken north or east from inboards should be providing for reference and exhibition/display.

2.4 PUBLIC SPACE REQUIREMENTS

2.4.1 Library Library is to be used all the students and faculty so it is to be provided for query,issue,catalogue facilities, states, reference section ,periodical section, audio visual

section,viewingfacilities,discussion

area

reading/study

areas,photocopy

facilities etc. Enquiry, issue and catalogue abilities are to be close to entrance for case operation and control.

2.4.1.1Service and space relationship: Only one complete card catalogue should be located where they can be supervised by circulation desk personnel. A librarian or attendant should not be responsiblefoe more than 55” beyond his desk. Apart from the main spaces in a library like stack area, reading room,administrationetc.,support spaces like AV room and conference rooms must be provided. The avrooms can be secluded spaces for hearing educational tapes, viewing documents. Clear height of stack=23.5m Height of racks= .30m Each book racks is 2m long is assumed to house 700-750 volumes. 16

1m 2 of stack room area may be assured to house 150 volumes.

2.4.1.2 Main aspect of the library: Continuity of interaction between the information store and user.The need for communication of this information to the user, to be as free as possible from interference. Control region is such that no people from the reading room or any other places have their entry/exit only through a counter enclosure.

2.4.1.3 Recommendations: The stack area should be placed east west to avoid direct sun through the windows. a) It is preferable that the library be in one level to facilities movement of book trolleys. b) All reading rooms should be enclosed to ensure safety of books. c) The window sill should be table height to be used temporarily for keeping books. d) Windows opening out into non enclosed spaces of the building should be provided within write mesh to prevent books and pamphlets etc from being passed out through them. e) Circulation and relative positions. f) Stack center,entrance through catalogue area g) General reading room entry directly from control region h) Periodicals adjacent to general reading room but with independent access i) Rooms required for institutional library j) Librarian room k) Classifier,cataloguer l) Administration and technical staff

2.4.2 Auditorium Auditorium at national institute of fashion technology is mean to hold fashion shows, seminars lectures, plays, concerts etc. Open stage plan serves the purpose. Area is calculated as 1 sq m per student. The capacity should be the total annual intake.

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2.4.2.1Shape Most effective is a fan shaped plan. Side walls>100 with curtain wall. Distance of the farthest seat from the curtain wall>2.3m for intelligibility of speech and music.

2.4.2.2 Stage: Size-depends on the type of performance and size of screen. Rear wall-the rear wall should be flat or convex for the sound to focus in the hall. Side walls are non parallel, then they may remain reflection and architecturally finished without sound absorbing materials.

2.4.2.3 Roof and ceiling Rake ceiling for large halls. Portion near proscenium should be reflective and is suitably inclined to help reflection from the stage to the rear seats. Concave for dome shaped ceiling is made sound absorbent to prevent reverberation.

2.4.2.4

Floor: For good visibility audibility , floor level is increased towards the rear end.

Each person shall be elevated 12cm above the head of the person directly in front of him. Angle of inclination of floor 48’.

2.4.2.5

Seating: Could be arranged in concentric areas drawn with center located as the

distance of curtain wall from auditorium rear wall. Distance from front row to stage is 3.6 to 4.5m. Back to back distance of chairs -85cm. Seats to be staggered and upholstered.

2.4.2.6

Balcony: Projection > twice the free height of the opening of the balcony recess.

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2.4.2.7

Line of sight: Elevation of balcony seats such that line of sight >30 the horizontal. FOYLER/LOBBY AREA:20% of seating area.

2.4.2.8

Sight lines: During performance on stage,the audience must see satisfactorily. For the

plan and section must confirm to certain limitations .in plan the angle of the wall should not be beyond 100 to the curtains at the sides the proscenium are undesirable. Factors to be considered: a) Avoidable obstruction b) Seating could be staggered. c) 14 persons in row between aisles is the absolute maximum. d) The platform for the lecture can be in 150mm in height. e) )Built in shelves for the storage purposes. Pin up board could also be provide along blank walls. Major factor influencing design: a)Seating and writing surfaces. b)Spaces and furnishing of the lecture room c)The use of wall space for boards, screens windows etc. d)Facilities for projector and television.

2.4.3 Administration The administration building acts as a bridge between the public and the campus community The site, location, Design, and treatment of this building should reflect if importance. The administration building mainly comprises of: 1.Director’s room 2.Visitors room 3.Reception 4. Registrar room 5.Manager room 6 .Conference room 7.Office room 8. Office area 19

9. Store 10.Toilets 11.Pantry

Location should be very clear and should be accessible by the public. It is the brain centre that should be conveniently identifiable from the entrance. Heart or core of centralized activity, around which the whole campus grows and functions. The department administration area consists of: 1.HOD’s room 2.Prof/Assistant Prof. Room 3.Lecture room 4.Visiting room 5.Visiting faculty room 6.Office area

Factors determining shape of office floor are: (a) Depth of space (b) Position of primary circulations.

