Recreation spaces in urban context

1. BY
PROF. SURAJIT BHATTACHARYA
PUBLIC RECREATION SPACES

2. 1. WHAT IS PUBLIC SPACES
2. WHAT IS RECREATION
3. WHAT ARE OPEN SPACE TYPOLOGIES
4. WHAT ARE THE BENEFITS OF OPEN SPACES
5. ARE STREET PUBLIC SPACES
6. EXAMPLE OF DILLI HUT
7. DEFINING PARAMETERS The 12 Criteria
PRESENTATION WILL COVER THE FOLLOWING

3. WHAT IS PUBLIC SPACE?

4. TO A LIMITED EXTENT, GOVERNMENT BUILDINGS
WHICH ARE OPEN TO THE PUBLIC, SUCH AS
PUBLIC LIBRARIES ARE ALSO PUBLIC SPACES.
WHAT IS A PUBLIC SPACE
A SOCIAL SPACE THAT IS GENERALLY OPEN
AND ACCESSIBLE TO PEOPLE.
ROADS (INCLUDING THE PAVEMENT), PUBLIC
SQUARES, PARKS AND BEACHES ARE
TYPICALLY CONSIDERED PUBLIC SPACE.

5. § OUTDOOR
§ INDOOR
§ NATURAL
§ MAN MADE
§ FORMAL
§ INFORMAL
TYPES OF PUBLIC SPACE
§ ACTIVE
§ PASSIVE
§ ORGANIZED
§ UNORGANIZED

6. OUTDOOR RECREATIONAL
“MAN MADE SPACES”
IN URBAN CONTEXT
TOPIC OF DISCUSSION TODAY
OPEN PUBLIC SPACES

7. SOME DEFINITIONS-­OPEN SPACES
THE TERM PUBLIC OPEN SPACE ENCOMPASSES
A VARIETY OF SPACES WITHIN THE URBAN
ENVIRONMENT THAT ARE READILY AND FREELY
ACCESSIBLE TO THE WIDER COMMUNITY,
REGARDLESS OF SIZE, DESIGN OR PHYSICAL
FEATURES.
PUBLIC MARKETS STREETS

8. OPEN SPACE CAN BE DEFINED AS LAND AND WATER IN
AN URBAN AREA THAT IS NOT COVERED BY CARS OR
BUILDINGS, OR AS ANY UNDEVELOPED LAND IN AN
URBAN AREA (GOLD, 1980).
ALAIN ZOO, UAE
SOME DEFINITIONS-­OPEN SPACES

9. CRANZ (1982) ARGUED THAT OPEN SPACES ARE
WIDE-­OPEN AREAS THAT CAN BE FLUID TO THE
EXTENT THAT THE CITY CAN FLOW INTO THE PARK
AND THE PARK CAN FLOW INTO THE CITY.
TRAFALGAR SQUARE LONDON
SOME DEFINITIONS-­OPEN SPACES

10. OPEN SPACE HAS ALSO BEEN DESCRIBED FROM A
USER’S POINT OF VIEW AS BEING AN ARENA THAT
ALLOWS FOR DIFFERENT TYPES OF ACTIVITIES
ENCOMPASSING NECESSARY, OPTIONAL AND SOCIAL
ACTIVITIES (GEHL, 1987).
SOME DEFINITIONS-­OPEN SPACES

11. WHAT IS RECREATION?

12. RECREATION REPRESENTS ANY RATIONAL HUMAN
ACTIVITY THAT RESULTS IN A PLEASURABLE
RESPONSE, AT ANY TIME, PLACE OR
CIRCUMSTANCES WITH ATTENDANT ENRICHING
PHYSICAL, INTELLECTUAL OR EMOTIONAL BENEFITS.
FUN IS THE EXPENDITURE OF TIME IN A MANNER
DESIGNED FOR THERAPEUTIC REFRESHMENT OF
ONE'S BODY OR MIND.
SPORTS OR WHAT PEOPLE DO WITH THEIR FREE
TIME.
DEFINITION OF RECREATION

13. URBAN OPEN SPACES ARE
-­ OPEN AREAS FOR PUBLIC USE THAT ARE
SITUATED WITHIN THE URBAN FABRIC OF A CITY.
-­ TRADITIONALLY, PUBLIC PLACES ARE THOUGHT
TO INCLUDE CITY SQUARES, SIDEWALKS,
MARKETS,AND TRANSPORTATIONHUBS ALSO.
-­ THE THREE DIMENSIONS OF ACCESS,
CONTROL, AND OWNERSHIP ARE WHAT TRULY
DETERMINE THE DISTINCTION BETWEEN
PRIVATEAND PUBLIC SPACE.
OPEN PUBLIC RECREATION SPACES

