performing arts centre final

Jyotsna Mishra | Msap | Xth sem | 070901162

Thesis report 1: 14/02/12

C e n t e r f o r p e r f o r m I n g a r t s Thesis 2012 Jyotsna Mishra 070901162 | Xth Sem |MSAP

Introduction

Nehru center for performing arts, aims to provide the planned city of Chandigarh a traditional outlook. As

this Indian city lacks the local street culture , this performing art center aims to make people aware about the

Indian tradition and culture, and conserve it to educate the up-coming generation. It will also help promote

tourism of Chandigarh.

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The movement arts is vibrant, evolving.

Through the years, the art has evolved taking new shapes every time, converting and integrating through the passage of time. This gives to many

new forms of art. Art has survived many criticism as well appreciation in the test of time.

Today art is understood and appreciated by larger section of society. The Nehru center for performing arts at Chandigarh, attempts to be the

converging point and a national level platform for people who are interested in performing arts.

The site in Chandigarh is year marked at sector 34b by the Chandigarh development authority, this will be developed to cater to the surrounding

population and beyond.

The project focus on developing into a center that caters primarily to the performing arts, providing with space, infrastructure, knowledge recourse

and acting as a magnet to those practicing or interested in art. A potential attempt will be made to promote learning and interest towards the arts

through observation, interaction and practice.

Mr Rakeshwar Katoch, a theatre buff, said: “The city has a potential to emerge as a major cultural centre in the North. All art forms need the

support of the state and neighbouring state governments need to get together with the UT Administration to form a common action plan for the

promotion of art and culture.

Sanjeev Singh Bariana

Tribune News Service

The future of performing arts will be shaped by many factors, but perhaps none is more important than the future structure of demand. The size and

shape of the market for performing arts has changed over time, reflecting shifts in demand that are stimulated by technological change as well as

social, demographics and economic trends in society.


justification

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Justification of support for both capital and revenue funding has included one or more of the following reasons:

Cultural: to safeguard an aspect of cultural heritage; continuity of art forms, display of performing skills and sustaining national, local or

ethnic traditions; to retain and improve an existing stock of facilities and established companies for the performing arts, or to provide new

facilities to ensure cultural opportunities.

Economic: direct employment of staff and performers; benefits to secondary businesses such as poster and programme printing and material

supply; a widening of the tourist and conference market which, in turn, brings money into the town or city; an attraction to encourage

relocation, and location of organizations, institutions, industry and commerce in an area with subsequent employment benefits.

Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational

programme for schoolchildren, students and those in adult education.

Prestige: international, national, regional, city or town comparison; re-enforcement of regional identity emphasizing dispersal from

metropolitan focus.

Quality of life: performing arts as acceptable complementary activities to work and domestic obligations as a positive use of leisure time

which enriches life culturally and also socially.

Regeneration: part of a wider programme to revitalize an existing city or town centre or to assist in the formation of a new community, to

attract industry, commerce, institutions, housing, and so on.

Cultural Democracy: to stimulate and foster participation in the performing arts by all sections of a community, defined locally, as a creative

activity .

Justification :

Justification

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Aim:

Developing a performing art center at Chandigarh, Punjab, which facilitates, practice, teaching, research, display and appreciation of various art forms.

Objective:

To provide leadership on a national level as India’s premier performing arts, research and training centre through the presentation of Indian and

international art forms, the promotion of excellence and the preservation of India’s rich cultural heritage.

Development of a performing arts center providing the required areas and infrastructure to be able to display and promote the art. Designing a self

integrated and flexible space, and also ensure constant activity at the center, involving the community and public.

Project Outline:

Performing art center at Chandigarh, Punjab shall be a center for research, understanding and promotion of the performing arts. It shall cater to all

forms of performing arts stressing upon dance, theater and music also including the contemporary art form. It will also have a research center for

music and dance form. Provision for accommodation for a limited number of people will also be included in design.

Focus on multiple use of one space, convertible spaces mostly for community and public interaction. Landscape plays an important role in making

the planning and resolving the circulation, so it will be designed accordingly.The project envisages the creation of an environment for the arts, meant

exclusively for the arts and not for any one exclusive art. It is therefore meant to encourage in a broad sense all kinds of artistic pursuits.

From an architectural point of view the building will be planned in order to create an environment befitting the nature of the activities related to the

arts and their promotion. Apart from the functional spaces, therefore the creation of an ample amount of space for the interpretation of art by the

sensitive art- lover and the interaction between the people interested in the arts is envisaged. The mood and the ambiance of the built space will be

conductive for the reflecting over subjects and missing over art of the solitary thinker’s mind. The architecture will be sensitive to art and yearn to be

an extension of it.


SYNOPSIS

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From the functional point of view the building will be designed to house the facilities required for the staging and presentation of various

disciplines of performing arts.

Through the years, the art has evolved taking new shapes every time converting and branching out to give birth to new forms. The art has

survived all test of time, and today it is appreciated and understood in all its forms by a larger section of people. Today people recognise the value

and scope of performing arts, and more than a type of means of entertainment people are taking it up as a subject to study and research.

The performing arts center at chandigharh, punjab attempts to be the converging point for all interested in the performance arts and a source for

information.

The site is in the heart of chandigharh, a planned city by architect le corbusier, and it is a flat tarrain, it lies in sector 34 B.


SYNOPSIS

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Performing Arts:

The performing arts are those forms art which differ from the plastic arts insofar as the former uses the artist's own body, face, and presence as a medium,

and the latter uses materials such as clay, metal or paint which can be molded or transformed to create some physical art object . The term "performing

arts" first appeared in the English language in the year 1711.

Music is an art form whose medium is sound and silence. Its

common elements are pitch ( which governs melody and harmony),

rhythm (and its associated concepts; tempo, meter, and articulation),

dynamics, and the sonic qualities of timbre and texture. The word

derives from Greek μουσική (mousike; "art of the Muses").

The creation, performance, significance, and even the definition of

music vary according to culture and social context. Music ranges from

strictly organized compositions (and their recreation in performance),

through improvisational music to aleatoric forms. Music can be

divided into genres and subgenres, although the dividing lines and

relationships between music genres are often subtle, sometimes open

to individual interpretation, and occasionally controversial. Within

"the arts", music may be classified as a performing art, a fine art, and

auditory art.

Performing arts

Minor forms

• Magic

• puppetry

Major forms

• Theater –contemporary, folk

• Dance – classical, folk, contemporary

• Music- classical, folk, contemporary

• Opera

• Circus

Genres

• Drama

• Tragedy

• Comedy

• Tragicomedy

• Romance

• Satire

• Epic

• lyrics


Performing art

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Theatre

Theatre is the branch of the performing arts concerned with acting out

stories in front of an audience using combinations of speech, gesture,

music, dance, sound and spectacle—indeed any one or more elements

of the other performing arts. In addition to the standard narrative

dialogue style of plays, theatre takes such forms as

plays, musicals, opera, ballet, illusion, mime, classical Indian

dance, kabuki, mummers' plays, improvisational theatre, stand-up

comedy, pantomime, and non-conventional or art house theatre.

Dance

Dance (from Old French dancier, perhaps from Frankish) generally

refers to human movement either used as a form of expression or

presented in a social, spiritual or performance setting.

Dance is also used to describe methods of non-verbal

communication (see body language) between humans or animals (bee

dance, mating dance), motion in inanimate objects (the leaves danced in

the wind), and certain music genres.

Choreography is the art of making dances, and the person who does this is

called a choreographer.

Definitions of what constitutes dance are dependent

on social, cultural, aesthetic artistic and moral constraints and range from

functional movement (such as folk dance) to codified, virtuoso techniques

such as ballet. In sports, gymnastics, figure skating, and synchronized

swimming are dance disciplines while martial arts "kata" are often

compared to dances.


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Performing art

Performing Arts in India:

History of Classical Dances

In its truest sense, Indian classical dance is an expression of life,

involving the body as well as the emotions. Indian Dance is based on

texts from Sanskrit, an ancient Indian language – also thought to be the

mother of not only Indian languages but also modern European

languages. Indian classical dance is one of the oldest dance traditions

associated with any of the world’s major religions. It has evolved with

the concepts of self and world. According to Hindu mythology,

the Taandav (the frenzied dance performed by Lord Shiva, in grief after

his consort Sati’s tragic demise) symbolises the cosmic cycles of creation

and destruction, birth and death. His dance is therefore the dance of the

Universe, the throb of eternal life. An interesting parallel may be seen in

modern physics, which depicts that the cycle of creation and destruction

is not only reflected in the turn of seasons and in the birth and death of

living creatures but also in the life cycle of inorganic matter.

Nataraja (literally the king of dancers) or Lord Shiva in a graceful

dancing pose is worshipped all over India, by classical dancers, and also

a collector’s item for connoisseurs of art.

Nataraja – the divine dancer

The origin of Indian dance can be traced back to Bharata Muni (a

learned saint) who lived between the 1st and 2nd century and

composed a magnum opus on dance, which is known to the world

as Natya Shastra. In ancient times, dance was not merely a form of

entertainment. On the contrary it was considered a medium of

instruction of morality, good values, and scriptures and the

expression of reality.