Space standards:

Area

Principle room

30sqm

Confidential

15sqm

Conference

75sqm

Reception lounge

25sqm

Hod’s room

25sqm

Office desk sizes: Depth

width

height

380

400

430

Executive

400

480

510

Clerical

640

780

510Typist

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2.4.4.Dining Hall The floor of the dining hall excluding the area occupied by the service counter and any furniture and fixture except tables and chairs shall not than 1 sq m per students. The surface of every table or board on which refreshments are served shall be of a non absorbent material. Hand washing facilities such as running water and soap must be provided.

2.4.5.Toilets standards Urinals Males Females

1/8th

wcbath 1/8th

1/8th

1/8th

1/6th

1/6th

1/6th

2.4.6. Kitchen All containers and utensils shall be stored at a height or not less than 430mm above the floor in a clean, dry place protected from files, dust and other contamination.

2.4.6.1Ceiling height The interior height of a normal lab is between 3.25 and 3.5m in large labs or rooms greater depth 12.5 the height must be increased to 4m-4.25m. Suspending jsceiling and crawl ways will necessitate increased floor to floor height.

2.4.6.2 Corridors : Where the doors open the corridor width should be 2.25m – 2.5m. If the doors are recessed in a captivity of width need not exceed 2m if it is necessary for cupboards or locking to be placed in the corridor then these should be in buildings, not in free standings.

2.4.6.3

Staircase: The number of staircase and their location depends on the size of the

buildings and not on the people working on it. According to regulation no room should be more than 30m away from construction of fireproof material there distance may be 40m. 21

2.4 TRANSITION SPACES Transition as generally found is either a linkage or a connection of the inside and the outside. It is used in continuing the spirit of place or changing it in a definite sequence with a particular expression . To understand transition should be seen with its relationships as the degree of functions and the degree of scale changes with a variety from domestic scale to the city scale.

Transition has gained importance since centuries and has ever since been valued and all styles of architecture .one perceives through series of incidents that transition is an experience and is essential for solving numerous problems. Transition is a kind of in between stage between the two different stages. Eg: In case of a shelter between the outside and the inside.

Transition exists between spaces, forms, materials, structures, levels etc. Wherever two or more than two things exist dependently or independently transition exists. As understood in architecture, transition is an entity, which may act as a bridge-bridging two or more, similar or dissimilar nature of aspects. Here, the spaces may be labelled or may not be labelled without functions.

Transition can also be interpreted as partial of one quality into another, before the two become totally different from another. For example, semi-enclosed places on the periphery of a building, where the outside and the inside both meet. Transitions can be between the dark and the light .Dusk is transition between the day and night.

Transition can be broadly classified into two major forms: a)Physical Form b)Visual Form a) Physical Form

The origin of physical form of transition lies in the need of physical travel from a kind of spaces to the other kind. As a result of this, one can study the relationship of two spaces , where a space can be a major or subordinate to the other 22

shelter.The Physical transition is called a transitional space, when two dimensions are added to the transitional element, namely (depth) and time taken for travel.

Direction is also one of the major factors, due to which transition is called an element or a space. Transition between two levels can be called as travelling through a transitional space. Time is a major factor which makes the transition elaborate or abrupt, so that it becomes a transitional element respectively, eg.an enclosed space with an amp connecting the same levels as an element. Light is one of the important aspects, which contributes to the physical transition the most and signifies the transition in contextual aspect of time. Time is another factor, which offers a dimension to transition especially in an individual movement, visual spectacle or one position to another.

2.4.1.Visual Form Unlike physical form, Visual form of transition deals with visual accessibility and establishes a visual connection with the objects and environment around. It does not allow the observer to travel physically but extends out the space from the building and takes the outdoor life with the enclosed space.

Visual form of transition is achieved of manifestations of different forms. The elemental form of transition depends mainly upon certain constraints such as: climate ,socio-economic structure and religious background with other manmade and natural factors. Along with special qualities ,it is an architectural solution to the hazards in general.

2.5 TRANSITION AND PRIVACY: The transition between the street and the house becomes very important. House pattern found in east and west provides separation of domains and effectively separates the house and its life from both street and neighbors. The degree of privacy (Internal, Extemal)is achieved in its own way, as in the case of eastern house privacy acnieved from outside becomes significant unlike western house where internal privacy is given more preference. A dear transition occurs from the noisy public domain to the quiet privacy one from relatively plain, simple and restrained exterior to whatever richness and luxury exists inside. 23

2.5.1 Physical transitions: By physical transitions, the actual applications of a theoretic idea of transition are meant. They can occur within the body of an organism or in actual space; between similar are contradictory elements. The physical world is formed of various planes, objects, volumes, masses and spaces between these entities. The spaces give a definition of these entities, their shape and form and vice- versa , the entities and the relationships between each other give an identity to the space around them.

