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CHAPTER 1
INTRODUCTION



1.1 GENERAL

1.1.1 NIFTS 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.
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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.

NIFTs 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, NIFTs 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
peoples 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.
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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 J USTIFICATION:
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

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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.
7

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 instituteetc

1.6 IDENTIFIEDLITERATURE CASE STUDIES

1.6.1. Fashion Institute of Technology, NewYork
The Institute is located on the two sides of the 27
th
street, 7
th
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, J aipur
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 Delhis 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
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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.
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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 color and overall visual impact.
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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 audio-
visualfacilities, 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.

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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.

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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
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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.
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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.


18

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.Directors room
2.Visitors room
3.Reception
4. Registrar room
5.Manager room
6 .Conference room
7.Office room
8. Office area
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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.HODs 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
Hods 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 wcbath
Males 1/8
th
1/8
th
1/8
th
1/8
th

Females 1/6
th
1/6
th
1/6
th

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.

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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
23

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.

24

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
25

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
26

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.



27

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.



28

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 forms 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.

29

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.

30

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
31

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
32

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
33

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
34

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.

35

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 = 1/5
th
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.



36

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
WC
1 in each WC 1 in each WC
URINALS 1/25 - 1/20 -
WASH BASIN 1/8 1/8 1/40 1/40
BATHS 1 for every 8 1/6 - -
DRINKING WATER
FOUNTAIN
1/50 1/50 1/50 1/50
CLEANERS 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
TAPS
1 for each WC
1 water tap with draining
arrangements shall be provided for
every 50 persons in the vicinity of
WC or urinals

1 in each WC
FILAMENTS MALE FEMALE
URINALS Nil upto 6
1 for 7-20,2 for 21-45,3 for 46-70,4
for 71-100,101-200 add rate of 3%
over 200 add at 2.5%
Nil upto 6
1 for 7-20,2 for 21-45,3 for
46-70,4 for 71-100,101-200
add rate of 3% over 200 add
at 2.5%
WASH BASINS 1/25 1/25
DRINKING
WATER
FOUNTAINS
1/100 with min of 1 on each floor 1/100 with min of 1 on each
floor
BATH Preferably 1 on each floor Preferably 1 on each floor
37

CLEANERS
SINK
1/floor min preferably in or
adjacent to sanitary rooms
1/floor min preferably in or
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 ,noverandahs 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 1/6
th
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.
Dont 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
38

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 WCs- 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
39

Plate 2.1 Campus design factors and types of campus planning
40

Plate 2.2 Pattern of growth and organisation of spaces

41

Plate 2.3 Data collection and auditorium

42


Plate 2.4 sports facilities and museum
43




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




44

Plate 3.1 Introduction, location and residence halls
45


Plate 3.2 Fashion museum, hostel and health

46

Plate 3.3 location, site, capacity and lighting
47





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.





48

Plate 4.1 location, architect and concept
49

Plate 4.2 the underbelly and waterbody
50

Plate 4.3 J aali and double wall, visual continuity and energy
efficiency
51

Plate 4.4 signage, recreation, labs and classrooms
52

Plate 4.5 fire exists, display areas and interiors
53

Plate 4.6 ground floor plan
54


Plate 4.7 solar study, plans
55

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






















56

Plate 4.8 introduction, concept and courses offered, design approach
57

Plate 4.9 the planning
58

Plate 4.10 Activity areas, classrooms, circumambulatory path
59

Plate 4.11 The interaction space, response to climate, form analysis
60

Plate 4.12 site plan, recreation and landscaping
61

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



















62

Plate 4.13: introduction, concept and site zoning
63

Plate 4.14: building description and administration
64

Plate 4.15: classrooms, auditorium and laboratories
65

Plate 4.16 : canteen, library, computer lab, hostel
66

Plate 4.17: space analysis, structure and services
67

Plate 4.18: form analysis, interaction space
68





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

69

Plate 5.1 analysis
70

Plate 5.2 :Comparative analysis
71

Plate 5.3 :NIFT Bangalore
72

Plate 5.4: Nift Chennai
73

Plate 5.5: location, neighbourhood, distances, site area
74

Plate 5.6: climatic data, sun path, terrain, soil, plants, materials
75

Plate 5.7: history, views, rules
76

Plate 5.8: area statement
77


Plate 5.9: area statement

78






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
















79


Plate 6.1 concept sheet
80



Plate 6.2: Bioclimatic practices
81




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.














82

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 Msle, 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