Natya Shastra serves as a common text for all the varieties of Indian

classical dance forms. It contains elaborate details on various types

of postures, mudras or hand movements depicting different

meanings, besides the construction of a stage, the art of make-up

and lastly the orchestra. All dance forms make ample use of the nine

basis rasas or emotions – hasya (joy and happiness), krodha (anger),

bibhatsa (disgust), bhaya (fear), vira (courage), karuna

(compassion), adbhuta (wonder) and shanta (serenity).


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Performing arts in india

http://indiaheritage.org/perform/history_classical_dances.htm

Natya Shastra further divides classical dance into nritya- the rhythmic

elements, nritya- the combination of rhythm and expression, and

finally, natya – comprising the dramatic elements embedded in the

dance recital. To appreciate natya or dance drama, an individual needs

to possess sound knowledge, understanding and appreciation of Indian

legends and mythology and folklore. Hindu deities like Vishnu,

Krishna, Shiva and Lakshmi, Rama and Sita are commonly depicted in

these dances. Each dance form also draws inspiration from stories

depicting the life and traditional beliefs of the Indians.

Ancient Indian history reveals that several centuries before Christ,

India's art forms of dance, music and theatre were fairly well-

advanced. The performing arts, i.e. dance and music reached the acme

of their glory, during the reign of the Chola dynasty in Southern India.

Dance forms were nurtured with a purpose in the sacred premises of

temples. Temple dancing was imbued with the idea of taking art to the

people, and conveying a message to the masses. The temple rituals

necessitated the physical presence of mortal women (instead of the

ornate, carved figures of heavenly damsels, apsaras) to propitiate the

gods. The allegorical view of dance, used for the purpose of the

pleasing the devas, was gradually transformed into a regular, service

(with deep religious connotations) in the temples of the medieval

times.

This was possibly the reason behind the origin

of devadasis (literally: servants of the deity), the earliest

performers of the classical Indian dances. They were supposed to

pursue the dance forms devotedly and excel in them. At the

outset, devadasis were respectable women and highly talented

artists hailing from the highest strata of the society. They lived

and danced only in the temple premises – their vocation enjoying

great religious prestige. It was only much later that

the devadasis condescended to perform in royal courts, in the

presence of the elite and the nobility.

A devadasi not only performed on all festive occasions, but also

had to be present for the daily rituals, connected with the deity.

She was paid from temple funds; moreover the temple supplied

the food grains for her and her family. To render a realistic touch

a devadasi was ceremonially wedded to the deity. She was

consecrated to her lord and thus out of bounds for mortals.


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Kathakali

Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. A Striking

feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters

are super beings from another world, and their make-up is easily recognisable to the trained eye as satvik or

godlike, rajasik or heroic, and tamasik or demonic.

Mohini Attam

The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most often the hero. The

spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular

movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find

adequate space for improvisations and suggestive bhavas or emotions.

The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These

names are derived from the nomenclature called vaittari. The Mohini attam dancer maintains realistic make-up and

adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a

beautiful white with gold border Kasavu saree of Kerala, with the distinctive white Jasmin flowers around a French

bun at the side of her head.

Dance forms in India:

A land of contrast and variety

India is about extremes, vastness, intensity and paradox - all are qualities that describe this ancient culture. The sharp peaks of the Himalayas, the

sweltering heat of the great Indian plain, the delicious cool of Kashmir, arid deserts and monsoons in the tropical southwest- all these contrasts and

many others are commonplace in India. Tiny villages where the slow pace of life remains the same as in centuries past are connected to teeming urban

centres by dirt roads that seemingly stretch to the horizon. Culturally too, India is teeming with variety. There are several subcultures thriving within

the composite Indian culture. This variety and diversity impart to the Indian culture. This variety and diversity impart to the Indian culture a mystical

dimension and rich spirituality.

There are many types of dance in India, from those which are deeply religious in content to those which are danced on more trivial happy

occasions. Classical dances of India are usually always spiritual in content, although this is often true also of Folk dances.


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Bharata Natyam

Bharata Natyam dance has been handed down through the centuries by dance

teachers (or gurus) called nattuwanars and the temple dancers, called devadasis. In

the sacred environment of the temple these families developed and propagated their

heritage. The training traditionally took around seven years under the direction of the

nattuwanar who were scholars and persons of great learning. The four great

nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers named

Chinnaiah, Ponnaiah, Vadivelu and Shivanandam. The Bharata Natyam repertiore as

we know it today was constructed by this talented Tanjore Quartet.

Kuchipudi

The dance drama that stil exists today and can most closely be associated with the

Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela

Natakam. The actors sing and dance, and the style is a blend of folk and classical.

Arguably this is why this technique has greater freedom and fluidity than other dance

styles.

Bhagavata mela natakam was always performed as an offering to the temples of

either Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur.

Kathak

This north Indian dance form is inextricably bound with classical Hindustani music,

and the rhythmic nimbleness of the feet is accompanied by the table or pakhawaj.

Traditionally the stories were of Radha and Krishna, in the Natwari style (as it was

then called) but the Mughal invasion of North India had a serious impact on the

dance. The dance was taken to Muslim courts and thus it became more entertaining

and less religious in content. More emphasis was laid on nritya, the pure dance

aspect and less on abhinaya (expression and emotion).


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Odissi

Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are

used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing

movements to express specific moods and emotions.

The form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust

and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are

replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which

depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath, whose temple is

in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly

visible.

Manipuri

This dance style was originally called jogai which means

circular movement. In ancient texts it has been compared to the

movement of the planets around the sun. It is said that when

Krishna, Radha and the gopis danced the Ras Leela, Shiva made

sure that no one disturbed the beauty of the dancing. Parvati, the

consort of Lord Shiva also wished to see this dance, so to please

her he chose the beautiful area of manipur and re-enacted the

Ras Leela. Hundreds of centuries later, in the 11th century,

during the reign of Raja Loyamba, prince Khamba of the

Khomal dynasty and Princess Thaibi of the Mairang dynasty re-

enacted the dance and it became known as Lai-Haraoba, the

most ancient dance of Manipur.


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Forms of music in India:

The music of India includes multiple varieties of folk, popular, pop, classical music and R&B. India's classical music tradition, including Carnatic and

Hindustani music, has a history spanning millennia and developed over several eras. It remains fundamental to the lives of Indians today as sources of

spiritual inspiration, cultural expression and pure entertainment. India is made up of several dozen ethnic groups, speaking their own languages and

dialects having distinct cultural traditions.

The two main traditions of classical music are Carnatic music, found predominantly in the peninsular regions, and Hindustani music, found in the

northern and central regions.

Hindustani music

(Main article: Hindustani classical music)

Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC.

It further developed circa the 13th and 14th centuries AD with Persian influences and from existing

religious and folk music. The practice of singing based on notes was popular even from the Vedic

times where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted.

Developing a strong and diverse tradition over several centuries, it has contemporary traditions

established primarily in India but also in Pakistan and Bangladesh.

In contrast to Carnatic music, the other main Indian classical music tradition originating from the

South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic

philosophy and native Indian sounds but also enriched by the Persian performance practices of

the Mughals. During the Medieval age especially in the Mughal era various Gharana became famous

due to excellence and class in type of musics like raga, almost all from the lineage of Tansen one of

the navratna of Mughal Emperor Akbar. Classical genres are dhrupad, dhamar, khyal, taranay sadra..


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Carnatic music

(Main article: Carnatic music)

The present form of Carnatic music is based on historical developments that can be traced to the 15th

- 16th centuries AD and thereafter. However, the form itself is reputed to have been one of the gifts

bestowed on man by the gods of Hindu mythology. It is one of the oldest musical forms that continue

to survive today.

Carnatic music is melodic, with improvised variations. It consists of a composition with improvised

embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and in

the case of more advanced students, Ragam Tanam Pallavi. The main emphasis is on the vocals as

most compositions are written to be sung, and even when played on instruments, they are meant to

be performed in a singing style (known as gāyaki). There are about 7.2 million ragas (or scales) in

Carnatic Music, with around 300 still in use today.

Purandara Dasa is considered the father of carnatic music. Sri Tyagaraja, Sri Shyama Shastryand

Sri Muthuswami Dikshitarare considered the trinity of carnatic music and with them came the

golden age in carnatic music in the 18th-19th century

Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja Iyengar (the father

of the current concert format), Semmangudi Srinivasa Iyer,TN Seshagopalanand more

recently Sanjay Subrahmanyan TM Krishna Bombay Jayashri etc.

Every December, the city of Chennai in India has its six week-long Music Season, which has been

described as the world's largest cultural event. It has served as the foundation for most music in

South India, including folk music, festival music and has also extended its influence to film music in

the past 100–150 years or so.