2.5.2Architectural expressions on transitions Architecture is a three-dimensional system, which contains its own set of units like elements, planes and volumes, it was set within the physical world, serving the purpose for which it was built form is inanimate, it happens to be a part of the living environment, where living beings interact with it. “Architecture occurs at the meeting of interior and exterior forces of use and space. These interiors environmental forces are general and particular, generic and circumstantial"

When such a meeting core occurs, there is bound to be change in circumstances. The intrinsic features of the realms are different, they may even be opposing in nature. This situation creates a tension, and a point of change is created. This point is where the system tries to balance itself, trying to bring about a phenomenon, an event. This is where the design allows for a provision of time and space for the user, to analyze and to adapt. The point of equilibrium, and thereby space created is called the transition space and is also referred to as the in-between realm of the interface.

"The transition must be articulated by means of defined in-between places which induce simultaneous awareness of what is significant on either side. An in between space in this sense provides the common ground where conflicting polarities can again become twin phenomena”

As seen earlier, in the various biological, economic, scientific situations, one needs to concept the different constituent varied core phases. Similarly, in 24

architecture, transition zones help in connecting varied core spaces and continuing the attitudes to be adopted. They form a tangible network of spaces, for one to access and use inscribing one into the built form, and spatial and social terms. They take into consideration various methods in which the user can anticipate and adjust to the change in the surroundings while entering and orient him within the built form. They are intermediate spaces, which help the users to associate with the constituent elements of the built form, by providing a continuity and spirit to the different functions assembled together.

This type of intermediate zone functions as a many(interval) permitting two opposing elements to exist in symbiosis . Intermediated

space makes a

discontinuous continuum possible,so that a plurality of opposing elements can co exist in an everchanging dynamic relationship. The nature intermediate space is ambiguity and multi-valence. It doesnot force opposing elements into compromise or harmony ,but provides the key to their living symbiosis.” All architecture is a structuring of space by means of a gal or path”

This route thereby becomes an intermediate entity, preparing the user to anticipate the sequence of spaces. The route which is the link to the core spaces, leads up to the goal; in which case. A hierarchy of the spaces is generated in the built form. As it leads from one space to another, the transactional route eventually becomes the prelude to the destination place. On the other hand, this route connects spaces in the build form in a random order, in which case all spaces may be rendered as equal. This also depends on the types of functions they serve and connect. Sometimes, the route could be only a mode of connecting various transitional spaces that prepare the user to visualize the situation. Ten, spatial transitions become phenomena that occur along the path or on a route to the goal: the identity and value of which depends on the structuring of the path. In all cases mentioned above, the transitional route associates itself with the activity spaces, thereby participating in the total composition. It can choose to continue the quality of one space via itself to another, or modify the quality with its own features to suit the other. It can also choose to protect the quality with its own features to suit the other. It can also choose to protect the quality of one space..by introducing a series of buffers that bar any disturbance. It can choose to continue or change the attitude of the 25

space, depending on the need. It portrays itself as a connector and separator — determinants of a spatial transition.

2.6TRANSITION ELEMENTS AND SPACES:

2.6.1 Horizontal Plane: The horizontal plane, as an element , in a built form usually is represented by the base plane, sunken or elevated It allows for continuity in the flow of space across I, but can also create a space if boundaries are set .This plane is the ground plane on which we move ,and thereby ,becomes a part of the route taken during a transition. The ground space can be elevated to maintain a degree of distinction and separation between spaces .Some examples on the ground are a transition element is platforms sits, walkways bridges etc..

This plane is elevated roof plane that covers space from above, which thereby defines the extend and quality of the transition space. It also has the distinction of being able to protect various spaces from natural forces. Many modifications made are made in the roof plane, to achieve certain requirements. For eg: Punctures are made in the roof plane to bring the light , heat, ventilation and view. Some examples of the roof plane as a transition element are lintels, beams, pergolas, ceilings, terraces, etc.

2.6.2 Vertical Plane: The vertical plane as an element, in a built form is represented by the wall under most circumstances. It is the element that stands between the

outside and the

inside, two contradictory realms. Considering the importance of the wall, venture has regarded the wall to be an architectural event and has stated .‘ Since the inside is different from outside ,the wall ,the point of change becomes an architectural event. Architecture as the ‘wall’ between the inside and the outside becomes the spatial record of this resolution and its drama, and by recognising the difference between the inside and the outside, architecture opens the door once again to the urbanistic point of view.’

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2. 7 CAMPUS SPACES The circulation path can be conceived as the perpetual thread that links the spaces of a budding, or any series of interior or exterior spaces, together Since we move in time through a sequence to space, we experience a space in relation to where we've been and where we anticipate going.

