HERITAGE INTERPRETATION CENTRE

A THESIS REPORT

Submitted by

R. PAVITHRA
RA1912201010009

In partial fulfillment for the award of the degree

Of

MASTERS OF ARCHITECTURE

SRM INSTITUTE OF SCIENCE & TECHNOLOGY

KATTANKULATHUR

KANCHEEPURAM DISTRICT – 603 203.

SRM SCHOOL OF ARCHITECTURE & INTERIOR DESIGN

JUNE 2021
 SRM INSTITUTE OF SCIENCE & TECHNOLOGY

BONAFIDE CERTIFICATE

Certified that this project “HERITAGE INTERPRETATION

CENTRE ”is the bonafide work of R.PAVITHRA–

RA1912201010009 who

Carried out the thesis work under my supervision.

Prof. / Ar. Prof. DR. SHANTI Prof. V.ARAVIND

BALAMAHESWARAN PRIYA THESIS COORDINATOR
ADVISOR/GUIDE INTERNAL PANEL
MEMBER

SIGNATURE
Dr.P. SATHEESH KUMAR
Prof. C.PRADEEPA

EXTERNAL EXAMINER HoD, Department of Architecture DEAN,School of Architecture &

Interior Design
 DECLARATION

I declare this thesis titled “HERITAGE INTERPRETATION CENTRE ” at

“OLD TOWN -PONDICHERRY is the bonafide work by me, under the

guidance of Ar. BALA MAHESHWARAN School of Architecture and Interior

Design, SRM INSTITUTE OF SCIENCE & TECHNOLOGY, Kattankulathur,

during the session of Dec 2020 – May 2021.

I declare further that the work reported therein does not form a part of any other
thesis based on which a Degree or Award was conferred on an earlier occasion.

CHENNAI : STUDENT SIGNATURE

DATE :07.06.2021 R.PAVITHRA

RA1912201010009
 ACKNOWLEDGEMENTS

Develop an attitude of gratitude, and give thanks for everything that happens to you, knowing
that every step forward is a step towards achieving something bigger and better than your current
situation.

I would like to express my gratitude to Dr.P.Satheesh Kumar, Dean, School of Architecture and
Interior Design and Internal Panel Members, for their suggestions, encouragements, comments
and constructive criticism given which has made this project a success. I am thankful to Ar. Ar.
Deepak Rao, for enriching me with his/her knowledge and guiding me with his/her valuable
experience during various stages of my thesis review sessions.

I am thankful to Ar.Balamaheswaran for the patience he extended towards me; offering his
guidance and immense support during this entire semester and helping me complete this project.
I am also thankful to Prof.Aravind (PG Coordinator) and Prof.Esther Cherine (Thesis
Coordinator) for their immense support during this entire semester and helping me complete this
project.

I also thank my family for all their support through these years. Lastly, I thank all my fellow
batch mates, who stood beside and aided me in making this project a success.
TABLE OF CONTENTS PAGE.NO

● Bonafide Certificate…………………………………………………. i
● Declaration …………………………………………………………. ii
● Acknowledgement………………………………………................... iii
● List of Figures……………………………………………………….. iv
● List of Tables………………………………………………………... v

PART I: ABSTRACT…………………………………………… 01

PART II: INTRODUCTION……………………………………..

● Introduction …..………………………………………....………….. 02
● Need for the project……………………………………….................. 03
● Justification for the project…………………………………………... 04

PART III: CASE STUDIES………………………………………

● Literature Study……………………………………………………..
● Live Case Study……………………………………………………..
● Book Study ………………………………………………………….
● Net Study ………………………………………………………….
● Special study / Thrust Area…………………………………….……
PART IV: SITE DATA…………………………………………..
● Site Maps………………………………………………………………..
● Site Images/photographs………………………………………………..
● Development control rules/ Parking Standards………………………...
● Site Analysis…………………………………………………………….

PART V: REQUIREMENTS……………………………………
● Functional Brief ……………………………………………………
● Area Requirements ………………………………………………….

PART VI: DESIGN DEVELOPMENT…………………………...

● Site Zoning…………………………………………………………….
● Bubble Diagrams …………………………………………………….
● Circulation Diagram…………………………………………………..
● Block Model…………………………………………………………..
● Schematic Drawing………………………………………………………

PART VII: DESIGN…………………………………………………..