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http://en.wikipedia.org/wiki/File:Raja_Ravi_Varma,_Galaxy_of_Musicians.jpg

Theater in India:

The earliest form of the theatre of India was the Sanskrit theatre. It

began after the development of Greek and Roman theatre and before the

development of theatre in other parts of Asia. It emerged sometime

between the 2nd century BCE and the 1st century CE and flourished

between the 1st century CE and the 10th, which was a period of relative

peace in the history of India during which hundreds of plays were

written. With the Islamic conquests that began in the 10th and 11th

centuries, theatre was discouraged or forbidden entirely. Later, in an

attempt to re-a India as one of the means of entertainment. As a diverse,

multi-cultural nation, the theatre of India cannot be reduced to a single,

homogenous trend.

Traditional Indian theatre Kutiyattam is the only surviving specimen of the ancient Sanskrit

theatre, thought to have originated around the beginning of

the Common Era, and is officially recognised by UNESCO as

a Masterpiece of the Oral and Intangible Heritage of Humanity. In

addition, many forms of Indian folk theatre abound. Bhavai (strolling

players) is a popular folk theatre form of Gujarat, said to have arisen in

the 14th century CE. Jatra has been popular in Bengal and its origin is

traced to the Bhakti movement in the 16th century. Another folk

theatre form popular in Haryana, Uttar Pradesh and Malwa region

ofMadhya Pradesh is Swang, which is dialogue-oriented rather than

movement-oriented and is considered to have arisen in its present form

in the late 18th - early 19th centuries.

Yakshagana is a very popular theatre

art in Karnataka and has existed under

different names at least since the 16th

century. It is semi-classical in nature

and involves music and songs based

on carnatic music, rich costumes,

storylines based on the Mahabharata

and Ramayana It also employs spoken

dialogue in-between its songs that

gives it a folk art flavour. Kathakali is

a form of dance-drama, characteristic

of Kerala, that arose in the 17th

century, developing from the temple-

art plays Krishnanattam and

Rananattam.


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Metropolitan centres are traditionally the main focus of cultural activity within a country, with a concentration of companies and facilities for the

performing arts, their organization, creative activity and education of performers, management and production staff. Such centres benefit from the

major concentration of population and national focus of transportation networks.

There are several categories as follows:

Opera house National subsidized professional resident company in repertory or repertoire and visiting comparable companies of international standard providing

large-scale opera productions. Such a facility may be exclusively for opera or combined with ballet.

Ballet/dance theatre National subsidized professional resident company as described under opera house, but exclusively for ballet and dance.

Concert hall Classical orchestral and choral music, jazz and pop/ rock music, with the leading subsidized professional orchestras and groups. Either housing a

resident orchestra for their exclusive or seasonal use, or a touring facility hired by promotional organizations including the orchestras and groups.

Recital room Medium- and small-scale classical orchestral and choral music, jazz and pop/rock music also with readings such as poetry. Either housing a resident

orchestra for a season or, more often, hosting touring companies and groups.

Experimental music workshop Facility for the development of new forms of music with a prevailing concentration on electronics and amplification.

Metropolitan centre:


Literature study

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Commercial theatre Drama and musical productions usually initiated by the management or promoting organization with long runs over several months. Such theatres

usually present new plays and musicals and originate the new productions.

They may also be initiated by the subsidized sector and transferred to the commercial theatre.

Arena Facilities for the presentation of very large-scale pop/ rock concerts and other spectacles covering opera, music and musicals, hired by commercial

organizations who initiate and promote groups and companies as one-off events or part of a tour.

Drama theatre National subsidized professional resident drama company in repertory, or repertoire and visiting companies of national and international standard,

producing new and established works.

Small- and medium-scale drama theatre Small theatres presenting new plays and experimental productions, with or without subsidy to supplement revenue, relying on low overheads and

benefiting from a large catchment area from which audiences are attracted.

Other categories

● Universities and Colleges including Schools of Music and Drama, providing theatres and concert halls for their own and public use

● Open-air auditoria for seasonal concerts and drama productions

● Informal external spaces for street theatre, music and entertainments

● Theatres with restrictions on company (e.g. Youth Theatre) and audience (e.g. club theatres with restricted membership)

● One-off events including stadium concerts and festivals.


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Literature study

Entrance foyer The entrance foyer may be required to accommodate the following:

● ticket check if at entrance, and not at points of entry into the auditorium

● information in the form of leaflets and other handouts describing productions and events, notice boards providing information on events and,

possibly, a reception/information desk

● circulation and waiting area

● seating (desirable for ambulant disabled)

● directional signage directing the public to the various facilities (consider carefully colour, size and type face for clarity and for the visually

impaired and elderly)

● supervision: some consideration needs to be given to oversee the entrance area by the staff in order to offer assistance and exercise control

● exhibition and display: space for temporary exhibitions or wall display; display cases for merchandise and crafts

● access to box office, crèche, cloakrooms, toilets and sales, as well as meeting rooms and other public facilities

The public needs to be able to easily identify visually the main circulation routes to the auditorium and other public facilities from the entrance

foyer.

Offices and associated areas The following staff may require individual offices; with each office being 12–15M2:

● Platform/stage manager

● Assistant platform/stage manager

● Secretary

● Chief technician

● Master carpenter

● Property master

● Wardrobe mistress/master

In addition electricians, and platform/stage hands and including flymen (if appropriate) require changing rooms: allow 3M2 per person. Stage

hands for opera, musicals, dance and drama productions, if seen within a performance will require make-up provision and to change into

costumes. Showers should be available to stage hands and flymen, off their changing rooms. A separate toilet can be located at platform/stage

level, suitable for wheelchair users.


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Literature study

Foyer The foyer provides the means of access to all parts of the auditorium and should have facilities for the public to sit, talk, walk about and meet

friends. These social aims can include also a legitimate level of self-display from formal promenading to a general awareness of those attending a

performance. The floor area is related to the capacity of the auditorium: allow a minimum of 0.6M2 per person for all the foyer areas, excluding

toilets, cloakroom and vertical circulation.

Public entrance The front entrance provides the main access into, and egress from, the

building for the public. The entrance should be located along the main

access route and be clearly visible: the public should be aware of the

entrance by its location and signage. The entrance gives information

about the attitude of the management towards the public and can be

welcoming or intimidating, exclusive or embracing, clear or obscure.

Requirements for public entrance areas include:

● Access and parking: Provision for passengers to alight at the main entrance by taxi, car or coach, with a discrete lay by or service road,

especially if it is a large building complex, and close proximity to parking.

● External display: Name of the building and/or company as an illuminated external sign; posters and advertising material; current and

future attractions on adjustable signs or electronic signs; banners and flags. The building itself, suitably artificially lit when dark, is also an

external display.


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Literature study

Canopy: Provision of shelter at the main entrance from inclement weather with a protective cover over, and across, the line of doors. A

canopy is a useful device for gathering together pedestrian routes and dropping-off points if dispersed (Figure 13.2).

● Entrance doors and lobbies: Two lines of doors reduce noise and draught penetration into the foyer; automatic doors are essential for

wheelchair users. The distance between the lines of doors should be a minimum of 2 M: several pairs of doors

Parking:

Landscaping:

Integration of all the spaces can be achieved by landscape, built form- such as

connecting corridors, pergolas, pavement design etc.


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Literature study

Signage's :

Art gallery :

The gallery may be designed as a formal interior essentially for pictures, or

less formal and specific, allowing exhibitions to be created for the space.

Live Art should be considered, as should the use of gallery space for recitals,

drama performances and so on, in which case the acoustic characteristics of

the space would require particular attention. The whole of the gallery can be

the foyer space to the auditorium, with refreshment areas, toilets, etc.

off the gallery, thus making the gallery the focus of the public spheres.

A display can be provided within the foyer associated with a performance or

conference, exhibitions of local interest, sponsors’ material and

art-related displays, on walls or screens. Security can be covered by the

general provision in the building.

Standard signage's used for the building services, the signage's should reflect the cultural theme of the design it should be placed in such a manner that people need not ask which direction to go.


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Library :

•Area required for a simple reading/work place is 2.5 m2

For a PC or individual work place > 4.0 m2 is needed

• fire precaution

•Installation of book security system will prevent theft of book, by

giving electronic lock up.

•The more efficient method is to have linked areas which as large as

possible without change in level.


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Toilets:

Legislation provides a guide to the minimum provision: this is usually inadequate especially for women.

A general guide to the minimum requirements is as follows:

Men WCs minimum of 2 for up to 500 males, then one for each additional 500.

Urinals minimum of 2 for up to 100 males, then one for each additional 100.

Wash basins one for each WC plus one for each five urinals.

Women WCs minimum of 2 for up to 75 females, then one for each additional 50.

Wash basin one for each WC.

Also consider powder shelves, long mirrors and sanitary towel dispensers and disposal in women’s toilets and provision for changing nappies

Allow for handdrying facilities: either electric warm air dryers, roller towels or paper towels with containers for disposal.

Separate toilet or toilets for disabled persons, containing 1 WC and 1 wash basin in each toilet, are essential provision.