14. WHAT ARE OPEN SPACE
TYPOLOGIES?

15. CITY-­WIDE PARKS:
LARGE, FLAT AND OPEN EXPANSES OF
LAND THAT ACCOMMODATE EVENTS AND
CELEBRATIONS THAT ATTRACT PEOPLE
LIVING IN ALL PARTS OF THE CITY.
URBAN OPEN SPACE TYPOLOGIES

16. LINEAR GREENWAYS:
CHARACTERIZED BY PATHWAYS THAT
PROVIDE RECREATIONAL, HEALTH AND
SOCIAL OPPORTUNITIES, AS WELL AS
TRANSPORTATION LINKAGES. THEY ARE
THE “LUNGS” OF THE CITY AND SERVE TO
CONNECT PEOPLE TO NATURE.
URBAN OPEN SPACE TYPOLOGIES

17. NEIGHBOURHOODPARKS:
FAMILY-­FOCUSED, WITH PLAYGROUNDS,
PICNICKING, SWIMMING, TENNIS OR
BASKETBALL, AS WELL AS UN-­PROGRAMMED
OPEN SPACE AREAS WHICH PROVIDE
RECREATIONAL OPPORTUNITIES FOR A
NEIGHBOURHOOD.
URBAN OPEN SPACE TYPOLOGIES

18. PUBLIC SITTING AREA IN A PEDESTRIAN
WALKWAY:
SITTING AREAS ON A SIDEWALK OF A
PEDESTRIAN-­ORIENTED STREET
URBAN OPEN SPACE TYPOLOGIES

19. NON-­PERMANENT GREEN SPACES:
UNUSED STREETS AND PUBLIC RIGHTS-­ OF-­
WAY THAT ARE QUICKLY AND INEXPENSIVELY
TURNED INTO NEW PUBLIC PLAZAS AND
PARKS FOR A TEMPORARILY PERIOD OF TIME
IN ORDER TO PROVIDE SOME OPEN SPACE
AND OFTEN ADDITIONAL OUTDOOR SEATING
URBAN OPEN SPACE TYPOLOGIES

20. PLAZA:
THEY ARE PRIMARILY HARD-­SURFACE SPACES
WHICH OFTEN PROVIDE RETAIL SPACE, OFTEN
FOOD SERVICE, IN A PORTION OF THE AREA,
AND FUNCTION AS A PLACE TO GATHER OR SIT
OUTSIDE.
URBAN OPEN SPACE TYPOLOGIES

21. THEME PARKS:
THEY ARE PRIMARILY PLACES FOR AMUSEMENT
FOR CHILDREN AND ADULTS HAVING GAMES,
RIDES AND SPACES FOR SOCIAL INTERACTIONS.
URBAN OPEN SPACE TYPOLOGIES

22. GARDENS AND PARKS:
THEY ARE THE PLACES HAVING HEAVILY SOFT
AND HARD LANDSCAPED SPACES HAVING
SERENE AESTHETIC QUALITY.
URBAN OPEN SPACE TYPOLOGIES

23. WHAT ARE THE BENEFITS
OF OPEN SPACE?

24. BENEFITS OF OPEN SPACES

25. SOCIAL AND CULTURAL VALUES;; FOR HEALTH,
RECOVERING AND REHABILITATION, TO GIVE BEAUTY
AND COMFORT, TO GIVE ROOM FOR PASSIVITY AND
ACTIVITY, AS A CULTURAL HERITAGE, AS AN ARENA FOR
CITIZENSHIP, FOR EDUCATION.
GARDENING AND ALLOTMENTS;; AS HISTORY OF URBAN
LANDSCAPES, AS A SOCIAL FUNCTION, FOR LIFE
QUALITY AND BEAUTY, PROVIDING A RESERVE.
URBAN DESIGN;; TO GIVE THE CITY AN
UNDERSTANDABLE STRUCTURE, TO CONNECT
DIFFERENT SCALES AND PARTS OF THE URBAN
LANDSCAPE.
BENEFITS OF OPEN SPACES

