The Sanskar Kendra museum in Ahmedabad, India was designed by Le Corbusier. It is located near the Sabarmati River, about 400 meters from the river's western bank. The initial core of the museum was constructed by 1954, with plans for additional buildings that were never realized. The museum has a total site area of 5,700 square meters and a built up area of 2,313 square meters. It features a central courtyard with daylight penetrating through, low pilotis, and a main staircase. The majority of walls are unfinished brick or plaster, while the courtyard walls are left as unfinished brick. The building uses a raw concrete structure and plain brick facade, in line with Le Corbusier's style

1. INTRODUCTION
• The Museum at the Cultural Centre at Ahmedabad, known
as Sanskar Kendra, is located in the state of Gujarat in
Ahmedabad.
• It is located near the Sardar Bridge around 400 meters from the
western bank of the River Sabarmati, which flows through the
city.
• 2.9 km from bus station ,12.7 km from air port and 4.8 km from
railway station. • The initial square core of the museum around a courtyard
was constructed by 1954.
• The intention for the site was to develop three additional,
individual volumes around the core museum each with its
own circulation and a raised walkway connection to the core
building.
• One was to contain an open-air theatre, studio and conference
facilities, 'while the other two would contain archaeological
and anthropological rooms, There -was also a potential to
extend the core building itself and construct a "magic box"
theatre at the eastern end of the site. However, none of these
extensions -were ever realised.
• Ahmedabad has a hot semi-arid climate with average
maximum summer temperatures of 41 degrees C.
a monsoon season, and a mild winter
• Total site area -5700 meter sq.
• Built up area- 2313 meter sq
• Architect- le corbusier

2. DOUBLE HEIGHT EXHIBITION SPACE
MEZZANINE GALLERIES
ROOF BASINS
KIOSK
SERVICES
VERTICAL CIRCULATION
DEPOSIT COLLECTION
MERCHANDISE RECEIPTS
MEZZANINE
GROUND FLOOR
FIRST FLOOR
SECOND FLOOR
THIRD FLOOR
ROOF FLOOR
SECTION • COURTYARD

3. • DAY LIGHTING IN THE
CENTRAL COURTYARD
Day light penetrates through
the center of the building
creating a void of light or
what Le Corbusier describes as
a ''true hall of honor" at the
entry to a "Museum of Infinite
Expansion. This expression is a
true contrast to the confined
approach beneath the building
upon entry.. One of the successful
characteristics of this building can
be identified in the low height of
the pilotis, the tops of which are
3.4 meters.The floor to- ceiling
height varies in depth with respect
to slab thickness and spandrel
beams, for instance the ground
floor's external presence is 2.5
meters in order to create an
overbearing and darkened
approach underneath the building
to its central entry amongst its
expansive open floor plan.
• PILOTIS
• MAIN STAIR CASE VEIW
• DOUBLE HEIGH EXHIBITION SPACE• MEZZANINE GALLERY
WALL FINISHES
While the majority of walls are left as their raw material, the inside of the exterior walls are finished in 'white plaster while the inside of
the walls surrounding the internal courtyard are left in unfinished brick. This provides a. visual cue for orienting oneself in the building

4. MATERIAL
• the building has been constructed from unfinished reinforced Concrete
and brick for the facade.
Brick
The building's exterior consists of a plain brick facade
combined with exposed elements of raw concrete
structure.
The external walls consist of a double brick construction
with an internal cavity varying in size dependent on each
individual facades orientation in response to varying
amounts of direct sunlight.
Concrete
The raw reinforced concrete structure is a response to
‘Beton Brut Architecture' a style very familiar to much of
Le Corbusiers work such as Unite d'Habitation and the Mill
Owner's Association Building also in Ahmedabad.The style
consists of an unfinished or roughly finished raw concrete,
which is left exposed leaving the imprint of the wood or
plywood framework used for pouring on the final
product's surface.This style later on flourished as a part
ofthe Brutalist Architect movement in the I960 and 70's.