The document provides case studies of two cultural centers - Jawahar Kala Kendra in Jaipur, India and SFMoMA in San Francisco, USA. Both centers were designed to showcase and promote local arts while being inspired by the cities' histories and designs. JKK's layout was based on Jaipur's original city plan while SFMoMA's central atrium and skylights aim to maximize natural light. Though different in region and culture, both centers effectively balance functionality, aesthetics, and connection to their surrounding communities through their architectural design.

1. CASE STUDY REPORT
ON
JAWAHAR KALA KENDRA (Jaipur, India)
SFMoMA (San Francisco, United States)
Akshit 203 | Aman 204 | Bhavishya 210 | Mudit 220 | Niharika 225 | Sanyam 233

2. JAWAHAR KALA KENDRA,
JAIPUR

3. Jawahar Kala Kendra Technical Information
•Architects: Charles Correa Associates
•Location: Jaipur, Rajasthan, India
•Client: Government of Rajasthan
•Built-up Area: 9.5 acres
•Construction: 5 Years (1986 – 1991)
•Average daily footfall : 800-1000
•Typology: Cultural Architecture / Museum
•Project Year: 1991
•Drawing Credits: Courtesy of Charles Correa Associates
BRIEF OVERVIEW

4. • Jawahar Kala Kendra (JKK) is a multi arts centre located
in JAIPUR ,INDIA.
• It was built by Rajasthan Government with the purpose of
preserving Rajasthani arts and crafts.
• The centre has been made in eight blocks housing museums, one
amphi theatre and the other closed auditorium, library, arts display
rooms, cafeteria, small hostel and art-studio.
• The ninth block is also there with left open in bottom right corner .
• It also houses two permanent art galleries and three other galleries.
and host its own theatre festival each year.

5. • Located in the centre of the city
• Nearby Residential Areas -2kms
• City Bus Stand - 7.5Kms
• Railway Station – 7 Kms
NEARBY TOURIST POINTS ;-
• Albert Hall Museum
• Hawa Mahal
• Peacock Garden
LOCATION AND CONNECTIVITY

6. 2 MAIN ENTRIES
6 LANE ROAD
WITH SERVICE ROAD

7. • The center is an analog of the original city plan of Jaipur
drawn up by the Maharaja, a scholar, mathematician and
astronomer, Jai Singh the Second, in the mid-17th century. His city
plan, guided by the Shipla Shastras, was based on the ancient Vedic
mandala of nine squares or houses which represent the nine
planets (including two imaginary ones Ketu and Rahu ). Due to the
presence of a hill, one of the squares was transposed to the east and
two of the squares were amalgamated to house the palace.
• Jaipur city designed by architect Vidyadhar Bhattacharya as per Vastu
Shastra
CONTEXT

8. • Play of light and shadow , invites the user .
• Spaces are in continuous manner with no breakwhih allow user
to explore more and more
• Partly open courtyards , narrow passages ,connecting vistas
and frequent openings are incorporated in the cmplex.
• Use of local design elements and materials like yellow , red
sandstone , limestone , marble and terracotta is used.
• Planning was done at a monumental scale but is not
dominating or daunting .
ARCHITECTURAL CHARACTERISTICS

9. • Correa’s plan for the Kendra invokes directly the original
navagraha or nine house mandala.
• One of the squares is pivoted to recall the original city plan and also to
create the entrance.
• the squares are defined by 8m high walls and are a symbol of the
fortification walls of the Jaipur old city.
• Externally, the planets appear on the red sandstone facades as symbols
inlaid in white marble and granite
• The journey through the building, the movement through its celestial
divisions are marked by a diversity of spatial densities.
CONCEPT & VISION

10. CONCEPTUAL SKETCHES

11. •PLAN INSPIRED BY THE MASTER PLAN OF THE JAIPUR CITY

12. PLANS, ZONES & CIRCULATION

13. • The building program is been divided into nine
spaces which represent their corresponding
planet.
• For instance, the library is located in the
square of the planet Mercury which
traditionally represents knowledge
• The central square, as specified in the Vedic
Shastras, is a void: representing the Nothing
which is Everything.
• The flooring pattern in this square is a diagram
of the lotus representing the sun. City Palace,
Jaipur
ZONING

14. • The central square, as
specified in the Vedic
Shastras, is a void:
representing the Nothing
which is Everything. The
flooring pattern in this square
is a diagram of the lotus
representing the sun. City
Palace, Jaipur.
• Increase in height makes the
central space smaller and
claustrophobic.
• Scale of unit relatable to
human as it does not
overpower us and also makes
the ground spaces feel larger
and not claustrophobic.