26. BENEFITS OF OPEN SPACES

27. BENEFITS OF OPEN SPACES

28. BENEFITS OF OPEN SPACES

29. WHY OPEN SPACE
WORKS?

30. DESIGN
STRATEGIES
FOR
PUBLIC
SPACES

31. EXAMPLE
#1
chor bazaar,
mumbai
CHOR BAZAAR, AN “OFF THE BEATEN PATH” STREET MARKET IN MUMBAI, OPENS EVERY
MORNING EXCEPT FRIDAYS (WHEN TRADING BEGINS AT NOON, AFTER MUSLIM PRAYERS).
LOCATION : PREDOMINANTLY MUSLIM AREA
SELLS : TRINKETS SUCH AS ANTIQUE JEWELLERY, CLOCKS, BOLLYWOOD POSTERS, STATUES OF
HINDU AND BUDDHIST DEITIES & VAST ASSORTMENT OF SECOND-HAND MERCHANDISE.
LOCATED IN THE CENTER OF THE CITY: EASILY ACCESSIBLE BY RAIL
IDEAL PLACE TO CAPTURE & HIGHLIGHT THE CONFLUENCE OF MANY CULTURES IN THE
AREA: OFFERS A RARE GLIMPSE INTO THE LIFE OF THE BOHRAS COMMUNITY OF MINORITY
SHIA MUSLIMS & THE KOLIS FISHING COMMUNITY.
CHOR BAZAAR ALSO USED AS A LINKAGE TO OTHER PLACES OF INTEREST NEARBY LIKE THE
CIRCULAR SHIVA TEMPLE KNOWN AS GOL DEOUL.
WHYITWORKS?

32. EXAMPLE
#2
chokhi dhani,
jaipur
CHOKHI
DHANI
IS
LOCATED
AWAY
FROM
THE
CITY,
AND
IS
ACCESSED
BY
THE
NATIONAL
HIGHWAY,
JAIPUR.
IT
SHOWCASES
THE
VILLAGE
LIFE
OF
RAJASTHAN,
DISPLAYING
ETHNIC
AND
CULTURAL
LIFE.
IT
IS
ONE
OF
THE
TOURIST
ATTRACTIONS
AS
PEOPLE
ALL
AROUND
THE
WORLD
COME
HERE
TO
EXPERIENCE
INDIAN
VILLAGE
LIFE.
WHYITWORKS?
OPEN SPACES: PROVIDES NATURAL SCENIC VIEWS
INTEGRATING DIFFERENT SOCIAL GROUPS THROUGH KALAGRAM: FACILITATES SUSTAINED
LIVELIHOOD FOR CRAFTSEMEN
INTEGRATING DIFFERENT AGE GROUPS THROUGH LIVE ENTERTAINMENT & FUN ZONES:
TRADITIONAL DANCES, ASTROLOGERS, MAZE (BHUL BHULAYIA) AND GAMES THAT HELP IN
THE NATIONAL MUSEUM INTEGRATES DIFFERENT STATES OF INDIA BY SHOWCASING THEIR
CULTURE
INTEGRATING DIFFERENT RELIGIOUS GROUPS THROUGH CELEBRATIONS OF DIFFERENT
FESTIVALS OF INDIA

33. EXAMPLE
#3
luxembourg gardens,
paris
LOCATION : WELL INTEGRATED INTO THE FABRIC OF THE CITY AROUND IT, WHICH MAKES IT
EASILY ACCESSIBLE
INTEGRATION : THERE ARE ALSO MANY THINGS TO DO THERE, EVIDENCED BY THE WIDE
RANGE OF PEOPLE WHO USE IT LIKE CHILDREN, OLDER PEOPLE, STUDENTS, PEOPLE CUTTING
THROUGH ON A LUNCH BREAK.
SCALE: 60 ACRES PARK.
ORGANISED ACTIVITIES: INNOVATIVE EXHIBITS ,HEARING OF THE FRENCH SENATE (OPEN
TO PUBLIC)
SPORTS ACTIVITIES: TENNIS,HORSE RIDING ETC
ENTERTAINMENT: PUPPET SHOWS,MUSICAL FOUNTAIN
WHYITWORKS?