Toilets should be located off the main circulation near the entrance lobby and also at each level of the foyer in a multi-level auditorium.

Auditorium and platform/stage formats

The relationship between the auditorium [the audience] and the platform/stage [the performance] is a fundamental requirement. The selected

format affects the experience for both audience and performers, seating capacity and auditorium size and shape, from which follows the general

arrangement of the building.

The relationship may be summarized as either the proscenium format or open stage format: the proscenium format is as if the performance is

seen through a window’ or hole in the wall and there is a clear division between audience and performers; the open stage formats follow the

concept of the auditorium and platform/ stage being within a single volume with the seating confronting, partially surrounding or wholly

surrounding the platform/stage.


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Predominant types of production:

The following relationships accommodate a predominant type of production in purpose-built facilities.

Compatible secondary uses may be included in the brief but they do not require any physical adaptation of the auditorium and platform/stage, or only

require a modest level of flexibility.

For orchestral and choral classical music in a concert hall or recital room, there are three broad categories: the audience focused towards the

orchestra and choir on the platform, with or without choir stalls, in a single direction; the audience on three sides, semi-surrounding the platform; the

audience surrounding the platform .

Types of single direction relationship include the:

● rectangular box;

● variations on the rectangular box;

● fan-shaped auditorium.


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Open stage forms:

The open stage forms may be classified into five broad categories:

● End stage: the audience focused towards the stage within a rectangular box: the stage at the narrow end, with stage and audience in the same space.

● Fan-shaped: the stage is encircled by the audience by 90°. This level of encirclement allows the performer to command the audience and for the

performer to be seen against a scenic background by the audience.

● Thrust stage: with the audience on three sides, semi-surrounding the stage.

● Theatre-in-the-round: the audience surrounds the performance. Entrances by the performers are through the audience. Acoustically the performer

needs to project to the whole audience in every direction, which implies a limit to the maximum distance from stage to rear row.

● Traverse stage: the audience either side of the stage.

Multi-purpose formats:

As opposed to an auditorium and platform/stage for a predominant type of production in a purpose-built facility, the brief may refer to more than

one type of production to be accommodated within a single format.

Also productions may require combination with non-performing arts activities. Each of the alternative uses will require specific provisions to be

made in its design and equipment; in platform/stage space; in orchestra space and modification of acoustics; in scenery storage and workshops; in

stage lighting and sound. While some degree of flexibility can be accommodated at reasonable cost and with success, there is a limit to the

multiplicity of use. Apart from design difficulties, the cost of providing for the different requirements and of operating a multi-purpose form may

become disproportionately high. The success of a multi-purpose format depends upon the compatibility of the various activities and the designer

must be rigorous in the assessment of the activities.


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The viewer:

•The horizontal angle of polychromatic vision is generally 40 degree without eye movements.

•The horizontal angle to the projector screen at witch distortion on the screen becomes substantially intolerant is 60 degree measured to the

far side of the projected image .

LOCATION OF AUDIENCE

•Audience will not choose a location beyond a line proximity 100 degree to the curtain at the side of the proscenium .

DESIRABILITY OF LOCATIONS BY AUDIENCE

•Judged by the ability to recognize shapes, and confirmed by free audience, choice of seats, the following are the desirable locations:

A – front center B- middle center C-middle side

D-front side E-rear center F-rear side


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BACKSTAGE OPERATION: (actor/performer)

Check in , get mails and messages. 1) vestibule – min 50sqft

equipments- bulletin board.

telephone booth

2) door mans booth – min 30 softy

equipments- counter, mail box, small deck ,key rack

Dress for performance 1) dressing room-50sqft/person

-put makeup and costume location – near stage

equipments- clothes, costume hanger, shoe racks, make up table

30’’ wide, 18’’ deep,18’’wide mirror, one lavatory each

1/ 4ppl in large dressing room.

2) makeup room – 300sqft(min)

equipments- makeup table/ benches, chair on 2 sides, lights on face.

Wait for call to stage 1) green room-50 sqft/person (min)

-stage manager checks cast location- near stage

equipments- lounge, furniture, tables, full length mirror, call

system outlet.

2) stage anterroom – alternate to green room – 150 sqft

equipments- chair and benches

location- near proscenium without lounge aspects.

Go to stage 1) passage of min. wifth 1.5m no stair only ramp for level change.

-enter and perform leave the set

ACTION SPACE


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Quick change 1) dressing room – min 50sqft/ actor

space for dresser to help actor

location- immediate to the stage.

Waltz for curtain calls 1) green room , stage anteroom

Removal costume 1) shower- adjoining each

dressing room 1/6 actor

Confer with stage manager/ director 1) green room with adjoining kitchenette.

Check out and leave theater 1) vestibule and stage entrance

ACTION SPACE


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REPAIR SHOP

CRATE STORAGE

STORE ROOM

LOADING PLATFORM

LOADING DOOR

RECEIVING AND

SHIPPING SPACE

STORAGE SPACE

SCENERY SPACE

PAINT SHOP

CARPENTER SHOP

STOCK ROOM

DELIVERY DOCK A

B

C

D

E

FLOW CHART FOR SCENERY

Sequence e ABCDE for commercial theater EFGHDE for self contained theater


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BACKSTAGE OPERATION: (musician )

Check in , get mails and messages. 1) vestibule – min 50sqft

equipments- bulletin board.

telephone booth

2) door mans booth – min 30 softy

equipments- counter, mail box, small deck ,key rack

Prepare for performance 1) musician room – 300sqft min

-tune instruments and practice location – at basement level near pit , large instrument are usually kept

in the pit

equipments- locker or cloth racks ,chair , music cabinet, call system

outlet.

Go to pit 1) passage – direct large door allow carrying instruments.

2) orchestra pit -10sqft for musician

-100sqft for grand piano

-50 sqft tympana

width from stage figured on per person basis / depth should be kept so

that musicians are below audience sight line .

Probable steps or platform to be set over orchestra pit 1) conductor must see stage.

2)singer and orchestra must see conductor.

3) elevated orchestra pit floor- featured orchestra as a part of

performance , adds floor for seating if brought to auditorium level

makes forestage when required.

Leave pit and leave theater lavatories and toilets same as for actors, dressing room with lavatory and

shower for the conductor.

ACTION SPACE


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BACKSTAGE OPERATION: (stage hand )

ACTION SPACE

Entrance theater check in Stage entrance and vestibule

Change clothes and go to stage Locker room according to number of men

Equipment – individual lockers, chair benches and phone

Location – in basement near stage, serves as stage hands lounge, direct

to either side of stage

Work the show Locker room

equipment-lounge furniture , adjoining toilets

Clean up and leave Locker room ,shower 1per 4 people

Treatment of accidents First aid room – 50 sqft min.

Equipments – surgical table, stools., sink and hot water facilities.


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BACKSTAGE OPERATION: (stage manager )

ACTION SPACE

Checking in , getting mails and messages Use stage hands locker room

Manage the show Stage managers desk- on stage near proscenium on working side.

Equipments- calls, phone, monitor, moving stage control etc.

Work the show Locker room

equipment-lounge furniture , adjoining toilets

Care of scripts, use sheets etc. Office min 50sqft

BACKSTAGE OPERATION: (scenery )

ACTION SPACE

Brought to theater Loading door-8’ X 12’ / 2.5m x 3.6m located at side ear , rear of the

stage

Loading platform- width of 2 vans

Stored pending set up Receiving space- 200sqft min,

Equipments – pipe frame at right angles to wall optional for stacking

Scenery / clear wall and floor space.


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BACKSTAGE OPERATION: (scenery )

ACTION SPACE

Set up Stage equipment for flying , rolling and sinking scenery

Repairing Repair shop- 300sqft(min)

Equipments –work bench, tools for working.

Dismantling and transportation Receiving space, loading door

BACKSTAGE OPERATION: (properties)

ACTION SPACE

Brought to theater and unpacked Loading door – 6’x8’ / 1.83m x 2.5m

Separate from scenery door, adjacent to loading platform - 100sqft

Fitted to set of scenery , stored on stage (floor / rack / shelves) Operated during show, repaired, struck and transported.


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BACKSTAGE OPERATION: (lighting equipments )

ACTION SPACE

Brought to theater Loading door

Unpacked Receiving space – 100 sqft

Additional space for properties, create storage when empty

Location – alley /loading platform

Installed Lighting equipment may be placed in any position on stage , above

stage , in slots in auditorium ceiling or in front of balcony and boxes.

Operated, dismantled, taken out.

BACKSTAGE OPERATION: (sound apparatus)

With less bulky by 75%, essentially the same lighting equipments.

BACKSTAGE OPERATION: (costume)

Brought to theater – loading door- property door

Passage of – 5ft /1.5m clear width, no stairs, use ramp when needed Wardrobe room – 120 sqft(min)

Equipment – costume hanger 12ft liner, ironing board


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Literature study

Auditorium design: The three-dimensional volume of an auditorium is conditioned by the limitations set by all members of the audience able to hear and see a

performance, and for the performers to be able to command the audience. Seating density, floor rake and seating layout are covered by legislation

to ensure a satisfactory means of escape in case of fire, and by an appropriate level of comfort for the audience. Performance organization requires

lighting, sound and broadcasting positions within the auditorium and a view of the whole performance area from control rooms.