● Master plan………………………………………………………………..
● Site Plan…………………………………………………………………..
● Service Plan……………………………………………………………….
● Landscape Plan……………………………………………………………
● Floor Plans…………………………………………………………………
● Structural Drawings……………………………………………………….
● Sections…………………………………………………………………….
● Elevations………………………………………………………………….
● Detail Drawings……………………………………………………… …
● 3D Views ………………………………………………………………….
● Physical Model…………………………………………………………….

PART VIII: REFERENCES…………………………………………

● Bibliography………………………………………………………………..

ENCLOSURES……………………………………………………….
● Design sheets
● Video Presentation
 THESIS 2020

(THESIS TOPIC)

INTRODUCTION
 CHAPTER 1: INTRODUCTION
A. Abstract:
In a world of increasingly universal and replicated architecture, the heritage areas within cities are
pockets with deep historical settings and meaning attached to them. They provide additional
dimensions to our urban space, giving them a sense of place and identity.The visual historical qualities
of an urban scape can contribute to society’s need for physical and cultural roots and connection to the
past. Heritage conservation has also been linked to increase in city liveability and giving cities the
opportunity to develop strong branding to attract investors, especially investors in tourism. With a
Concern for the condition of urban heritage in the city fabric at the core of this search, this project
grows out of what the “Site” needs – the site being inclusive of the heritage setting it sits within, the
people associated with it and the land that gives it a physical entity. It has to be that a multi-
dimensional approach will be required while addressing such urban issues. The quest is then to
understand what role Architecture can play as a medium for the revival and how this gets translated
into a space

B. Introduction:
With a Concern for the condition of urban heritage in the city fabric at the core of this search, this
project grows out of what the “Site” needs – the site being inclusive of the heritage setting it sits
within, the people associated with it and the land that gives it a physical entity. It has to be that a multi-
dimensional approach will be required while addressing such urban issues. The quest is then to
understand what role Architecture can play as a medium for the revival and how this gets translated
into a space

C. Need for the project:

In a world of increasingly universal and replicated architecture, the heritage areas within cities are
pockets with deep historical settings and meaning attached to them. They provide additional
dimensions to our urban space, giving them a sense of place and identity. The visual historical qualities
of an urban scape can contribute to society’s need for physical and cultural roots and connection to the
past. Heritage conservation has also been linked to increase in city liveability and giving cities the
opportunity to develop strong branding to attract investors, especially investors in tourism. Above all
the city’s self image and its recognition of identity increases civic pride and also energies communities.

The needs, expectations and aspirations of multiple stakeholders, including the host community and
expected visitors will be taken into consideration to arrive an appropriate building programme which
would try to full fill the multiple demands from the same project in a holistic manner.

The project tries to address issues of a deteriorating physical precinct, modern incongruences in a
settlement of Pondicherry, an authentic experience of the built and the unbuilt heritage and the lack of
open public space in a dense settlement. Appropriate construction technology and contemporary
architectural form is also explored as part of the architectural design

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 PART III – CASE STUDIES

DARWIN D. MARTI N HOUSE VISITOR CENTER

The visitor center by Mori is the latest addition to the iconic 1904 residential complex associated with
Frank Lloyd Wright’s Prairie Style. Situated on a corner lot in Buffalo’s affluent Parkside East
neighborhood, the complex is comprised of the Darwin D. Martin House, the George F. Barton House,
and smaller out buildings including a conservatory, carriage house, gardener’s cottage, and pergola. When
Mori won the commission from Martin House Restoration Corporation back in 2002, she envisioned a
visitor center that must “have its own
presence but can’t be overwhelming.” In other words, it had to “be read as a contemporary addition but
also as part of a family” (Mori, 2010) An accomplished architect, Mori reveres Wright’s legacy but had
no intention to be in his shadow. She is principal at Toshiko Mori Architects in New York City, which
she founded in 1981. She has also served as chair of the Department of Architecture at Harvard Graduate
School of Design from 2002 to 2008.

