Chapter 3: Case Study

3.2 Net Case Study

Sanskar Kendra, Ahmedabad, Punjab

Fig 1: Sanskar Kendra (Source – wikiarquitectura.com )

Architect: Le Corbusier
Total Site Area: 5700 sq. m
Built up Area: 2313 sq. m
Built in: 1951- 1953

3.2.1.a INTRODUCTION
• Sanskar Kendra is a museum at Ahmedabad, India, designed by the architect Le
Corbusier.

• It is a city museum depicting history, art, culture and architecture of Ahmedabad.

• The design stems from the idea that he had previously explored of a “museum of
unlimited extension”, making use of standardized structural elements to create a core
building that could be extended over time as additional funds were procured.
3.2.1.b Location:

Fig 2: India map Fig 3: Ahmedabad Fig 4: Sanskar Kendra (Source – googleimages.com )

3.2.1.c Design Concept

1. The Pilotis: A grid of concrete or steel columns replaces the load-bearing walls and
becomes the basis of the new aesthetics. The decisive factor is the idea of supporting
structures on pillars in order to make the soil freely usable.
2. The roof garden: Both as a kitchen garden and as a sun terrace. On a flat roof a humus
layer is covered with vegetation, this ensures constant moisture and serves as a perfect
heat and cold insulator.
3. The free ground plan: The absence of load-bearing walls allows flexible use of the
living space, which can be divided by screen elements.
4. The horizontal windows: The horizontal windows cut through the non-load-bearing
walls along the facade and provide the apartment with even light. It gives the interior a
lightness & offers views of the surroundings.
5. The free façade: Open and closed sections on the façade enable the separation and
connection of the exterior design from the building structure.

Fig 5: Le Corbusier five points theory (Source – mgsarchitecture.in )

Fig 6: Phase I Fig 7: Phase II Fig 8: Phase III

PHASE I-MUSEUM CORE

Fig 9: Schematic section showing 3 phases in section (Source –.msgarchitecture.in )

3.2.1.e Site Plan

Fig 10: Site Plan before Restoration (Source –architexturex.com )

• The Museum of the City – through objects, artworks, and historical documents –
presents the history of Ahmedabad from the 11th century, when it was known
as Ashaval, onwards.

• The Kite Museum celebrates the long tradition of kite-flying, which for many Indian
people embodies a particular religious significance.

Fig 11: Site plan after restoration (Source –msgarchitecture.com )

• More recently, Vastu Shilpa Foundation has facilitated the restoration of the building
by starting a City Museum in the space, which displays the living heritage of
Ahmedabad and its people.

• Ar. Yatin Pandya was appointed for the restoration work

Fig 12: Ground level plan Fig 13: First level plan Fig 14: Second level plan

Fig 15: Third level plan Fig 16: Roof plan (Source – wikiarquitectura.com )

 At ground floor the entrance hall which has a triple height to reach it is necessary to go
through space supported by piles. In the middle are the access ramp to the first level
and stairs leading up to it, a core of toilets and a kiosk as a selling point for art
reproductions.
 Coming from a ramp or the stairs on this level that we are the first rooms of exhibitions
that are arranged in the form of long corridors spanning seven meters wide each. At the
top of the floor of the mezzanine is a planter made of reinforced concrete.
 These plants are linked by stairs that emerge from the first level. These lead to different
exhibition halls are located on the first level as in galleries in seven meters wide. At this
level, clearly located concrete slab has shots all round that stand out in front as
independent pieces.
 The roof is an important issue because, although not the typical terrace used in all
projects, Le Corbusier sees it as water-filled vessels which bring relief to the building
due to the high temperatures that exist in the city. That’s why the deck is a concrete
slab is covered with a layer of lightweight concrete, then a waterproof layer, then cover
it for different layers of earth and gravel to fill all “vessels” with water.
3.2.1.g – Elevation

Fig 17: Road side elevation (Source – googleimages.com )

The building has been constructed from unfinished reinforced concrete and brick for the
facade

3.2.1.h – Sections

Fig 18: Section AA’ (Source –msgarchitecture.in.)

Visual connection with the main road and complimenting landscape, impact on building
through the gallery.

Fig 19: Section BB’ (Source –msgarchitecture.in.)

Dialogue with existing and retention of visual exists

Fig 20: View from road Fig 21: View of courtyard (Source – googleimages.com )

 Le Corbusier designed the museum with a great attention to the local conditions,
therefore adding an array of sun shading systems, intensive planting, and a roof
equipped with 45 water basins, each with a surface of 540 square feet and 13-foot deep,
aimed to mitigate the hot climate of Ahmedabad.
 The museum is designed upon a 23×23 feet grid marked by an array of thin reinforced-
concrete columns, the pilotis, 11 feet high.
 Le Corbusier also paid a special attention to natural light, therefore the whole building
is characterized with deep concrete and brick clad courtyards where sky light, shade,
and water are mixed together in a coherent ensemble.

3.2.1.j – Other Details

GREEN WALL: Each façade was intended to have green wall for thermal insulation, but to
lack of maintenance over time has limited its ability for vegetation growth & thermal insulation.

GREEN ROOF: The shade of thick green over the surface of water in the basin prevents
evaporation.

DAY LIGHTING: The illumination base becomes an integral part of the museum’s impression
on the visitor & a determining part of the building’s architecture.

LIGHTING: Le Corbusier’s original intention was to have light slits cut out of the third floor
to enable natural & mechanical lighting to penetrate inside.
3.2.1.k – Material used
• As timber is not locally available in this region, the building has been constructed from
unfinished reinforced concrete & brick for the façade

• BRICK: The building’s exterior consists of a plain brick façade combined with exposed
elements of raw concrete. The external wall consists of a double brick construction with
an internal cavity.

• CONCRETE: It consists of an unfinished raw concrete which is left exposed leaving

3.2.1.l – Conclusion
 It is designed with a great intention of local condition and climate.
 Spaces are designed with the proper natural light.
 The experience of the museum is focussed on the on the internal journey.