34. EXAMPLE
#4
palais royal,
parisWHYITWORKS?
LOCATED IN MONTPENSIER,
PARIS, THE SOUTHERN
EDGE OF THE PARK HAS A
LARGE A COLONNADED
AREA COMPRISING OF 260
BLACK AND WHITE
COLUMNS OF VARYING
HEIGHTS IN THE CENTER.
IT IS FILLED WITH CAFES
AND RESTAURANTS,
ATTRACTING A LARGE
NUMBER OF PEOPLE.
AN INTERACTIVE SPACE FOR PEOPLE OF ALL AGES.
PEOPLE LIKE TO EXPERIMENT WITH THESE COLUMNS.
CHILDREN IN PARTICULAR EXPERIMENT WITH THE VARIETY OF USES FOR THE DIFFERENT
COLUMNS
INTERACTIVE & MULTIPURPOSE SPACE: STREET EXHIBITIONS, EVENTS, PLAY AREA

35. EXAMPLE
#5
flint
farmers
market,
flint
michiganWHYITWORKS?
•ROOFTOP TERRACE
•THE RAMSDELL ROOM
(Multi-purpose hall)
•ATRIUM
•DORT FEDERAL CREDIT UNION’s
DEMONSTRATION
KITCHEN(Rentable)
THE MARKET CONSISTS OF VARIOUS INDOOR AND SEASONAL STALLS.
THE AVAILABILITY OF A FORMER NEWSPAPER PRINTING PLANT HELPS EXPAND THE MARKET.
IT IS FUNDED BY VARIOUS SPONSORS.

36. EXAMPLE
#6
paddington reservoir
garden,
australia
Ø CONNECTED PHYSICALLY
AND SOCIALLY
Ø SUSTAINABLE, ENDURING &
RESILIENT
Ø VIBRANT, WITH PEOPLEAROUND
Ø INCLUSIVE & OFFER
DIVERSE RANGE OF
EXPERIENCES
Ø SAFE & SECURE
Ø COMFORTABLE AND WELCOMING
Ø WORKS WITHIN THE
PLANNING, PHYSICAL AND
SOCIAL CONTEXT
PADDINGTON RESERVOIR IS
A STATE SIGNIFICANT
HERITAGE ITEM.
PADDINGTON RESERVOIR
GARDENS CREATED A
PUBLIC OPEN SPACE FROM
DISUSED INFRASTRUCTURE.
Ø WALKABLE
SUNKEN GARDEN AND A
BOARDWALK ARE IN THE
WESTERN CHAMBER.
THE GATED EASTERN
CHAMBER HAS TIMBER
COLUMNS AND A
WATERPROOF CONCRETE
STRUCTURE FORMING THE
BASE FOR ACCESSIBLE
LANDSCAPED PARK ABOVE
SOURCE:urbandesign.org.au

37. ARE STREETS PUBLIC
PLACE?

38. STREETS
SOURCE : PROJECT FOR PUBLIC SPACES
1. TRANSIT ROUTES
2. COMMUNITIES
3. FUNCTION
4. FEEL
STREETS

39. WHY
STREETS
STREETS HAVE BEEN
PLAYING AN IMPORTANT
ROLE SINCE THE HISTORIC
TIMES IN INTEGRATING
THE SOCIETY. THESE
PLACES, WHILE MAJORLY
SERVING THEIR FUNCTION
OF TRANSIT ROUTES IN
HELPING PEOPLE REACH
TO AND FROM THEIR
DESTINATIONS, ALSO PLAY
THE ROLE OF SPACES
WHERE PEOPLE INTERACT.
STREETS ARE OUR MOST FUNDAMENTAL SHARED PUBLIC SPACES, BUT THEY ARE ALSO ONE OF
THE MOST CONTESTED AND OVERLOOKED.
IN A CITY THE STREET MUST BE SUPREME. IT IS THE FIRST INSTITUTION OF THE CITY. THE STREET IS A
ROOM BY AGREEMENT, ACOMMUNITY ROOM, THE WALLS OF WHICH BELONG TO THE DONORS, DEDICATED
TO THE CITY FOR COMMON USE. ITS CEILING IS THE SKY. TODAY, STREETS ARE DISINTERESTED MOVEMENTS
NOT AT ALL BELONGING TO THE HOUSES THAT FRONT THEM. SO YOU HAVE NO STREETS. YOU HAVE ROADS,
BUT YOU HAVE NO STREETS.
– LOUIS KAHN, THE STREET
SOURCE : PROJECT FOR PUBLIC SPACES

40. WHY
STREETS
ACROSS MANY CULTURES AND TIMES – SINCE THE BEGINNING OF CIVILIZATION, IN FACT – THE
STREET HAS HELD VAST SOCIAL, COMMERCIAL, AND POLITICAL SIGNIFICANCE AS A POWERFUL
SYMBOL OF THE PUBLIC REALM.
TODAY, AND FOR MOST OF THE LAST CENTURY, WE HAVE TAKEN FOR GRANTED THE IDEA
THAT OUR STREETS ARE PRIMARILY ZONES FOR CARS, PARKING, AND THE TRANSPORTING OF
GOODS.