2.8.SPACE The Ultimate purpose of an architectural is to contain space The human body, in order to pursue any activity requires a certain minimum of unobstructed volume around it (determined purely by the activity) called UTILIZATION SPACE But such a space does not satisfy the emotional requirements exerts and influence on and modifies the other that we get ARCHITECTURAL MASS is to create and correspond to the distribution in space, “Space itself Has No Dimension And No Form. It Is The Presence Of The Mass That Makes Us Experience Space_ Mass Is A Positive Volume Space Is A Negative One”

2.9 FORM a)MASS or VOLUME or evidence of the three dimensions. b)DIRECTION –vertical or horizontal axis of the mass. c)SHAPE-geometric qualities.

2.10 VISUAL PROPERTIES OF FORM

2.10.1 Shape: The principal identifying characteristic of form: shape results from the specific configuration of form surface and edges.

2.10.2 Texture: The surface characteristics of a form, texture effects the lactic and light reflective qualities of a forms/spaces.

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2.10.3 Size: The real dimensions of forms, its scale is determined by its size. relative to the other forms of in its context

2.10.4 Visual lnertia: The degree of concentration and stability of a form: visual inertia of a form depends on its geometry as well as its orientation relative to the ground plane and our line of sight.

2.10.5 Color: The hue intensity and the tonal value of a forms surface: colour is the art but that most clearly distinguishes from its environment. It also affects the visual weight of a form.

2.10.6 Position: A form location relative to its environment or visual field

2.10.7 Orientation: A form’s position relative to the ground plane.The compass point or to the person viewing the form.

2.11 BUILT FORMS AND OPEN SPACES The symbiotic relationship of form and space in architecture can be examined and found in several scales. At each level we should be concerned not only with the building's form, but also its impact on the space around it. At the scales of the building's form, but also its impact on the space around it in many ways.

2.12 DEFINING SPACE WITH HORIZONTAL ELEMENTS BASE PLANE A simple field of space may be defined by a horizontal plane, laying as a figure on contrasting background. The stronger the edge definition the more articulate will be its fields. For a plane to be seen as a figure there must be a strong and perceptible change in color or texture between its surface and the plane upon which it lies.

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There is a continuous flow of space around it and it defines a territory zone of spaces within its boundaries. This is often used to define a space within a larger — spatial context This type of spatula elimination can be used to differentiate between a path of movement and places of rest, define a field from which the form of the buidling rises out of the ground or to articulate a functional zone within a one room living environment etc.

2.13 ELEVATED BASE PLANE A horizontal plane elevated above the around plane establisheS a verticaL space along its edge that reinforce the visual separation Between its field and the surrounding ground the change in level defines the boundaries of the world and interrupts the flow of space across its surface.

The degree to which the spatial and visual continuity is maintained between an elevated space and its surroundings depends on the scale of level of change. Edge of field well defines visual and spatial continuity is maintained physical access is easily accommodated.

Visual Continuity minted spatial continuity interrupted physical access requires use of stairs or ramps. Visual and spatial continuity is disrupted, the field of the elevated plane is isolated from the ground the elevated plane is isolated from ground the elevated plane is transformed in sheltering element for the space below.

2.14 BASE PLAN DEPRESSED A Horizontal plane is depressed into the ground plane utilizes the vertical surfaces of the depression to define a volume of space. A contrast in form geometry or surface treatment can be used to visually reinforce the independence of the depressed field of space from its larger spatial context.

The degree of spatial continuity between the depressed and the surrounding depends on the scale of level change. The act of stepping might express the extroverted nature or its shattering and protective qualities. The depressed field can be an interruption of the ground or floor plane and remain an internal part of the surrounding space. 29

Increased the depth of the depressed field weakens its visual relationship with the surrounding space and strengthens its definitions as a distinct volume of space. Once the original space plane is above over eye level the depressed field becomes in effect a separate and district room itself.

2.15 SPATIAL DEFINITION

2.15.1 Street Space Unlike a room a plaza has no ceiling to define the height of the space within its walls and unlike a plaza a street has only two walls with which to define space. If those walls are low in relation to the width of the street views outward are not contained enough to provide a sense of unifying space.

The range of human vision thus affects the perception of street space and scale. Human vision in a horizontal plane encompasses around 180 degrees and about 130 degrees in the vertical plan.

In a street with a 1:4 ratio of street wall height to width, there is three times as much sky as wail within the normal vision. Such streets have a weak sense of space. Good spatial definition though extremely difficult to accomplish is not impossible.

When the ratio is decreased to 1:2 the peripheral glimpses of the sky equal the amount of visual field devoted to the street wall. A 1:2 ratio is the minimum desirable ratio for good street spatial definition sky view is severely limited and strong spatial definition is possible

When the street wall height to height to width ratio is increased to 3:2 to the building is no longer visible without adjusting the angle of the head. Where ratio becomes higher still, it starts become difficult to judge the height.

2.15.2 Plaza Space Plaza s differ from parks and squares in the that the emphasis is on creating a volume of space by architectural means — trees and landscaping generally play a small or non-existent role in plaza design. Plaza s should posses an 30

intense three-dimensional quality. The quality of spatial containment is controlled by seven interrelated factors.