Aerial views of the Darwin Martin House complex from Google Maps. Outlined in red, the visitor contests parallel
to the 1907 residential complex, with a new paved courtyard as the line of separation. (Google Map)

From the exterior, the 7,775 square foot building, also known at the Eleanor and Wilson Great batch
Pavilion, is a single story rectangular glass structure with a cantilevered reversed‐hip roof supported by
four interior columns. The pavilion sits unobtrusively parallel to the complex, separated by a new paved
courtyard. It is situated in alignment with the Martin House, in both plan and elevation, to convey a sense
of unity and to present itself as its “child” (Mori, 2010). The orientation of the pavilion towards the
Martin House establishes a sense of hierarchy that presents the house as the main attraction. The
glass‐paneled exterior yields absolute transparency on three sides of the building, allowing visitors to see
the entire complex and orient themselves before the tour. The back glass wall is interrupted by a concrete
mass housing private bathrooms, kitchen, and coat check

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 Floor plan of the Martin House Visitor Center by Toshiko Mori Architect. (Toshiko Mori Architect Website)

Visitors can access the interior through the entries along the shorter side walls. The interior is an open
floor plan that functions as event rental space, exhibition space, permanent galleries, and ticketing area. In
addition to the transparent walls, natural light also enters the building through a rectangular skylight
opening framed by the four roof columns

The glass exterior of the Martin House Visitor Center an provides unobstructed view of the
estate. (Toshiko Mori Architect Website)

In color theory, the way to make something red appear even redder is to place it next to something green.
And if the Martin House by Frank Lloyd Wright is red, then Mori’s visitor center would be green,
because, like the colors, they are opposite, but nonetheless complementary.
English preservation architect James Strike would find this design strategy suitable as a way for new
constructions to identify with the historical significance of their sites. While Strike agrees that

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contemporary architecture should read as the spirit of its time and reject a false sense of history, he does
not believe that these concepts justify designs that are
Intentionally ‘different’ for the sake of contrast and period differentiation. Instead, he promotes the idea
of ‘opposition’ because things that are opposite mean that they at least share similar values at the core.
He believes this concept helps guide the use of contrasting objects or ideas to achieve complementary
results. Mori’s design strategy proves that complementary effects can be achieved with thoughtful
articulation of contrast. She engages Wright’s masterwork through a dialogue of opposition, where she set
out to “go against him all the time.”
The result is a dynamic conversation with each side expressing their “shared interest in innovation
through the exploration of new materials, technologies, and techniques” (Toshiko Mori Architect,
www.tmarch.com). For example, this notion of ‘complementary opposition’ is apparent in Mori’s
reversed hip roof, which goes against Wright’s hip roof but still shares his signature low, horizontal
profile and cantilevered effect. And while Mori’s material choice of glass clearly contrasts Wright’s
choice of brick, she still references his clear and straight‐forward application of a dominant material on
the exterior as a way to give character to the building. The transparency of the visitor center stands in
antithesis with the introversion of the Martin House

Exterior view of the Martin House Visitor Center. (Toshiko Mori Architect Website)

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 The transparency of the new structure in antithesis to the solid exterior of the Martin House.
(Toshiko Mori Architect Website)

The Martin House Restoration Corporation is happy with their new building because it costs very little to
operate and maintain. Mori’s innovative approach to sustainability combines excellence in design and
engineering. She collaborated with top engineering consultants, including ARUP and Skidmore, Owings
& Merrill, New York City. The building does not have an HVAC system.
Air is circulated through a system of displaced ventilation and uses geothermal heating and cooling. This
thoughtful building operation scheme was intentionally executed to reflect Wright’s innovative technique
of hiding the HVAC system by incorporating easily accessible service spaces into the floor plan. The
glass‐paneled walls and skylight provide the interior with sufficient lighting throughout the day, which
cuts electricity cost enormously by eliminating the need for artificial lighting from 10‐4 P.M. on most
days.
The 5 million dollar Great batch Pavilion found success in both function and design. The building
supports sustainable growth of the site by saving energy bills with self‐sustaining systems. Its compelling
spatial layout, described as “a spectacular venue for all types of social and professional gatherings,”
(www.darwinmartinhouse.org) helps generate more income through event rentals. The attached courtyard
enables both indoor and outdoor gatherings with unobstructed views of the historic complex. The
architectural design enhances the existing landscape through the juxtaposition of contrasting formal
elements that amplify the unique characteristics of the Prairie Style. Since it opened on March 14, 2009,
the project has received wide publicity and the majority of responses from architectural critics and the
design field have been positive. The project has received numerous awards, including the AIA
Buffalo/Western New York Honor Award in 2009, and AIA New York State Award of Excellence in
2010.