41. WHAT
WENT
WRONG
i. TRAFFIC AND SAFETY ISSUES
ii. REDUCED PHYSICAL ACTIVITY (A LEADING CULPRIT OF OUR CURRENT EPIDEMICS OF
OBESITY AND CHRONIC DISEASE)
iii. LACK OF ACCESS TO GOOD PLACES HAS LED TO WIDESPREAD SOCIAL ISOLATION AND
DEPRESSION (PARTICULARLY AMONGST OLDER POPULATIONS)
iv. INCREASED VEHICLE EMISSIONS (DEGRADED AIR QUALITY + GREENHOUSE GASES CAUSING
CLIMATE CHANGE)
v. A LACK OF TRANSPORTATION OPTIONS (CAUSED UNEVEN ACCESS TO JOBS, SOCIAL
SERVICES, HEALTHY FOOD OPTIONS, AND COMMUNITY INTERACTION)

42. EXAMPLE
OF
STREETS
:
CONNAUGHT
PLACE
RAAHAGIRI
IF THERE ARE SPACES FOR SLOWER MOVING FORMS OF
TRAFFIC, THEY OFTEN ATTRACT NEGATIVE USES SUCH
AS ILLEGAL PARKING, IDLING, AND TRASH DUMPING.
INDIANS HAVE NOT LOST THE HABITS OF WALKING,
BICYCLING, VENDING, OR CELEBRATING ON THEIR
STREETS—THOUGH THIS NON-MOTORIZED
TRANSPORTATION IT IS OFTEN BY NECESSITY AND NOT
CHOICE. SOURCE : PROJECT FOR PUBLIC SPACES
DESPITE THE CITY’S CONTINUING GROWTH, THERE ARE ALMOST STILL NO SIDEWALKS OR BIKE
ROUTES, WHICH CAN BE A MORTAL TRIAL FOR THOSE WHO DON’T COMMUTE BY CARS.
WHAT IS RAAHAGIRI?
RADIAL STREETS : YOGA, ZUMBA, DANCE FITNESS, THEATRE AND MORE.
INNER CIRCLE (THE BACKBONE OF RAAHGIRI) : PEDESTRIANS, CYCLISTS, AND ROLLERBLADERS.
SPIDER-LIKE LAYOUT : ENABLED PEOPLE TO JOIN ACTIVITIES AND MILLAROUND
THE EMPTY PARKING LOTS : SPACE FOR INFORMAL GROUP ACTIVITIES LIKE FOOTBALL, DRUM
CIRCLES, AND GROUP READINGS.

43. WHY
IT
WORKS:
CONNAUGHT
PLACE
RAAHAGIRI
RAAHAGIRI SHOWS A STARK CONTRAST BETWEEN THE EVERYDAY PUBLIC LIFE ETHIC AND THE
EVENT ITSELF. WHERE INDIA IS WELL KNOWN FOR BEING THE LAND OF THE BYSTANDER, SPECIALLY
IN PUBLIC SPACES, JUDGING BY THE EVENT’S MASSIVE SUCCESS, IT IS CLEAR THAT THERE IS A NEED
AND WANT OF MORE PUBLIC SPACES.
THE NORMALLY DESERTED SUNDAY STREETS OF NEW DELHI APPEAR TO BE EMPTY NOT BECAUSE OF
FEAR OR LAZINESS, BUT BECAUSE OF THE LACK OF PUBLIC SPACES AND THINGS TO DO.
THE TIMING THE AVAILABILITY OF AMENITIES GROUP-ORIENTED PROGRAMMING
RAAHAGIRI HAS INSPIRED PEOPLE OF ALL AGE GROUPS, GENDER, RELIGION AND ECONOMIC
STATUS TO COME OUT OF THEIR SHELLS AND INTO THE SPOTLIGHT OF THEIR COMMUNITY.