Aural limitation Visual limitation

Aural limitations There are limits to the distance

across which speech, singing and

music can be clearly heard in an

auditorium, without the assistance of

amplification, and this has a bearing

on the maximum distance from

performance to the rear row of seats.

Beyond these limits the lack of

audibility gives the audience less

than the basic requirement to clearly

hear a performance. The distance

varies according to type of

production. Other factors include the

articulation of the spoken work by

an actor or the sound quality,

including loudness, from a musical

instrument.

Visual limitations: There are visual limitations that determine the maximum distance from the

performance area beyond which the audience is unable to appreciate the

performance adequately and for the performers to command an audience.

The distance to the furthest seat varies according to the type and scale of

production:

● In order to discern facial expression – essential with drama – the

maximum distance from the point of command on the stage should not

exceed 20 M. The point of command is the geometric centre of an open

stage or the setting line of a proscenium stage.

● For opera and musicals, discerning facial expressions is less critical and

the distance to the rear row can be 30 M.

● For dance, the audience needs to appreciate the body and feet of the

dancers, and also to discern facial expressions: the maximum distance

from the point

of command on the stage should not exceed 20M.


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Auditorium acoustics:

The acoustic performance of the auditorium is a critical design requirement and needs to be considered as part of the initial brief. Acoustic

performance refers to the quality of the sound – music or speech – heard by each member of the audience, and also the performers on the

platform/stage. Design considerations for the acoustics of an auditorium, when the sound is not amplified, include:

● Type of production: each type has its own requirements with different characteristics for music and speech.

● Shape and size of the auditorium: the extent to which the audience surrounds the platform/stage;

seating capacity; number and depth of balconies; rake of the seating; for concerts, the proportion of length to width and height to width; for

opera, dance and musicals, the location of the orchestra pit; location of performance lighting and sound equipment and lighting bridges.

● Setting for the performance: such as permanent architectural setting,

within audience, proscenium stage and so on.

● Volume of the auditorium: calculated as the number

in the audience multiplied by a ratio of volume

to person, according to the type of production:

3.4M3 per person for music and 9M3 per person for

speech within the auditorium enclosure: for opera

the ratio is between 7M3 and 8M3 per person.

● Reverberation time: the difference in time between

direct sound to each member of an audience and

the reflected sound from all surfaces of the auditorium,

which requires to be short for speech and long for music


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Seating layout: The seating layout in an auditorium depends mainly on the selection of format – the relationship between audience and performance – and the visual

and aural limitations associated with a particular type of production as well as the number of levels and sightlines. Other aspects which influence the

layout, and thereby condition seating capacity, include factors in the following sections.

Design of the individual auditorium seat

The design aim is to provide an appropriate standard of comfort during a performance. The range of human body dimensions is wide, while a single,

or restricted, size of seat is normally provided. Also tolerance levels vary between generations and indeed between different performing arts: the

young can tolerate simple seating found less comfortable by older age groups,

whereas those attending concerts of classical music appear to expect a level of comfort higher than those at a drama performance. The dimensions of

a seat are generally based on a median characteristic of the anticipated users, which varies by age and also by nationality.

Minor variation is achieved by the upholstery and adjustment of the back and seat pan material when the seat is occupied: otherwise the seat

selection is a common size within the whole, or part of, the auditorium layout. Probably the best that can be achieved is in the order of 90 per cent of

the audience within an acceptable range of comfort.

Other factors include:

● Acoustics: upholstery must satisfy the acoustic

requirements, usually the level of absorbency when

unoccupied; this is especially the case with music.

● Ventilation/heating: for air supply or extract under

a seat, space should be allowed in the floor or riser

to receive a grille.

● Upholstery: thickness of padding should provide

comfort and avoid fatigue, but should not encourage

excessive relaxation; the material of the

padding and finish must satisfy fire regulations.

For choice of type of seat .


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Seating density Density of seating can vary (Figure 12.20): seats with arms and

a tippable seat can occupy an area as small as 500 mm wide,

and less with seats without arms, with a row to row dimension

of 760 mm, but can be as large as 750 mm wide by 1400 mm.

This is a variation from 0.38M2 to 1.05M2, with these

examples, and the increased dimensions means fewer seats

within a given area and reduces the seating capacity. The

minimum dimensions laid down by legislation offer a low

standard of comfort for the audience. Comfort needs to be

considered, especially knee room, and these dimensions should

not be taken as the norm. Social cohesion of the audience may

be lost if the space standards are too high, with the performer

being less aware of the grouping and more the individuals.

Travel distance The evacuation from each level of the auditorium within a limited period of time is required in case of a fire. For traditional seating the travel

distance is 18 M measured from the gangway: for continental seating, 15 M from any seat. The aim is to evacuate the audience of each level within

2.5 minutes.

Exit numbers At least two separate independent exits must be provided from each level within the auditorium. The exits should be located with sufficient

remoteness from each other to allow alternative directions of escape. The number of exits per level are two for each level within an auditorium with

the seating capacity up to 500: an additional exit is required for every further 250 seats as

defined by legislation. Egress in case of emergencies should follow the natural flow of movement from the

seats away from the platform/stage.


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Exit widths The exit widths are laid down by regulations. The base calculation is 45 persons per minute per unit width of 520–530 mm. The minimum total

exit widths required are outlined

Exit route The exits from the auditorium must lead directly to a place of safety. The exit route must be the same width as the exit and be a consistent

width avoiding bottlenecks. The exit doors from the auditorium, any doors within the route and the final exit doors must open in the

direction of egress. Staircases within the route are subject to the following conditions: the maximum number of steps, 16: the minimum

number, 2; tread/riser to be 275 – 180, as a recommended ratio, and consistent.

Ramps should be at a pitch of 1.15, in lengths of 10 m maximum with intermediate platforms. Exit routes for wheelchair users are required

to be on the flat or ramped if there is a change of level, and may be required to be separate from the other routes. Routes are to be enclosed

by fire-resistant material within the building.


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Circulation within auditorium: Audience entry points into the auditorium from the foyer can be at the rear or sides of the seating, or within

the banks of seating, and should be related to the gangway positions While gangways are primarily

calculated as part of the escape route in case of fire, they also act as circulation routes through the

auditorium, with possible additional gangways, from the audience entry points to the particular row and seat.

Access through banks of raked seating –

vomitories – remove seats, and thereby reduce the potential seating capacity .A threshold

space at the entry points for ticket checks, programme sales and for members of the audience to orientate

themselves should be considered.

Gangways for use by wheelchair users require to be flat or ramped: the pitch should not exceed 1.15 for a

ramp with a maximum distance of 10 M. Beyond 10 M, the regulations require a flat platform, which in a

large auditorium may be inconvenient as it may break the line of the seating banks. Permission will be

necessary to have a continuous ramp. For a wheelchair user moving from a ramped gangway to a flat

platform will require an intermediate ramp. Gangway widths are established through the regulations

covering fire escape from auditoria. The minimum width though is taken as 1100 mm unless used

by wheelchair users where the width increases to 1200mm.

Handrails will be required to a stepped gangway adjacent to an enclosing wall; to a stepped gangway if a

drop at the side; at landings, rear of rostra and where there is a drop of more than 600 mm; where the rake is

above 25° to a gangway the ends of the rows served

by the gangway may require a loop rail

Rails are usually 900 mm above the pitch line and 1200 mm above landings, with panels either solid or sub-

divisions which may require a 100mm maximum gap.


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Performers’ access through the auditorium Performers may have access to the stage through the auditorium during a performance by way of:

● access along the gangways, with stepped access onto the stage if raised;

● access through vomitories exclusively for performers.

Details of a performers’ vomitory are shown in

The performers’ vomitory can be filled

to accommodate auditorium seating if not in use.

Wheelchair location within the seating

Regulations require a minimum number of places for

wheelchairs at each level, or 1/100th of the audience

capacity whichever is the greater. Wheelchair locations, as

discrete areas, can occur at the rear, front, side or within

the seating. Wheelchairs can be centrally positioned by

forming a bay off a cross gangway. The actual location will

be conditioned by the particular seating layout, the

convenient points of entry from the public areas and the

escape arrangements in the case of fire. Separate entrances

into the auditorium as well as escape routes should be

considered.

Choice of location within an auditorium is desirable,

covering each level and within different sections

of the seating. In the larger auditorium, placing the

wheelchair users in a single designated area should be

avoided.


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Broadcasting requirements Television cameras

External broadcasting – television and radio – and recording in auditoria may be a

requirement especially in those buildings for the performing arts housing

or hosting national and regional professional companies. Television cameras require to be

located in the seating areas either in specific

locations, on platforms, or by displacing seats.