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MAPUNGUBWE INTERPRETATION CENTRE, SOUTH AFRICA
The Interpretation Centre is located within the Mapungubwe National Park which was declared a world
heritage in 2003, as a cultural landscape. This building not only provides imaginative exhibition space but
also raises awareness about the fragile natural ecology of the savannah landscape. It was declared the
Building of the year 2009 at the World Architecture Festival that year, along with the many other awards
it received.

A study of an internationally recognized project such as this one can give clues on how the process of
sensitive architectural response to heritage has been explored the world over.

Location : Mapungubwe National Park, South Africa

Site Area : 2750 sq.m.

Built up area : 1130 sq.m

Architect : Peter Rich Architects

Completed in : June 2009

Client : South African National Parks

ARCHITECTURAL VISION AND IMPLEMENTATION

The requirements of the competition demanded an extensive programme of exhibition spaces that would
accommodate the historical artifacts of the Mapungubwe Kingdom, Interpretive areas for the cultural and
natural significance of the park, headquarters for the park staff, and amenities for visiting tourists. But the
agenda of the competition took a step further, to engage the local population with the realization of the
project, in an effort to create employment positions and inject money and skills to the local community.
The winning proposal by Petre Rich Architects, Michael Ramage and John Ochsendorf responded to
these requirements with a labor intensive design that employed local people for a year making tiles on site
from the surrounding earth

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BUILDING STYLE AND MATERIALS
That Typical constraints of time and budget were multiplied with the high price of steel, making the
architects almost eliminate with this material when possible. This led to the choice of local materials and
the active participation and the training of local people to work under the poverty relief programs. As a
result, the design took these limitations to account. Therefore, minimal formwork and no steel
reinforcement were used for the vault shaped roofs. At the same time a sustainable solution is achieved,
not only because of the low impact that the construction of the building had on the environment, but also
in a social level. This action gave the opportunity to the local workers to familiarize with the traditional
method since they were used to working with more contemporary construction techniques.

Common and cheap materials were used with a simple but sophisticated way, as Paul Finch successfully
noted in his interview about the jury who awarded the building in the WAF in 2009

The majority of the materials come also from the local environment and enhance the identity of the
building. Soil Cement tiles were locally produced by the indigenous people, roughly shaped stones for the
cladding of the domes and the construction of walls, and finally reeds to cover the semi-open spaces and
provides the necessary shade in the hot climate of Mapungubwe.

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SPATIAL ORGANISATION
1. Pedestrian Arrival/ Departure 10. Main Vaulted Space
2. Arrival Landing 11. East Cairn
3. Bridge 12. West Cairn
4. Reception 13. Teaching and Learning
5. Outdoor court 14. Mesa Walkway Access
6. WCs 15. Return Route
7. Restaurant 16. External Teaching
8. Craft Shop 17. Game Drive drop off
9. Floating Walkway 18. SANS

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The Sansparks administration offices are located at the beginning of the scheme. Then a first bridge leads
the visitor to the interpretation centre itself. A series of outdoor spaces is the first impression he gets,
while these spaces connect different vaults to create a combination of patios. The entrance to the
Interpretation room is unique because of the indoor and the outdoor feeling created by the second bridge
towards the first hall. The different rooms are then organized as a series, Letting the visitor circulate
smoothly from one area to another and experience different degrees of the sacred environments while
moving further into the centre

BUILDING COMPONENTS

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FUNCTIONAL RELATIONSHIP

USERS AND STAKEHOLDERS

SANS Parks was able to draw increased tourism to the National Park as people came not only to see the
park but the interpretation centre as well for its architectural marvel and informative nature

Sixty unemployed low skill people hired on site worked through the government- funded poverty
reduction programme received training in how to manufacture bricks

A hundred people were trained for construction works, while the site works continuously used an average
of 10 to 40 people at the same time during eight months of construction. They were able to find a job on
the site from this training. After completion of this project, six small size companies were created by the
workers. The architect Peter Rich has just been commissioned for the entrance gate of the relatively
nearby Kruger National Park and he is going to use these now-skilled workers for the project since they
are already active in the region

Visitors to the National Park have an enhanced experience of the place, getting to know the history which
is no longer visible

REVENUE GENERATION
Apart from the entry fee, there is a rentable auditorium (Golden Rhino Auditorium) which accommodates
52 people and can be rented for R720. This revenue goes into maintenance of the complex and payment
of employees.