Maximum size preferably not to exceed preferable size is maximum size is also limited to height of surrounding buildings. Generally width should not exceed height by 3:1, maximum 4:1. The buildings composing the frame generally should be of a uniform height that does not vary more than 25%.

The shape of a plaza should permit the space the experienced in its entirely from any point within. Simplicity of form is desired concave curving walls, contain space effectively. A tall tower can function as the maintained pole to the space. When the buildings suffer from a degree of discard careful sculpturing of the plaza floor can counter balance the deficiencies. Clarity of form and closure are weakened when continuity of the plaza frame is broken by wide road ways or other openings.

A visitor to the plaza must be able to reference his movement across the plaza and comprehended the volume of the space. Most important for this are lines and planes projecting from surroundings buildings. Sculpture can capture hold space and provided a central organizing focus.

2.16 SPATIAL RELATIONSHIPS There are some basic ways in which building spaces can be related to one another and organized into coherent patterns of form and space.

2.16.1 Space within a Space A large space can envelope or contain within its volume a smaller contained space depends on the larger, enveloping space for its relationship to outdoor spaces. In this type of spatial relationship the larger enveloping space serve as a three dimensional field for the space contained within it. For this a clear differentiation in size between the two spaces is necessary.

For a higher attention value, the contained space may share the form of the enveloping shape but be oriented differently shape but be oriented differently. This creates a secondary grid and a set of dynamic residual spaces within a larger 31

space. The contained space and strengthen its image as a freestanding object. This contrast in form may indicate a functional difference that symbolic importance of the contained space.

2.16.2 Interlocking Spaces An interlocking spatial relationship consists of two spaces whose fields overlap to form a zone of shared space. When two spaces interlock their volumes in the manner, each retains the identity and definition as a space. But the resulting configuration of the two interlocking spaces will be subject to a number of interpretations.

The interlocking portion of the two volumes can be shared equally by each space. The interlocking portion can merge with one of the spaces and become and integral part of its volume. The interlocking portion can develop its own integrity as a space that serves to link the two original spaces.

Here each space is clearly defined and responds in its own way to its functional or symbolic requirements. The degree of visual and spatial continuity that occur between two adjacent spaces depends on the nature of the plane that both separates and binds them together. Limit visual and physical access between two adjacent spaces, reinforce the individuality of each space and accommodate their differences.

Be defined with a row of columns that allows high degree of visual spatial continuity between the two spaces. Appear as a free standing plane in a single volume of space. Be merely implied with a change in level or surface articulation between the two spaces. This and the cases best it can also be read as single volumes of space that are divided into related two zones.

2.16.3 Spaces Linked by a Common Space Two spaces that are separated by distance can be linked, or related to each other by a third intermediate space. The relationship between the two spaces will depend on the nature of the third space to which they share a common relationship. The intermediate space can differ in form and orientation form the two 32

spaces to express its linking function. The two spaces as well as the intermediate space can be equivalent in shape and size and for alinear sequence of spaces.

The form of the intermediate space may be determined solely by the forms and orientation of the two spaces being linked. The intermediate space itself can become linear in form to link two distant spaces having no direct relationship to one another. The intermediate space can if large enough become the dominant space in the relationship and to be capable of organizing a number of spaces about it.

2.17 SPATIAL ORGANISATION

2.17.1 Central Organisations: A centralized organization is a stable concentrated composition that consists of a number of secondary spaces grouped around large dorminant central space. The secondary spaces may differ from one another in their form or size and create an overall form which may not be symmetrical.

2.17.2 Linear Organization: Linear organization consists essentially of a series of spaces. These spaces can either be linked directly or related through separate and distinct linear space. The linear organization usually consists of repetitive spaces that may or may not be alike in size from and function. Because of their characteristic length linear organization expresses a direction and signifies movement extension and growth.

Spaces that are functionally or symbolically important to the organization can occur anywhere and their size and form. Their significance can also be emphasized by their

location at the end of the linear sequence offset from the

organization or at the pivotal points of a segmented linear form. The form of a linear organization is inherently flexible and can respond readily to various site conditions.

2.18.3 Radial Organizations: A radial organization of space combines elements of both centralized and linear organizations. It consists of a dominant central space from which a number of linear organizations extend in a radial manner. A radial organization is an extroverted 33

scheme that reaches out its context. With its linear arms, it can extend and attach itself to specific elements or features of its site.

The linear arms may be similar to one another in form and length and maintain the regularity of the organizations overall form. The arms can also differ from one another to respond to their individual requirements. A specific variation of the radial organization is the pinwheel pattern. This arrangements results in a dynamic pattern that visually suggests a relational movement about the central space.