Sound control room In large auditoria with amplified sound and/or sound

effects the sound control room may be located within

the seating area to benefit from being in the acoustic

volume of the auditorium.

Adaptation In multi-purpose auditoria where different formats or

uses are combined then all or part of the raked seating

will require to be movable. This can be achieved

by forming a structure off a flat floor, and include

● Bleacher seating: Telescopic structure with tippable

upholstered seating with backs, able

retracted into the depth of a single and highest

row. The rows are straight and the extended structure

is a simple rectangular block, which places a

discipline on the seating layout.


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● Rostra: Complete raked units with either permanent or removable seats, on wheels or air pallets for ease of

movement into storage areas when not in use.

● Sectional rostra: A set of boxes able to be built up to form raked units with removable seats. The storage

requirements are less than complete rostra.

● Kit of parts: Scaffolding or equivalent set of components able to form raked levels to receive seating. This is the most

flexible system, it has efficient storage requirements, but is labour intensive.

● Hydraulic lifts: Mechanical method of raising sections of the flat floor to form a rake floor to receive

seating. Loose seats, secured in position when required for

Performances.

Sightlines: seated audience For the whole of the audience to have an uninterrupted view of the performance and its setting over the heads in front and clear of overhangs,

the section and plan of the auditorium needs to conform to certain limitations set by vertical and horizontal sightlines.

Vertical sightlines Vertical sightlines may be calculated by establishing:

Lowest and nearest point of sight on the platform/ stage for the audience to

see clearly. The platform/stage height, when raised, can range from 600 to

1100 mm above the lowest level of the auditorium and point can be the

leading edge, or setting line for the performance, at or above the

platform/stage level. If a forestage is part of the proscenium or end stage

formats then point needs to relate to the forestage. If an orchestra pit is

included between stage and seating then point may be regarded as the

conductor’s head. With a symphony orchestra in a concert hall, the ability to

see each musician at the front of the stage (who partially masks the other

musicians) may not be critical and point P may be taken as over 600 mm

above the platform level at the front edge.


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Horizontal sightlines: Horizontal sightlines are to be considered only with a

proscenium stage and possibly end stage and platforms

for classical and choral music. Given a particular

performance area, sightlines will limit the width

of seating that can be provided in the auditorium.

Conversely the sightlines from the side seats restrict

the amount of the performance area that can be used.

The narrowest dimension of the proscenium opening,

if adjustable, should be taken as the basis of the

calculations.

Each member of the audience should have a direct

view of the performance focused towards the centre

of the performance area. Curved or angled rows

direct the focus of the audience towards the centre.

The curved rows radiating from the circular stage of a

Greco-Roman theatre is a clear and simple example

of this form with the geometry emanating from a single

point. With a proscenium stage the geometry of

the performance area varies from the setting out

point of the seating; the audience should be contained

within a 130° angle peripheral spread of vision

from the performer at the point of command on the

performance area for opera, dance, musicals and

Drama.

Without head movement the arc to view the whole

of the performance area on plan is 40° from the eye.

An acceptable degree of head movement is debatable,

where the seat is focused away from the stage, as

with side galleries, requiring the head to be turned by

the member of the audience .


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Ventilation The experience of enjoying a performance is influenced

by the quality of the ventilation in the auditorium,

and the avoidance of draughts, stuffiness and

noise of mechanical ventilation. Health needs include

respiration while comfort needs include maintaining

body heat, control of airborne contamination and

removal of odours. There is also the cost of the ventilation

and associated questions about heating which

can contribute significantly to the running costs.

The approach to the ventilation of an auditorium

reflects its size and shape (number of balconies in particular),

level of flexibility (different audience/performance

relationships), the type of construction of

the auditorium enclosure and external climate conditions.

The initial design decisions lie with defining the

noise criterion and number of air changes per hour to

be achieved in the auditorium. The acceptable level of

noise can vary according to performing art: for drama

the level can be NR25 while for orchestral music the

level may be required to be much lower at NR20. For

recording, the level would be even lower with a recommended

NR15. This criteria refers to the background

noise level and not the quality of the sound as experienced

by members of an audience.

Ventilation supply rates of air relate to the need to

provide fresh air at a rate of change to achieve suitable

comfort conditions: rates are subject to legislation

expressed as a minimum of fresh air supply per

person, including a proportion of recycled conditioned

air. Air change rates appear to vary according

to the authoritative body.

The basic principle of mechanical ventilation lies

with bringing air into an auditorium, with air which is

fresh, clean and at a similar temperature, achieving a

number of air changes per hour when the auditorium is

occupied. This is complemented by the extract of air to

achieve the air changes. There are different locations for

the introduction of air into an auditorium and for the

extraction of air.


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Lighting: Lighting within the auditorium covers the following:

● Performance lighting Lighting positions within the auditorium at ceiling level, on side and rear walls, balcony fronts and at low level within the

seating; the lighting direction is towards the platform/stage with clear projection; each position requires ease of access for technicians to change and

adjust, with lighting bridges at ceiling level and ladder access to wall locations; follow spotlights require a location at the rear of

the auditorium or from a lighting bridge at ceiling lighting is an integral part of the staging of all types of production, except orchestral and choral

music, and is subject to changes within a performance controlled by operatives at the rear of the auditorium . The tradition for orchestral and choral

music is for the platform to be illuminated during the performance with a general and fixed level of lighting: however this may be changing

with, say, follow spotlights as an increasingly common feature.

Auditorium lighting: For illumination of circulation routes and seating areas for the audience to move around the auditorium, read programmes,

and so on; decorative lighting emphasizing architectural features within the auditorium. Auditorium lighting is usually dimmed and out during the

actual performance for all types of production except for classical and choral music, where the tradition is to dim the lights only.

● Emergency lighting: An illumination of the circulation routes within the auditorium during a performance, with the luminaires located at ceiling

level or/and at a low level incorporated into the design of the gangways; exit signs and emergency directions at points of egress in the auditorium;

lighting of the auditorium at times of emergency.

Working lights: general illumination of the auditorium for cleaning and maintenance as a separate system during times when the auditorium is

not used for performance and rehearsals.

● Director’s desk lighting: supply of power within the auditorium to serve temporary location of director’s desk during rehearsals. This is not

usually applicable for classical music.

● Cue lights: at entry points into the auditorium.

● Blue lights: areas within the auditorium which will be accessed during the performance by technicians and performers require lighting but at

a low level with a blue light to avoid distraction to the audience. This covers lighting bridges and entry points into the auditorium.

Ease of access is required to service all luminaires.


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Sound equipment:

The sound equipment described in the following sections may be required to be incorporated into

the auditorium design. Control rooms for performance sound, broadcasting and recording are

discussed under Performance Organization

Sound reinforcement:

Location of loudspeakers for the amplification of

music, voices or special effects, especially for those

performances relying on amplification such as musicals

and pop/rock concerts. The aim is to locate the

main loudspeaker to distribute sound across the whole

of the audience and can be:

● over the platform/stage along the setting line or

above the proscenium opening

● at the sides of the platform/stage as the traditional

position for pop/rock/jazz concerts (often touring

groups providing their own equipment)

● various positions within the auditorium to supplement

main loudspeakers and for sound effects on

side and rear walls, ceiling to auditorium and balconies

and, possibly, under the floor. Location

requires an uninterrupted line from speakers to

members of the audience.


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Public address

Loudspeakers may be required within the auditorium for announcements to the audience as a separate system.

Rehearsals

Loudspeakers may be required, usually located at the rear of the auditorium, for use during rehearsals on the stage, so that the director located in the

auditorium can communicate with the performers on the stage. This requirement tends not to be applicable for orchestral and choral music rehearsals,

or for small auditoria.

Broadcasting and recording

Consideration should be made of provision within the auditorium for television and radio transmission and for video, film and tape recording of a

performance. Spatial requirements, beyond camera and operator locations, are nominal and mainly include access for cables and equipment.

Aids for the hard of hearing

To assist the hard of hearing, consider the applications of one of the following:

● induction loop: magnetic field transmission looped around auditorium

● infra-red system: modulated light signals, radiated from a number of sources

● hard-wired: cable within floor trunking connected to panel in seat.

Fire protection The enclosing walls and floors of the auditorium should be fire-resistant as should the doors and other openings in the walls. Other aspects to be

considered,include:

● non-combustibility of materials including finishes and seating

● detector system: smoke detectors in auditorium and associated voids

● extinguishers: hose-reels, portable extinguishers; automatic sprinkler systems will not be allowed over seating areas

● alarms: connected to automatic detector system and central indicator panel and, possibly, direct link to local fire station; alarms should be visual

(flashing light) in auditorium and not audible.

Fire precautions should be discussed with the local fire authority and fire insurers


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Structure: A large span structure will be required, capable of carrying shaped ceiling, lighting bridges and ventilation ducts. Floors will be sloped, raked,

dished or, if a multi-purpose auditorium, flat. Balconies introduce additional long spans able to carry heavy loads. For sound insulation purposes the

auditorium walls will have to be substantial, which suggests load-bearing construction.