44. 44
WHY VILLAGE MARKETS?
• “MARKETS REFLECT THE CULTURE AND TRADITION IN A REGION
AND FOR A TOURIST THEY ARE NOT JUST PLACES TO BUY
INTERESTING MERCHANDISE BUT ALSO A GATEWAY TO GET
ACQUAINTED WITH THE REGION'S PEOPLE AND THEIR VARIED
ATTITUDES TOWARDS LIFE IN GENERAL” NIKHIL GANJU, COUNTRY
MANAGER, TRIPADVISOR INDIA.
• TRADITIONALLY, THE BAZAARS OF INDIA HAVE SERVED AS GOOD
SENSORY GUIDES TO THE COUNTRY'S DIVERSITY.
• MODELLED ON A TRADITIONAL WEEKLY VILLAGE MARKET, THE DILLI
HAAT WHICH HOUSES PRODUCTS RANGING FROM HANDLOOM
SAREES TO A BLEND OF HANDICRAFTS AND FOOD FROM ALL OVER
INDIA HAS BEEN PLACED ON THE 13TH POSITION ALL OVER ASIA.
SOURCE : HTTP://ARTICLES.ECONOMICTIMES.INDIATIMES.COM/

45. EXAMPLE OF
DILLI HAAT
SRI AUROBINDO MARG, DELHI
ARCHITECT: Pradeep Sachdeva Design Associates

46. DILLI
HAAT
DILLI HAAT IS A PROJECT OF DELHI TOURISM & NDMC ; ESTABLISHED AND OPENED IN 1994
IT PROVIDES AN AMBIENCE OF A TRADITIONAL VILLAGE MARKET.
IT HAS BEEN VISUALIZED AS A SHOWPIECE OF TRADITIONAL INDIAN CULTURE-A FORUM WHERE
RURAL LIFE AND FOLK ART ARE BROUGHT CLOSER TO AN URBAN CLIENTELE.
THIS FOOD AND CRAFT BAZAR IS A TREASURE HOUSE OF INDIAN CULTURE, HANDICRAFTS AND
ETHNIC CUISINE.
A UNIQUE BAZAAR, IN THE HEART OF THE CITY, IT DISPLAYS THE RICHNESS OF INDIAN CULTURE ON
A PERMANENT BASIS.
LOCATION

47. 47
DILLI
HAAT
PLAN
OF
DILLI
HAAT
THE ENTIRE AREA HAS BEEN DIVIDED INTO SEVERAL SPACES.
ENTRANCE PLAZA, RAISED TO BLOCK VEHICULAR ACCESS AND BRINGA NEW SPATIAL IDENTITY FOR
PEDESTRIAN CIRCULATION AND TICKETING SERVICES FOR ENTRY TO DILLI HAAT.
IT IS FOLLOWED BY A LINEAR SPINE OF MOVEMENT FLANKED BY STALLS ON BOTH SIDES IN CLUSTER
PATTERNS SHOWCASING THE LOCAL AND THE REGIONAL CRAFTS OF INDIA.
THE BUILDINGS, CONSTRUCTED IN EXPOSED BRICK ANDSTONE, WITH SHADY VERANDAHS HAVE
BEEN INSPIRED BY THE VERNACULAR ARCHITECTURE OF THE REGION.
38

48. 48
DILLI
HAAT
DATE OF COMPLETION:DECEMBER I993
CLIENT: DELHI TOURISM & MUNICIPAL CORPORATION OF DELHI
ARCHITECT: PRADEEP SACHDEVA, DESIGN ASSOCIATES, NEW
DELHI
SITE AREA: 6ACRES, APPROX. 100M x 300M
BUILT UP AREA: 3190 SQM
GROUND COVERAGE: 12%
PROVIDES A FULL EXOTIC VARIETY IN SHOPPING PRODUCTS
THAT INCLUDES HANDLOOMS, HANDICRAFTS,
WOODCARVINGS, CAMEL HIDE FOOTWEAR, DRAPERY, FABRIC
MADE CLOTHING, GEMS, BEADS ORNAMENTS ETC.

49. 49
DILLI
HAAT
SINGLE STORIED BUILDINGSFOR ALL USERS REGARDLESS OF
AGE OR BACKGROUND
SHOPS CHANGE PERIODICALLY, THEREFORE
PROVIDES OPPORTUNITY TO BOTH VISITORS
AND OTHER ARTISTS.
RAMPS ARE PROVIDED MAKING IT A BARRIER FREE
CONSTRUCTION
VIBRANT, WITH PEOPLE AROUND
MAKING IT SAFE & SECURE