GENERAL
In my opinion, the biggest strength of this project lies in its involvement of the local community and local
materials. It drives home the point that the balance between catering to the local community and the
visitors both is the essential aspect of a sustainable heritage tourism programme.

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SANSKRITI KENDRA, ANANDGRAM, DELHI
Towards vitality of Indian art and cultural heritage

The Kendra has been conceived as a space where creative persons devoted to diverse disciplines can stay,
study and interact with one another as well as with the craftsmen. It contributes towards the activation of
cultural heritage by not only showcasing Indian art forms through museum space but also by providing
space for an Interactive experience with the arts and crafts of India

Location : Ghitorni, Delhi

Site area : 5 Acres

Built up area : 3500 sq. m.

Architect : Upal Ghosh, Landscaped by Mohd. Shaheer

Completed in :1993

Client : Sanskriti Foundation

Connectivity & Access : Lies along the fats moving Mehrauli-Gurgaon road

Public transport- Arjangarh Metro Station (yellow line) is 1.3Km and DTC bus
stop is 700m away.

Entry fee : Free

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ARCHITECTURAL VISION AND IMPLEMENTATION
The Kendra is a symbol of Sanskriti’ s involvement in activities relating to art, craft, and literature,
performing arts and social work. For this Kendra, Upal Ghosh proposed ‘Bringing Shanti Niketan to
Delhi’ creating an idyllic village that would have flowing river and trees for the artist to work under, just
as Tagore had envisaged years ago. The complex is a man-made yet natural feeling rural environment
where the architectural expression emphasizes restraints over exuberance

BUILDING STYLE AND MATERIAL

The buildings are semi-rustic in appearance, with ample space between them for strolling – but not so far
apart as to engender a sense of isolation. The architect took visual cues from rural architecture but wanted
the buildings to be to be practical and long lasting. Thus, the finish is actually cement which was made to
look like mud bricks, with pyramidal terracotta tiled roofs. This makes the design that could be easily
replicated the complex grows.

RELATION OF BUILT FORM TO SURROUNDINGS

The scale of the built blocks is similar to those in the surroundings, which are low-rise farmhouses with
expansive open around them

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SPATIAL ORGANIZATION
A living, creative complex, the Kendra is intended to provide temporary residential and working space to
both traditional and contemporary artist & craftsperson’s and in doing so; it aims to promote interaction
between the two.

The entire campus is completely vehicle free. However, it does not accommodate the parking of cars and
buses in which visitors arrive. These are parked on the road outside the complex.

The blue path marks the movement of a typical visitor, who mainly sees the three museums, while also
being allowed a view of the Amphitheatre.

Residential areas are located at the back, away from general movement.

BUILDING COMPONENTS

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The Sanskriti Foundation is a board of trustees that run the Kendra and are the main stakeholders
concerned with the promotion of art & culture.

The other users are the day visitors who come to visit the museums, the people enrolled in hobby
activities such as pottery and the artists in residence who spend a longer amount of time here.

REVENUE GENERATION
The only sources of revenue generation are the rent for the residences and from renting out space for other
organizations to conduct hobby workshops here. The space feel like a grossly under- utilized one. It is
still funded by the trustees for maintenance purpose and has not managed to cover up the initial
expenditure

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QUTB SHAHI INTERPRETATION CENTRE - HERITAGE INTERPRETATION CENTRE
THE HISTORICAL CONTEXT - ANALYSIS
The vision of the proposed interpretation centre/museum is inspired by the experience of the monuments in the
QuliQutb Shahi Archaeological Park and the Golconda Fort, which emote a timeless quality through an
interplay of geometry-structure, space-light, material-texture, scale-rhythm, and solid-void.
Medieval, and particularly, Islamic architecture have evolved over centuries an architectural grammar, based on
development and refinement of modular systems of arches, tessellations and domes.