2.18.4 Grid Organizations: Grid organization Consists of forms and spaces whose positions in space and relationships with one another are regulated by a three dimensional guide pattern on field. A grid is established by creating a regular pattern of points that define the intersections of parallel lines projected into the third dimension the grid pattern is transformed into a set of repetitive, modular units of space. The organizing power of a grid results from the regularity and continuity of its pattern that pervades the demands it organizes.

A grid can be subtracted from added to or layered and still maintain its identity as a grid with the ability to organize spaces. To accommodate specific dimensional requirements, or to articulate zones of circulation or service, a grid can be made irregular in 1 or 2 directions. A grid can slide or to be interrupted to accommodate various conditions

2.18.5 Clustered Organizations: The clustered organizations uses proximity to relate its spaces to the another it often consists of repetitive. Cellular spaces that have similar functions and share a common visual trait such as shape or orientation. A clustered organization can also accept spaces that are dissimilar in size form and function, but related to one another by proximity and a visual ordering device such as symmetry or an axis. The form of such an organization is flexible and can accept growth and change readily without affecting its character.

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Clustered spaces can be organized about a point of century into a building or along the path of movement through it. The spaces can also be clustered about a large defined field or volume of space. This pattern is similar to that of a centralized organization, but it lacks the latter's compactness and geometrical regularity. Since there is no inherent place of importance within the pattern of a clustered organization, the significance of a space must be articulated by its size, form or orientation within the pattern. Symmetry or an axis can unity and help articulate the importance of a space or group of spaces within the organization.

2.18 VISUAL CONTINUITY Visual continuity can be maintained by means of a linear axis about which the various spaces are organized. A series of spaces like courts can be organized about a central court and linked to each other. It can also be maintained by using walkways, corridors, etc to link the various blocks. Color, building materials, building form surface treatment, regulation of openings, etc can help maintain visual continuity. Distance is an important factor in maintaining visual continuity. An object which is so far away from a person as his height may not be seen clearly. When it is twice as far as its major dimensions, it appears as a whole. Beyond four times the major dimensions, the object simply becomes a part of the general scene.

2.19 STANDARDS AND RULES Per capita water requirement a)day school = 45/head/day b)boarding school = 135/head/day Minimum size of cellar, study room shall be 4.5x5.5 and no part of such room will be distant more than 7.5m from an external wall abutting on the requisite open space. Minimum ventilation = 1/5th floor area. Minimum 15sqm net floor area/student. Every assembly room, gym-clear height=3.6m except for 0.6m grider projecting. Clear internal height under balcony 4.3m.

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Table 2.1 No of toilet accessories for male and female occupants in Institutional buildings FILAMENTS

BOARDING INSTITUITION

NORMAL INSTITUITION

BOYS

GIRLS

BOYS

GIRLS

WC

1 for 8

1 for 6

1 for 40

1 for 25

ABLUTION TAPS

1 in each WC

1 in each

1 in each WC 1 in each WC

WC URINALS

1/25

-

1/20

WASH BASIN

1/8

1/8

1/40

BATHS

1 for every 8

1/6

-

DRINKING WATER

1/50

1/50

1/50

1/40 1/50

FOUNTAIN CLEANER’S SINK

1/floor min

1/floor min

1/floor min

1/floor min

Table 2.2 No of toilet accessories for male and female occupants in office buildings FILAMENTS

MALE

FEMALE

WC

1/25

1/15

ABLUTION

1 for each WC

1 in each WC

TAPS

1 water tap with draining arrangements shall be provided for every 50 persons in the vicinity of WC or urinals

FILAMENTS

MALE

FEMALE

URINALS

Nil upto 6

Nil upto 6

1 for 7-20,2 for 21-45,3 for 46-70,4

1 for 7-20,2 for 21-45,3 for

for 71-100,101-200 add rate of 3%

46-70,4 for 71-100,101-200

over 200 add at 2.5%

add rate of 3% over 200 add at 2.5%

WASH BASINS

1/25

1/25

DRINKING

1/100 with min of 1 on each floor

1/100 with min of 1 on each

WATER

floor

FOUNTAINS BATH

Preferably 1 on each floor 36

Preferably 1 on each floor

CLEANER’S

1/floor min preferably in or

1/floor min preferably in or

SINK

adjacent to sanitary rooms

adjacent to sanitary rooms

2.19.1 Design of classrooms Ratio 3 : 2 or 4 : 3 Square is best Floor area of classroom – 1.8-2.3sqm Height of the classroom – min 3.6m If floor area exceeds 558sqm then height =4.2m Light preferred from the north ,noverandah’s there Two blocks should be separated by a distance greater than or equal to the height of the block for light Light glass area greater than or equal to 1/6th floor area Regular intervals placed for uniformity of light Edge of the last window in north wall should be behind the last row of pupils and not more than 0.9m from the west wall No direct glare-window placement Height of the window sill – 1.06 to 1.22 if pupils seated on desk.If pupils seated on floor 0.75-0.9 Width of class if more than 7.3m from window wass difficult to lit Ventilators fixed 15 to 23m close to ceiling and allow an area of 325sqcm of open ventilation for each pupil. Don’t fix blackboards with windows. No seat should be more than 9m distance from the blackboard. Distance between rows of seats 75cm,min 45cm Space between row and wall > 30cm Each closet-one window with min 06sqm Doors should leave7cm at top and bottom.