50. 50
DILLI
HAAT
THE ENTRANCE PLAZA LEADS TO THE ARRIVAL AREA WHICH CONSISTS OF THE SOUVENIR SHOPS
AND CRAFTSHOPS. THE ARRIVAL PLAZA FURTHER LEADS TO THE MAIN SHOPPING STREET WHICH
HAS THE COVEREDSHOPS, SEMI COVERED SHOPS, OPEN SHOPS/ KIOSKS AND THE PUBLIC TOILETS.
THIS IN TURN LEADS TOTHE FOOD COURTS AND ENDS AT THE AMPHITHEATER WHICH IS THE
TERMINATION POINT OF DILLI HAAT
DILLI HAAT PROVIDES ENCOURAGEMENT TO NEEDY ARTISTS & SERVES AS AN OUTLET CENTRE FOR
THEM.
IT PROJECTS THE CULTURAL ASPECTS OF DIFFERENT STATES OF INDIA BY ORGANIZING "FESTIVALS“
EVERY MONTH
THE EXHIBITION HALL ORGANIZES AND TELECASTS HANDICRAFT AND HANDLOOM BASED SHOWS TO
PROMOTE THE PRODUCTS
A SMALL FOOD COURTWHICH BRINGS A VARIETYOF CUISINES OF DIFFERENT STATES TOGETHER

51. 51
DILLI
HAAT
CIRCULATION MOVEMENTS:
• MAINLY LINEAR WITH FEW DIVERSIONS
• ENTIRELY PEDESTRIAN.
• CREATION OF LEVELS TO DEFINE BUILDINGS MORE
DISTINCTLY BY THE USE OF RAMPS AND STEPS.
CIRCULATION IN FRONT OF PERMANENT SHOPS IS THROUGH A
VERANDAH COVERED AREA.
VARIED CHARACTER: THE PLAZA CHANGES CHARACTER FROM A
LARGE ENTRANCE PLAZA TO AN OBLONG OPEN SPACE.
CIRCULATION
PLAN
PEDESTRIAN MOVEMENT
PEDESTRIANAREA
VEHICULAR MOVEMENT
VEHICULARAREA
SERVICE ENTRY
SERVICE AREA
LEGEND

52. 52
DILLI
HAAT
BUILT SPACES
PERMANENT SHOPS
ADMINISTRATIVE OFFICE
MEETING HALL
FOOD COURTS
PERMANENT SEATING STRUCTURES AROUND THE FOOD COURTS.
SPATIAL
ELEMENTS
ALL THE PERMANENT BUILDINGS ARE EXPOSED BRICK STRUCTURES SO AS TO MAINTAIN UNIFORMITY
IN THE ENTIRE AREA WHILE THE FOOD COURTS HAVE MOSAIC WORK ON THEIR EXTERNAL FACADE
TO CREATE AN INTERESTING LOOK AND AT THE SAME TIME BREAK THE MONOTONY.

53. 53
DILLI
HAAT
SEMI OPEN
CAFETERIAS
SHOPS
VERANDAHS
SOME OF THE CAFETERIAS ARE DECORATED WITH
A COLORED TEXTILE TO PROVIDESHADE WHILE
SOME OF THEM ARE LEFT ENTIRELY OPEN

54. DILLI
HAAT
54
OPEN SPACES
THE OPEN AREAS INCLUDE THE TEMPORARY KIOSKS THAT ARE SET UP FOR THE SELLING OF
TRADITIONAL MATERIALS. THE OUTDOOR SEATING PROVIEDED IN THE FOOD COURTS ARE ENTIRELY
OPEN.
PAVED AREA
LIGHTING
FIXTURES
TREES
GREEN
AREA

55. 55
WHY DILLI HAAT?
• DILLI HAAT BRINGS TOGETHER RURAL LIFE AND FOLK ART OF
TRADITIONAL INDIA.
• IT IS BUILT AROUND LANDSCAPED COURTS AND OPEN PLAZAS
WHICH INCREASES INTERACTION AMONG PEOPLE
• THE SHOPS CHANGE EVERY TWO WEEKS CREATING INTEREST
AMONG PEOPLE.
• A PUBLIC SPACE FOR ALL AGE GROUPS THEREFORE
INCREASES SOCIAL INTERACTION
• BARRIER FREE
• OPEN SEATING AREA
• FOR ALL INCOME GROUPS
• ENTRY CHARGES ARE NOMINAL
• TRADITIONAL ELEMENTS OF CONSTRUCTION ARE USED FOR
PROVIDING ETHNIC LOOK TO THE AREA.