Diverse building types were constructed traditionally, exploring iterations of an adequate module in response to
a specific use, i.e. the Hamam, a linear building type or the tomb, a singular square based typology, universal in
their nature. These archetypes in their techniques of form and efficacies, invaluable and inspirational, are
integrated conceptually into the project

The proposal deliberates on the impossibility of understanding the rich arc of historical value and essence of the
given site and aims at reframing a fraction of its context by embodying the unique order of the existing
architectural style.
It is an articulation of continuity and aims to present the values of an embedded process within the design of an
independent yet interconnected, architectonic expression.

THE BUILDING SYSTEM – ARCHITECTONIC

The proposal attempts to contemporize this very planning & construction ethos, however reduces the overall
weight as well construction time, by making use of presently available materials, precast
technologies/techniques and engineering skills.

The derived framework made of detail precast RCC is considered for flexibility and a light imprint, using
compression-based building system of stacked precast columns, column segments on the site. Iterations of
structurally and cost-effective singular module of 7.0m x7.0m, arched beams, shallow domes and green roof
remain consistent with the diverse building programme, i.e. the multipurpose hall, restaurant, the ‘Finial
Gallery’ and the ‘Model Gallery’, etc.The module is presented as a device of exploration of histories, of
organisation of planes, and of construction and materiality.

By the virtue of its replicability, it adds up to a benefit of variety yet retains cohesiveness in the architectural
vocabulary. Perceptually, a matrix of pavilions and punctuations is created in the enclosure that emphasises on
the symbolic, the visual continuity with the context, but more importantly, a fundamental and functional
harmony. On different levels, it characterises and occupies the enclosure differently – almost, as if the earth is
carved or sculpted out in levels to accommodate the programme.

All single and double height modules have reinforced exposed concrete shallow domes, subdivided by multiple
units of smaller structural domes in line with the overall load distribution.

This variation in surface introduces granularity to the otherwise smooth surface and creates an acoustical effect
of diffusion that dominates over any convergent focusing from the overall dome shape and adds an ornament to
the underlying structure and experience of space.

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DESIGN PRINCIPLE - SYNTHESIS
As the type and quantities of display are not known at this stage of planning, flexibility and adaptability of
spaces are prioritised primarily to formulate an overall design strategy, which could be developed by a curatorial
team at a later stage of planning, or incrementally on completion of project.

Thus, the museum design is focused largely on the interiority and the experience it generates. It is set in
symmetry, largely abiding to predominant axes addressing specific uses. An index of layers is recessed into the
ground, which work with visuality, perception, light, and spatial encounters.

It is submerged into the ground and only double height spaces which are large, naturally lit, yet protected from
rains, are seen as an extension to the otherwise subterranean exhibition spaces (Zone 2), along with the large
embanked earth blocks, containing the existing protected trees, whilst giving identity to the proposed galleries
i.e. Qutb Shahi, Model and Deccan Sultanate. Successively, the form provides the adequate heights for the
larger artefact, i.e. Finial, large scale Architecture Models, etc.

The strategy of submerging buildings into the ground in hot climate zones distinctively favours/develops three
efficiencies: it ensures reduction of energy consumption due to otherwise heat gain through large exposed
surfaces, it moderates the quantum and quality of daylight, which generally is detrimental to the artefact, and it
reduces the cost of construction by minimizing glazing areas.

To sustain this approach further, earth cooling, a notably viable climate conditioning system for a public project
and cost-effective since excavation has to be undertaken for development of the Lower ground floor (Lvl.-
7.60m) or radiant cooling, are proposed along with efficient routing of services, ducting, cables and pipes below
the compression based foundations, inspired by traditional methods applied in Hamams.

Ancillary supporting functions in Zone 1 developed as stacked single storey module, i.e. lecture/film halls,
offices, service areas, washrooms, storages are organised as a necklace around Zone 2, servicing the galleries,
the multipurpose hall as well the children’s areas. The latter are abutting the large active entrance court
strategically, envisioned for future vernissage, children’s activity and performances with the broad staircase also
facilitating seating for large gatherings. These allow for an independent functioning and regulate the noise to
prevent any disturbance to the museum’s visitors.A continuous ‘light incision’ along the threshold between
Zone 1 & 2, illuminates the surfaces of local natural stone cladded enclosures and exposed structural concrete
work and achieves the intended atmosphere of moving within an excavated ancient site.