15. SITE VIEW: Zoning of spaces and basic layout of the building

16. PLAN

18. SECTION

19. CIRCULATION

20. There are two
gates to enter
the site.
Both entry
leads to admin.
One block
moved aside to
define an
entrance space.
Service road finishes at
30 m of the main gate
of the kala kendra
exactly in front of the
second gate for the
staff members
providing direct entry
for the staff members
6M width service lane is provided which is
used to park the private cars.
Uses a part of the main road to park the cars.

22. PHOTOGRAPHS

25. DESIGN FEATURES

26. Hand painted ceiling (dome) by
local artists, representing different
ancient hindu mathematics and
scientific elements.
The OAT setting represent stepwell
Dome

27. Used white marble to
emphasise elements
Mural painting related to hindu,
jain and buddhist religion.

28. PARKING & SERVICES

29. ● There is two gate to enter the site.
● The first gate is for tourists and the
second gate is for the exhibitors and the
staff working their.
● Cars are parked inside the site on the back
side where there is an office.
● The service lane which is 6m wide.
● Service road finishes at 30m of the main
gate.
● Their is direct entry for the staff members
through the park avenue road.
Serviceentries
SERVICES

30. There is no specific parking alloted to
this site so services adjacents to the
site is in use.
Vehicle of employees, visitors, and
media would be parked at the service
lane adjacent to JJK.
The available area for the parking is
not sufficient not more than 50 cars
can be parked in the service lane
adjacent to the site.
In case of offsite parking, which is
about 0.64 KM away from site is also
used creating an inconvenience to the
people.
Parking
Tourists gate Service gate
PARKING

31. San Francisco Museum of Modern Art

32. SFMOMA, MODERN ART
MUSEUM
Architects: MARIO BOTTA
Remodelaton architect: Snohetta
Location: 151 Third street, San Francisco,
California, United States
Client: Grace L. McCann Morley
Built-up Area: 43000 sq..
Built in 1935
Typology: Museum of Modern Art
BRIEF OVERVIEW

33. • The San Francisco Museum of Modern
Art, is one of the largest and most
modern museums of contemporary art.
• It opened in 1935 under the leadership of its
founder Grace L. McCann Morley.
• In the first 60 years, the museum occupied the
upper floors of the War Memorial Veterans
Building.
• In a major transformation and expansion in
1995, the museum moved its current location in
the financial district of SoMa.
• This expansion represents the next stage in the
evolution of museums and neighborhood, as
was once the creation of SFMOMA. This
expansion is scheduled to begin in 2013 and be
completed in 2016..
HISTORY

34. • construction of a 10-story, 235,000-square-foot addition designed by the
internationally acclaimed architecture firm Snøhetta.
• the Pritzker Center for Photography, the largest gallery, research and
interpretive space devoted to this medium in any U.S. art museum.
• and nearly 45,000 square feet of free public access, confirming SFMOMA’s role
as a vital cultural and social hub in the heart of San Francisco
LATER EXPANSION
7 years of museum expansion include:

35. • It is located in the downtown area, in
Downtown San Francisco, California,
United States.
• Bus Station – 0.4 mile
• Caltrain Station – 1 mile
• Airport – 12.6 mile
LOCATION AND CONNECTIVITY
NEARBY TOURIST POINTS ;-
• Coit tower - 1.7 miles
• Yerba Buena Garden – 13ft
• Chinatown – 1.1 miles
• Cable car museum – 1.3 miles
• Golden gate bridge – 7.4 miles
• Alcatrz island – 2.7 miles
• Golden gate park – 4 miles
• Legion of honor – 8 miles

36. Art museum
Caltrain station
Bus station
Art museum
Airport
CONNECTIVITY

37. GOOGLE EARTH
These google earth images
shows the actual
surrounding of the building
and the road network a
building.
The museum is located at the
center of the city.
Three roads are connected
with the museum of modern
art.

38. SITE PLAN
N
ENTRY

39. N

41. • When it was founded in 1935, the san Francisco museum of modern art
(SFMOMA) occupied one, then two floors of the war memorial veterans.
• That building was almost immediately maligned for looking dated in its
Postmodern imagery and for not functioning well in terms of circulation.
• The museum unveils its newly expanded facility, designed by Snøhetta.
With the $305 million addition, which increases gallery space to 170,000
square feet.
• SFMOMA now has more exhibition space, if only temporarily, than the
still-inflating MoMA in New York.
• The expansion dramatically increases amenities, including free public-
access areas, rooms for education, and performance and event venues.
CONTEXT

42. • Its architecture responds to light and place, just as did the ancient temples and pyramids,
solidly. But the architect invited, as did the ancients at the equinoxes, with beams of light
from narrow windows and openings in the walls, and strengths. Formed by squares and
circles, as the old buildings, the SFMOMA was planned with the sun in mind, placed on an
east-west. Light floods the lobby at noon, the galleries were protected from direct light.
CONCEPT & VISION
• The architecture, as described by
Botta, involves a light-filled space that
depends on gravity to remain
earthbound. But, in his words, “what
you see on earth is just the tip of the
iceberg”. Any new building is a “built
landscape” shaped by the invisible
culture of their builders. At SFMOMA,
the iconic skylight represents the “eye
of the city”, “is like a compass.