Ceiling zone: The ceiling and ceiling zone are mainly determined by functional needs and include the following requirements:

● Acoustic requirements: Profiled reflector panels and possible adjustable diffusers to ensure distribution of sound over the whole seating area.

For non-amplified music the reflectors will need to be suspended over the platform as well.

● Lighting requirements: Access and supporting framework for performance lighting, ‘house’ lighting and also working lights and emergency

lights.

● Ventilation requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of

access for servicing.

● Production requirements: For opera, dance, musicals and drama, a grid and pulley suspension system for flying or suspending scenery over

forestage, including access by technicians.

● Fire control requirements: Alarm system in voids;

fire dampers in ducts.

Seating capacity: The maximum capacity within an auditorium depends on the selection of format and the aural and visual limitations set by the type of

production. Other influences on the calculation include, levels, sightlines, acoustics, circulation and seating density, as well as the size and

shape of the platform/stage (to be described in the following section). To maximize the seating capacity within these limitations, sightlines

may be compromised so that, say, 10 per cent of the audience experiences 90 per cent of the performance area. This is a debatable issue

mainly associated with the proscenium format, where, to achieve an intimate character in the auditorium, a desire to provide

perfect sightlines for everyone may have to be overridden. The actual seating capacity depends on the ability to attract audiences which

may be less than the possible maximum. Also the potential peak demand could exceed the selected capacity on a particular evening: the aim

though should be to spread attendance across less popular days, or extend performances over a longer period of time rather than increase

the capacity over a short duration.


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Literature study

Safety curtain: In case of fire on the stage, traditionally it is necessary to separate

the stage areas from the auditorium, with the proscenium opening

being closed by a safety curtain. The normal form of safety curtain

is a rigid type which is suspended immediately behind the

proscenium opening, running between side tracks and dropping

onto the stage front from the flytower The safety curtain can be on

the straight line of the stage separating the orchestra pit, as part of

the auditorium from the stage, or on the line of the rail to the

orchestra pit so that when the pit is exchanged for an apron stage it

is accommodated within the stage area. If there is a curved or

angled pit rail then the safety curtain should follow the same line.

The safety curtain tends to be obligatory for auditoria with a

seating capacity over 500, as outlined in the building regulation.

The need for a safety curtain is historically-defined, based on pre-

electric lighting and extensive use of combustible materials on the

stage. The continued use of the traditional barrier of the safety

curtain to separate the stage volume from the auditorium has been

questioned. Alternatives include a sprinkler system along the line

of a proscenium opening and/or controlled smoke extract within

the stage volume as well as away from the stage in the auditorium.

Access to the stage: performers

The door leading from the dressing rooms for the performers should be

located down stage of the prompt side (PS) as the primary point of entry to

the stage, with a cross-over behind the stage, and at least a second point of

entry on the non-PS side. All entrances to the stage require lobbies as sound

and light locks. The entrances should be located so as to leave a maximum

amount of clear wall space. Access is also required to the sub-stage by

performers from both sides of the performance area and possibly also from

the auditorium, which may require steps at the side of the front of the stage.

With opera, there are a large number of performers including principals,

chorus and dancers: separate access points should be considered for each

group.

.


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Literature study

Orchestra pit: opera, musicals, dance: The orchestra for opera, musicals and dance is in a pit between the stage and the audience. The limiting factor is for the conductor to be seen by both the

singers and dancers on the stage and the musicians. The audience requires to hear a balance of singers and

orchestra, especially for opera. Amplification in musicals makes this requirement less of a necessity. Allow 1.3M2 average per player, 5M2 for the piano,

10M2 for tympani and percussion and 4M2 for the conductor. The actual production will have specific

orchestral requirements with variation in the size and composition of the orchestra. The conductor’s eye level must not be lower than stage level when

seated on a high stool.

To minimize the gulf between stage and audience the pit can extend under the stage

front for a distance no greater than 2 M. The soffit of the overhang should reflect the

sound outward into the auditorium. For opera, the pit should be designed for a

maximum of 100 musicians: for musicals, 60; for dance, 60–90. The numbers could be

less with touring companies. The floor level of the orchestra pit should be adjustable,

between 2–3 m, below the stage level to suit the different requirements of the

musicians and directors. The fire separation between auditorium and stage

must be maintained including the entry point into the pit: access must be possible from

both ends. The orchestra pit requires its own independent ventilation system, locally

controlled. Lifts may be required to reduce the size of the pit, and its acoustics.

The orchestra pit requires acoustic treatment and working lights, as well as the socket

outlets for lighting to music stands.


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Literature study

Relationship between public spaces

The functional relationships between the various

public spaces are shown in.


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Literature study

Conclusion

A complete theater unit :must :

1) Accommodate an audience

2) accommodate a performance

3) Bring audience and performance together in the most efficient way

A theater must have the following salient feature:

1) Interdependence of functions- optimizing the audience performance relationship in order to increase the appreciation of

audience towards the performance and also to encourage the performers to give their best effort.

2) Universality – functional requisites are identical irrespective of the origin of the building project .

3) Harmony between functions and architectural stage theatrical functions must be the primary determinants of the site, shape and

arrangements of the parts of the theater building.

4) Appropriate selection of site- the site must be big enough to hold the theater and to provide access and outside audience landing

facilities.

5) Development of plan – shape and size of the stage and auditorium , acting area and orchestra pit according to the audience.

6) Variation in program- all production type must be chosen for performance in order to keep the theater running.

7) Variable house capacity- many designs are there which can varry the size of the auditorium as per the number of people and

production type.

8) Attractiveness of the house can generate potential audience.

9) Appropriate stage .

10) Storage facility( in order to maintain the efficiency of the theater)

11)Audience ( in order to grab audience it is essential that their seeing and hearing experience is highlighted to the maximum

level.

12) Other sourse of income – a theater might not always move in profit and because of this it requires alternate means of income

which can be acquired by means of exhibition, letting out of spaces etc.


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Literature study

KALA ACADEMY, GOA

Selection as case study:

The academy deals with both eastern and western form of art. Spaces are planned especially for

teaching and practice of performing arts.

KALA ACADEMY, GOA

LOCATION: Situated at Campal, Panaji along the banks of river Mandovi

Area has mixed land use with a military hospital across the

road, a cricket ground and a park on either side.

ARCHITECT: Charles Correa

BUILDING TYPE: Institution

SITE AREA: 6.3acres

SITE GRADIENT: Gentle Slope

INTRODUCTION:

• Venue of international film festival of India.

• 1969 - prime institution for promotion of art and culture in Goa.

ACCESS:

• Regular buses connecting Panaji and the academy are available.

• Dabolim airport, 35km

• Nearest railway station is Madgao, 53 km.

LAYOUT:

• Four entries to the site.

• Boat jetty provided on the river side.

• Coverage is about 40%

• Well defined pedestrian and vehicular systems

• Includes the cafeteria, garden and amphitheatre.

• Site is divided into main building ,service building, muktangan, parking

area, the exhibition space.


Case study

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Case study

BUILDING LEVEL ZONING:

• Building is divided into three zones:

Public, Administration, Academic

• Provided at different levels so as to avoid conflict between these zones

• Ground floor includes facilities like

Auditorium,

preview theater,

amphitheatre,

art gallery,

canteen etc, where public entry is invited

• First and second floors - academic and administration facilities.

• Circulation linked to the zoning is segregated through levels - ground floor for audience functions and first and second

floor for staff and students with degree of inter linking.

BUILDING STYLE AND CHARACTER:

• Designed by ar. Charles correa.

• Importance to the process of moving through the spaces in a building.

• Built form has been kept low ranging from one to three floors.

• This is further enhanced by the use of parapet walls for upper floors, which

emphasize horizontally.

• The 'pergola 'above the entrance acts as an extension to the foyer of the main

auditorium and amphitheatre.

• Use of coffer slabs and parapet walls

• Extensive use of specially designed seating

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FACILITIES AT KALA ACADEMY

• D.M Kala mandir

• Open air theatre

• Mini OAT

• Black Box

• Rehearsal Room

• Art Gallery

• Meeting Room

• Guest Room

• Preview Theatre

• Cafeteria

• Library

• Teaching Studio

• Green Room

• Kitchen

• Administration

• Reception

• Lounge


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Case study

D.M KALA MANDIR (A. C AUDITORIUM)

• Seating capacity – 1000 (1300 sq.m )

• Orchestra pit- 7.2 x 2.1 m

• Variety of acoustical conditions ranging from speech, plays to sitar recitals and orchestral arrangements

• Walls of the auditorium are painted illusions of an old goan theatre

• Stage is 80cm high from the first row.

• Raking height varies from 10-20 cm


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Case study

MINI OPEN AIR THEATRE:

• Capacity-300 people.

• Used as an outdoor classroom and meeting space

• OAT seating has a tread of 85cm and rise of 45 cm depth.

• Farthest seat is 6m away and no amplication required.