2.19.2. Hostel Single rooms : 9sqm 3 or 4 students : 6 sqm/head 5 or more students :>5.6sqm/head Classrooms should be planned so that light is admitted from the left. Expansion joints – 12m spacing 37

Lavatories 1 WC and 1 urinal for 60 men 1 WC for 40 women 1 basin for 60 bathers Dressing box 1.06x0.91m to 1.22x1.22m 1 dressing box / 15-20 bathers Boarding houses Allow for baths – 8% of boarders Allow for WC’s- 8% of boarders Allow for urinals- 4% of boarders Septic tank Ref NBC(205) Min width 250m Min depth 1m below water Min liquid capacity of 1 m3 take 1.83 to 2.43m. Length can be 2.4 times Min Q of the pipe = 100 Gradients of land drains between 1 : 200and 1 : 400 Ventilating pipe >50mm but can go to 2m >15m away from nearest building and to a height of 2m above top of building > 1m depth Inlet pipe depth -0.9m Dispersion trench = 0.5x1.03 to 1m wide

2.20 CAMPUS DESIGN FACTORS AND TYPES OF CAMPUS PLANNING Plate 2.1 has a brief about it

2.20 PATTERN OF GROWTH AND ORGANISATION OF SPACES Plate2. 2 takes care of this

2.20 DATA COLLECTION AND STANDARDS Plate 2.3 mentions abourauditorium , drawing studios and library Plate 2.4 talks about sport facilities, canteen and museum 38

Plate 2.1 Campus design factors and types of campus planning 39

Plate 2.2 Pattern of growth and organisation of spaces

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Plate 2.3 Data collection and auditorium 41

Plate 2.4 sports facilities and museum 42

CHAPTER 3 LITERATURE CASE STUDY

3.1 FASHION INSTITUTE OF TECHNOLOGY This is one of the oldest fashion institutes in the world and is still expanding like a normal campus would. This particular campus has been renovated numerous times and also has a fashion museum Plate 3.1 introduces the topic and gives a brief about the residential halls and location Plate 3.2 talks about the Fashion museum, Hostel and health services

3.2 NIIT UNIVERSITY NEEMRANA, RAJASTHAN An eco-friendly sustainable campus in the foot of Aravalli hills in Rajasthan. Numerous bioclimatic practices has been followed in this campus which can be analysed and has similar climatic conditions to the proposed site Plate 3.3 gives a brief about location, site, lighting and capacity

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Plate 3.1 Introduction, location and residence halls 44

Plate 3.2 Fashion museum, hostel and health 45

Plate 3.3 location, site, capacity and lighting 46

CHAPTER 4 LIVE CASE STUDIES

3.1 PEARL ACADEMY OF FASHION Located in Jaipur, Rajasthan and thus has climatic conditions similar to proposed site. Has used traditional Rajasthani techniques in reducing the heat gain. Designed by Morphogenisis , Delhi. Plate 4.1 talks about the location, Architect and concept Plate 4.2 gives a brief about the basement and the water body. Plate 4.3 glimpses into Jaali and double walls, visual continuity and materials uses Plate 4.4 talks about the signage, recreation, labs and classrooms Plate 4.5 gives a brief about the fire exits, display areas and the interiors Plate 4.6 has the ground floor plan Plate 4.7 has the solar study and lower ground floor and first floor plan.

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Plate 4.1 location, architect and concept 48

Plate 4.2 the underbelly and waterbody 49

Plate 4.3 Jaali and double wall, visual continuity and energy efficiency 50

Plate 4.4 signage, recreation, labs and classrooms 51

Plate 4.5 fire exists, display areas and interiors 52

Plate 4.6 ground floor plan 53

Plate 4.7 solar study, plans 54

4.2 NATIONAL INSTITUTE OF FASHION TECHNOLOGY, HYDERABAD Designed by Sanjay Mohe Building incorporates environment friendly practices aimed at minimizing environment friendly practices aimed at minimizing the effect of harsh Deccan summers. Learning takes place not only in the classrooms but also in the corridors Plate 4.8 introduces the institution and concept and design approach Plate 4.9 talks about the Planning Plate 4.10 gives a brief about the activity areas, classrooms and labs and circumambulatory path Plate 4.11 glimpses on the interaction space, response to climate and form analysis Plate 4.12 throws light on recreation, landscaping and lighting

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Plate 4.8 introduction, concept and courses offered, design approach 56