43. PLANS, ZONES & CIRCULATION

44. FIRST FLOOR
N

45. SECOND FLOOR
N

46. THIRD FLOOR
N

47. FOURTH FLOOR
N

48. FIFTH FLOOR
N

49. Controlling mechanism
SKYLIGHTS
CENTRAL ATRIUM
CHAMFERED TURRET
40m
5.5m
3.5m
5m
B Basement, storage
1 First floor (café, bookstore,
auditorium, classroom, loading
dock)
2 Second floor (painting and
Sculpture, architecture and
design galleries)
3 Third floor (photography and
temporary exhibition galleries)
4 Fourth floor (temporary
Contemporary, and video/media
arts galleries)
SECTION

50. B Basement (storage)
1 First floor (offices)
2 Second floor (offices)
3 Third floor (offices)
4 Fourth floor (temporary
and contemporary galleries)
5 Fifth floor (temporary
exhibition galleries
7m
5.5m
3.5m
3.5m
SECTION

51. INTERIOR VIEWS

52. DESIGN FEATURES

53. Light has been an important part of the project.
• Central atrium has a huge elliptical skylight just above it, which provides ample
amount of light throughout the day. Just below this skylight lies the huge staircase
which makes the atrium more dramatic with the play of shade and shadow.
• Skylights are provided on different floor levels that keeps the floor lit and reduces
the consumption of light. These are provided along the hallway and corridors that
gives a better experience and makes the spaces more open.
LIGHTING

54. Section through fifth floor exhibition
galleries. Note skylight providing
controlled natural light.
LIGHTING
View of fifth floor exhibition gallery.
Note placement of skylight and
track lighting.

55. Central atrium
skylight with
staircase.
Lights up the
spaces.
Initial sketch of the elliptical skylight

56. Concept of bringing in more light inside the building.

57. SERVICES AND PARKING

58. PARKING
It has a public parking available.
It is enclosed within road networks with
3 main street on 3 sides (Minna st., New
Montgomery st., 3rd st.) and on smaller
street on one side (Natoma st.)
Accessible from all the sides

59. INFERENCE
The case study of both the buildings has been immensely informative in
terms of architecture and aspects relating to it.
Both the projects differ:
• Regionally
• Culturally
• Conceptually
• Traditionally
• In terms of constructions/methods/etc.
But are same FUNCTIONALLY.

60. • Both the projects helps describing how concepts can be translated
into designs.
• The zoning and interrelation between functions shall be supportive
for each other.
• Use of light (and other natural resources) not just makes the projects
little more economical (due to less use of light) but also makes the
spaces look more open and lively.

61. • Due to the projects being primarily dedicated for the display of art, it
is necessary to have ample amount of space for its functionality.
• Such projects, being very large in scale, it is preferable to add small
scaled design features. This could encourage the visitors/occupants
to explore the spaces.
• It should have a sense of direction to it (hierarchically).
• It should not be disconnected from the surroundings.

62. REFERENCE
JKK, JAIPUR:
• https://issuu.com/gokularchi/docs/final_report
• https://jaipurbeat.com/tag/jawahar-kala-kendra/page/2/
• https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.scribd.com/
doc/296219819/jawahar-kala-
kendra&ved=2ahUKEwjX4cC14O_qAhUXH7cAHTteB2kQFjACegQIAhAB&usg=AOvV
aw2g78PxKVUad9KoXxlYG2kC&cshid=1595932683301
SFMoMA, US:
• https://www.sfmoma.org/
• https://www.archdaily.com/tag/sfmoma
• https://www.dezeen.com/2015/08/10/postmodernism-architecture-sfmoma-san-
francisco-museum-of-modern-art-mario-botta-snohetta-craig-dykers-extension/
• https://en.wikipedia.org/wiki/San_Francisco_Museum_of_Modern_Art
• https://goo.gl/maps/BN13ZLtZUG2QSgFo7
• Googleearth.com
• https://en.wikiarquitectura.com/building/sfmoma-museum-of-modern-art-in-san-
francisco/