56. 56
WHY DILLI HAAT?
• ALSO MAKING IT LOW COST OF CONSTRUCTION
• HEAVY PERIPHERAL LANDSCAPED AREA PROVIDES BARRIER TO
SOUND NOISE AND AIR POLLUTION
• ALSO GIVES AN ENCLOSED FEELING.
• LANDSCAPE IN HARMONY WITH THE ENVIRONMENT.
• SEGREGATION IS GIVEN THROUGH OPEN PLAZAS AND GREEN
AREAS
• RAISED SEATING PLATFORM PROVIDES COMFORT TO ALL USERS
• ENTRANCE PLAZA CREATES A BUFFER BETWEEN THE BUSY
AUROBINDO ROAD AND DILLI HAAT
• DIFFERENT PAVING PATTERNS SEGREGATES THE AREA VISUALLY
• TOURIST SPOT AS IT INFLUENCES INDIAN CULTURE.

57. DEFINING
PARAMETERS
The
12
Criteria

58. DEFINING
PARAMETERS
The
12
Criteria
SOURCE: HOW TO STUDY PUBLIC LIFE by JAN GEHL, BIRGITTE SVARRE

59. DEFINING
PARAMETERS
The
12
Criteria
PROTECTION AGAINST
i. TRAFFIC & ACCIDENTS :
CREATING A SAFE PLACE, BY
PROTECTING THE USERS FROM
THE DANGER OF SPEEDING CARS
AND ROAD ACCIDENTS
ii. CRIME & VIOLENCE : CREATING
AN ENVIRONMENT WHICH IS FREE
FROM BREAKING THE LAWS
ENFORCED BY THE GOVERNMENT
AND BEHAVIOUR INVOLVING
PHYSICAL FORCE INTENDED TO
HURT, DAMAGE, OR KILL SOMEONE
OR SOMETHING.
iii. UNPLEASANT SENSE-EXPERIENCE
: CREATING A SPACE WHICH WILL
EXCLUDE ALL ELEMENTS THAT
WOULD TAMPER THE SENSES OF
SIGHT, HEARING, SMELL, TASTE OR
TOUCH

60. DEFINING
PARAMETERS
The
12
Criteria
POSSIBILITIES
iv. FOR WALKING : GIVING USERS
A CHANCE TO WALK BY
PROVIDING SPACES/ ELEMENTS
THAT WOULD PROMOTE THE
ACTIVITY
v. FOR STANDING : CREATING
APPROPRIATE SPACE FOR JUST
STANDING COMFORTABLY
vi. FOR SITTING : GIVING
ELEMENTS OF DESIGN THAT
WOULD GIVE USERS PLACES TO
SIT AT THEIR OWN COMFORT
FOR WHATEVER USAGE THEY
WANT TO

61. DEFINING
PARAMETERS
The
12
Criteria
POSSIBILITIES
vii. TO SEE : PROVIDE ELEMENTS OF
DESIGN THAT WOULD GIVE
USERS SOMETHING TO LOOK AT,
WHICH COULD BE CHALLENGING
ON AN ACTIVE ASPECT, OR
COULD BE AESTHETIC, ON A
PASSIVE ASPECT
viii.FOR HEARING/TALKING :
CREATING SPACES WHICH
WOULD ENCOURAGE PEOPLE TO
INTERACT, TALK AND HEAR
VARIOUS OTHER ACTIVITIES
THAT MIGHT TAKE PLACE
ix. FOR PLAYING/UNWINDING :
DESIGNING SPACES IN A WAY
THAT WOULD ENCOURAGE
USERS TO RELAX AND DE-STRESS

62. DEFINING
PARAMETERS
The
12
Criteria
x. SMALL SCALE SERVICE (FRIENDLY
GESTURES) : PROVIDING ELEMENTS ON
SITE SUCH ASS SIGNBOARDS, SITE
FURNITURE, AMENITIES THAT WOULD
ENCOURAGE FOOTFALL AND HELP
CREATE A SUCCESSFUL PUBLIC PLACE
xi. DESIGNING FOR ENJOYING POSITIVE
CLIMATE ELEMENTS : CREATING SPACES
THAT, INSTEAD OF EXCLUDING THE
CLIMATIC CONDITIONS, WOULD TAKE
INTO CONSIDERATION THE POSITIVE
ASPECTS OF THE CHANGING CLIMATE
THROUGHOUT THE YEAR
xii. DESIGNING FOR POSTITIVE SENSE
EXPERIENCES : DESIGN KEEPING IN
MIND THE POSITIVE EXPERIENCES A
USER WOULD WANT TO COME ACROSS,
WHICH WOULD HELP CREATE A
POSITIVE OUTLOOK TOWARDS THE
SPACE AND WOULD HELP HIM INTERACT,
UNWIND AND ENJOY IN THE SPACE
SUCCESSFULLY