The circulation spine – prominent paths and ramps, conceived as a part of the grand “promenade” through the
galleries, are tied up with the visitors’ tour through the Heritage Park and through their continuity, provide a
connectivity to the Restaurant, OAT and a small monument adjacent to the Centre and meander back to the
entrance/exit

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16
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PART IV – SITE DATA

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 PART V – REQUIREMENTS
FUNCTIONAL BRIEF

Interpretation Centre: To Convey information about the local heritage to the visitors

Visitor Centre : A central Point in the Complex which gives information about all the
Activities

Building Centre : A Research and Experimentation space which looks for Innovative
solutions to the old settlement problem of Physical degradation

Artist Residence : This can be leased out to creative persons working on this area on a
Monthly basis

Live Kitchen : Visitors can interact with the local cooks and be a part of the whole
process of preparing a traditional meal from buying the ingredients to
cooking it in the Restaurant’s Special Kitchen.

Convenience Store

Street Food Kiosks

Admin Centre

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AREA STATEMENT :

22
 PART VI – DESIGN DEVELOPMENT
CONCEPTUAL ZONING

CONCEPT

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 SCHEMATIC DRAWING

1. The Spaces proposed contains the principles of unity within diversity, it has several volumes
with different heights and dimensions, depicting the Diversity of the Buildings within the
Study Area

2. The Building seeks to establish itself as a new element of reference for this Space

3. Each Building is a Distinct Exhibition Space

VISITOR CENTRE

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PART VII – DESIGN

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 REFERENCES

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PART VIII - References:

• https://www.indiatoday.in/magazine/offtrack/story/20040531-pondicherry-to-restore-its-
franco-tamil-architecture-boost-tourism-789983-2004-05-31
• https://www.thehindu.com/news/cities/puducherry/heritage-structures-identified-in-
puducherry-for-conservation/article7359735.ece
• https://en.wikipedia.org/wiki/Pondicherry
• https://www.google.com/search?q=who+ruled+pondicherry&oq=who+ruled+pondicherr
y&aqs=chrome..69i57.4699j0j15&sourceid=chrome&ie=UTF-8
• https://www.google.com/search?q=french+quarter+in+pondicherry&oq=french+quarter+
in+pondicherry&aqs=chrome..69i57j0l5.8394j0j15&sourceid=chrome&ie=UTF-8
• https://m.hindustantimes.com/india-news/building-a-heritage-city-will-puducherry-be-
the-next-on-the-unesco-list/story-OThaJDUxdjWq8ah4wk280H_amp.html
• https://www.gsd.harvard.edu/project/darwin-d-martin-house-visitor-center-1/
• http://pondydoorways.blogspot.com/p/architechture.html
• https://en.wikipedia.org/wiki/Pondicherry
• https://lakshmisharath.com/tamil-quarters-walk-pondicherry-heritage-
town/#:~:text=The%20Tamil%20quarters%20is%20part,has%20a%20temple%20in%20i
t.
• https://www.google.com/search?q=franco-
tamil+architecture+ppt&sxsrf=ALeKk02y7bUENb9kW_AGbPw78VBukmO2FA:16074
42610948&source=lnms&tbm=isch&sa=X&ved=2ahUKEwjv5cmu3r7tAhUGXisKHQ5
wBa0Q_AUoAXoECBAQAw&biw=1536&bih=698#imgrc=_OfmGaUtbFfShM
• https://www2.slideshare.net/rohitsurekh/development-of-colonial-architecture-in-
india?from_action=save
• file:///C:/Users/Pavithra%20Ramesh/Downloads/developmentofcolonialarchitectureinindi
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• https://peoplevillage.files.wordpress.com/2015/01/pondy-map.pn
• https://www.google.com/search?q=ANAND+RANGA+PILLAI+MANSION&oq=ANA
ND+RANGA+PILLAI+MANSION&aqs=chrome..69i57j46i13i175i199j0i13.8710j0j15
&sourceid=chrome&ie=UTF-8
• https://www.google.com/search?q=franco+tamil+pattern&sxsrf=ALeKk03crY7tB9C3_-
4YRp6mzjRLEcBBfQ:1607443453949&source=lnms&tbm=isch&sa=X&ved=2ahUKE
winscbA4b7tAhXWbCsKHdBJBN0Q_AUoAXoECBAQAw&biw=1536&bih=698#imgr
c=_Q0P01Q7iOgvDM

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