Plate 4.9 the planning 57

Plate 4.10 Activity areas, classrooms, circumambulatory path 58

Plate 4.11 The interaction space, response to climate, form analysis 59

Plate 4.12 site plan, recreation and landscaping 60

4.2 NATIONAL INSTITUTE OF FASHION TECHNOLOGY, CHENNAI Designed by Sanjay Mohe Approach to design-responding to the site, concept- triangle Multifaceted, multi-coloured angularly designed building Plate 4.13 introduces the institution, the concept and site zoning Plate 4.14 gives a brief about the building description, administration and parking Plate 4.15 gives a brief about the classrooms, auditoriums and laboratories Plate 4.16 talks about the canteen, library, computer lab and hostel Plate 4.17briefs on the structure, services and spatial analysis Plate 4.18 analyses the form and talks about the interaction spaces

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Plate 4.13: introduction, concept and site zoning 62

Plate 4.14: building description and administration 63

Plate 4.15: classrooms, auditorium and laboratories 64

Plate 4.16 : canteen, library, computer lab, hostel 65

Plate 4.17: space analysis, structure and services 66

Plate 4.18: form analysis, interaction space 67

CHAPTER 5 ANALYSIS

5.1 ANALYSIS The negative and positive aspects of all the live casestudies has been compared in plate 5.1

5.2 COMPARATIVE ANALYSIS The comparative analysis has been done in Plate 5.2 and various aspects of all the NIFTs has been compared and analysed

5.3 AREA ANALYSIS The areas and layouts of different spaces has been compared and analysed in Plate 5.3 about NIFT, Chennai. The areas and layouts of different spaces has been compared and analysed in Plate 5.4 aboutNIFT, Bangalore.

5.4 SITE ANALYSIS Plate 5.5 talks about the Location, neighbourhood, access points, distances and site area Plate 5.6 talks about the climatic data, sunpath diagram, utilities and constraints, terrain classification, plants and materials available Plate 5.7 talks about the history of the site, the views at different points in the site, Jodhpur development authority rules

5.5 AREA STATEMENT Plate 5.8 and 5.9 talks shows the area statement

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Plate 5.1 analysis 69

Plate 5.2 :Comparative analysis 70

Plate 5.3 :NIFT Bangalore 71

Plate 5.4: Nift Chennai 72

Plate 5.5: location, neighbourhood, distances, site area 73

Plate 5.6: climatic data, sun path, terrain, soil, plants, materials 74

Plate 5.7: history, views, rules 75

Plate 5.8: area statement 76

Plate 5.9: area statement

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CHAPTER 6

CONCEPT

6.1 CONCEPT The concept derived from the analysis and study for the design has been explained in Plate 6.1

6.2 BIOCLIMATIC PRACTICES The Bioclimatic practices intended to be incorporated in the design has been shown in Plate 6.2

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Plate 6.1 concept sheet 79

Plate 6.2: Bioclimatic practices 80

CONCLUSION

This project has been done with a vision to design a National Institute of Fashion Technology in Jaipur. I designed a NIFT considering all the information I gained in this research. My design takes care of climatic elements which are of utmost importance as the site I selected is in Jaipur.I have incorporated traditional cooling techniques which are compatible with the harsh and extreme conditions in Jaipur. I have designed my project in such a way that it ensures possibilities of expansion. Traditional Rajasthani elements have also been considered in my design. Overall, I hope that my design puts forth an institute that will emerge as the centre of excellence and innovation and that it will help create design and dream, proactively catalizing growth of fashion business through leadership in professional education with concern for social and human value.

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REFERENCES

BOOKS AND E-BOOKS 1. Anon, School Architecture: Containing Articles and Illustrations on School Grounds, Houses, Out-buildings, Heating, Ventilation, School Decoration, Furniture and Fixtures, Lightning Source, 2009. 2. Helen Bennetts, Antony Radford, Terry Williamson, Understanding Sustainable Architecture, Taylor and & Francis Library, 2004.

3. Jonathan Coulson, Paul Roberts, Isabelle Taylor, University Planning and Architecture: The Search for Perfection, Taylor and & Francis Library, 2010 4. Lisa Gelfand, Sustainable School Architecture, John Wiley and Sons, Inc., 2010.

5. Michael Bauer, Peter Mösle, Michael Schwarz, Green Building: Guidebook for Sustainable Architecture, Springer-Verlag, Berlin Heidelberg Publications, 2010 6. Paola Sassi, Strategies for Sustainable Architecture, Tylor Wilson Publications, 2004.

7. Prabu, V. and Baker, M. Materials Management. McGraw-Hill, UK, (1986) 8. Wood, C. R. and Alvarez, M. W. Emerging Construction Technologies A FiatechCatalogue.FIATECH, (2005)

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WEBSITES 1. https://en.wikipedia.org/wiki/Culture_of_Rajasthan 2. https://www.inhabitat.com/tag/sustainable-architecture/ 3. www.nift.ac.in/jodhpur 4. http://www.scribd.com/doc/30813242/Climatic_design_techniques

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