• Two aisles run along either end. Width -120cm

• The steps have 15cm risers and 28 cm treads.

• Square shape stage is and has an area of 7.5 x 7.5 m

OPEN AIR AMPHITHEATRE:

• Seating capacity (no chair) - 2000

• Seating capacity (chair) - 1312

• Proscenium opening - 15m

• Depth from curtain line- 12m

• Amphitheatre is of double herringbone shape.

• Main entry from road main lobby and the restaurant area.

• Stage is raised at 75cm above the ground floor level(eye level of the first row)

• Lower Seat rise - 30 cm and tread of 100 cm

• Higher Seat rise of 45 cm

• Acoustics are good as the seats block out noise from the road side and the stage

blocks out noise from the river side


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Case study

BLACK BOX:

• Seating capacity - 200.

• Area - 175 sq.m.

• Used for experimental productions, music concerts, meetings

and amateur performances.

• Also used as a recording studio.

• Control room and a green room provided.

• Black box lobby is also provided.

PREVIEW THEATRE:

• Capacity - 24.

• Used during ‘IFFI’ for special screening.

• Has got a jury room and projector room attached.

• Particle board has been used for acoustical effect.

ADMINISTRATION:

• Administrative area is on the first floor.

• The area divided into closed and open cabinets

• Total area -500 sq.m.

ART GALLERY:

• Running wall space - 30 x 1.50 mts

• Carpet area of gallery – 90 sq.mts

• The exhibits are displayed on the wall on four sides.

• Lighting features are very normal no facility to hold a good exhibition.

• Adjustable cove lightings are used in gallery


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Case study

CAFETERIA :

• Capacity for 100 members

• Square table are provided each with 4 seats

• 3 sides open in to the outdoor landscape

• It is accessible from all theatre meeting room - 45 sq.m

LIBRARY :

• area- 135 SQ.M

• Library is in proximity with mini oat.

• Books are raked in glass shelves

TEACHING STUDIO:

• All the music studios are of the same size 3.3 x 2.6ms

• Central air conditioning is provided for all class rooms.

• Acoustically treated classrooms with the same type of

padding provided for the walls and ceilings.

• Three walls are faced with linen material and glass wool, the

rest is paneled with wood particle board

PARKING FACILITIES:

• Parking facilities is provided on the south-eastern side.

• Nearly 250 public parking are provided.

• Special VIP and staff parking provided.


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Case study

SERVICES:

• The service buildings (AC plant and generator room) are provided on the western corner of the site without disrupting

building functioning

• Two separate service entries have been provided.

generator room and the other

eastern corner of the site.

• The eastern entry caters to the need of the amphitheatre and the canteen.

• A loading deck has also been provided here

• The septic tank is provided underneath the garden.

LANDSCAPE:

• Beautiful lawns form the main part of the site. Trees are provided aptly at the front side of the building.

• Specially designed benches and lamp posts line the path Along the river side.

ANALYSIS

• The layout and the building zoning provided are excellent

• Good acoustical treatment

• Flow of spaces has resulted in a good built-open relationship.

• Good use of site features has successfully made the public spaces interesting by

use of sculptures, paintings, seating etc.

• The cafeteria is the most active space with good view to the river.

• Vehicular and pedestrian ways properly defined.

• Service blocks are separated

• Security measures provided are minimum.

• Signage provided is minimum.

• The trees have to some extent blocked the view to the river

• Public spaces too large.


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Case study

NATIONAL CENTRE OF PERFORMING ARTS,MUMBAI


The center focuses mainly on performances and had succeeded in becoming a common platform for

performances ranging from small individual performance to large shows.

My aim to study NCPA was to understand the context . It is functioning and to study the different

spaces it involve. The scale of project is comparable.

NATIONAL CENTRE OF PERFORMING ARTS,MUMBAI

LOCATION: Niraman Point on NCPA marg

ARCHITECT: Ar. Phillip Johnson.

BUILDING TYPE: Institution

SITE AREA: 8 acre

INTRODUCTION:

• NCPA is a cultural building , lift the indian culture in the

society through events

Dance, Music, Drama and Opera .

• NCPA private sector undertaken by TATA.

• Designed by ar. Phillip johnson.

• Building having five theatres, Administration area (Music Library, small

gallery, Guest House and the apartments for the Directors)

VIEW FROM MAIN ENTRANCE VIEW FROM NARIMAN POINT

LOBBY AND RECEPTION:

• Approach to the reception area from the main entry

• Reception desk is located at the building entrance

• Right side of the reception located the administrative area

AUDITORIUM :

• Jamshed bhabha theatre

• Tata theatre

• Experimental theatre

• Dance theatre godrej

• Little theatre

The NCPA audio & film archives

Recording studio

Library


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Case study

JAMSHED BHABHA THEATRE SEATING CAPACITY

• Total capacity- 1109 seats

DRESSING ROOMS(BACKSTAGE):

• Ground floor, solo rooms 3 (9 sq.m. each)

• First floor, solo rooms 4 (9 sq.m. each)

• Second floor, group rooms 2 (18.5 sq.m. each) (7 persons)

• Third floor, group room 1 (46.5 sq.m. each) (18 persons)

STAGE

• Stage entry

From east & west foyer 2 Nos. (Stage Right & Left)

• Floor Hardwood timber flooring on MS framing (No traps, No revolve)

• Size 23.7m (w) x 14.6m (d) (Behind house-curtain)

•Top-of-stage from 1m auditorium level

CONTROL ROOM:

• Location Rear of the auditorium behind glass window; partially openable

divided into 4 compartments inter-connected through common

passage

• Compartment 160 sq.m.


• Compartment 310 sq.m. (Light Control Cubicle)


• Power supply 18 kW, 30 Amps per phase

REHEARSAL ROOMS (FRONT-OF-HOUSE)

These are separate venues

• West room 1 124 sq.m., height 2.88m(second floor West Wing)

(90 sq.m. adjoining open terrace)

• West room 2 115 sq.m., height 2.9m(third floor West Wing)

(50sq.m. adjoining open terrace)

• East room 1 113.5 sq.m., height 2.9m(second floor East Wing)


• East room 2 99 sq.m., height 2.9m(third floor East Wing)


VIEW OF STAGE JBT


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Case study

MISCELLANEOUS SPACES

Foyers at two levels.

GROUND FLOOR (LEVEL 0)

• Area 930 sq.m.

• Height variable, minimum 2.5m

• Elevator 1 (West Foyer)

• Accessory electric 9 kW (East Foyer) Lighting supply

• Load 15 Amps per phase 9 kW (WestFoyer) Lighting load 15 Amps per phase

• Service Counter 2 (one Front Foyer and one in West Foyer)

FIRST FLOOR (LEVEL 1)

• Area 465 sq.m.

• Height variable; minimum 2.5m

• Service counter 1 (East Foyer)

MUSEUM

• Area 165 sq.m.

• Height 5.45m

MAIN ENTRY OF THE JBT FOYER AND THE FOOD COUNTER

INTERIOR OF THE AUDITORIUM

ORCHESTRA PIT

• Forestage orchestra elevator 19m (w) x 4m (d) : travel -2.9m(below stage),

0.0m (auditorium level) to + 1m (Stage level);locking @ 400mm increments(9)

• Capacity 60 musicians

• Below-stage pit, fixed portion 15.4m (w) x 4.2m (d) x 3.1m (h)

INTERIOR OF THE REHERSAL ROOM


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Case study

SEATING CAPACITY

Total capacity -1010 seats

Capacity reduced in the following cases:

• Use of in-house

• sound mixer/monitor Reduced by 7 seats Sound System

• 8-Channel audio mixing console

• Basic sound system for speech and music reinforcement

STAGE

• Floor Hardwood timber flooring on concrete

• Size 9m (d) x 17.5m (w) at its maximum width:

• Height 3m at upstage: 6m at downstage rotatable stage

• Operation electronically controlled

• Rotation 180°

• Rotation time 80 sec.

FOYER

ROTATING STAGE BACK SIDE

V.I.P. ENTRY TO THE RESTAURANT

MAIN ENTRY TO THE THEATRE

DRESSING ROOMS

Ground floor- Solo rooms 4 (11.6 sq.m. each)

Mezzanine- Group rooms 2 (23 sq.m. each)

TATA THEATRE:


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Case study

EXPERIMENTAL THEATRE

SEATING CAPACITY

• 285 seats maximum (variable)

• Plastic bucket-chairs (blue) on modular wooden tiers

STAGE

• 9.7m (w) x 7.3m (d) x 0.7m (h) maximum

• Variable configuration; modular wooden platforms

FLOOR

• Concrete floor 19.20m (l) x 19m (w)

• Floor-to-grid height (Catwalk) 9m (h), average

CONTROL ROOM

• Behind glass observation window at first floor level

LIGHTING

• Electronic light dimmer 1

Specifications

•Lighting console -Phoenix Cantor-48 ,48 channels (ADB make)

DRESSING ROOMS (with toilets & showers)

• Ground floor 2 (7 sq.m each)

• First floor 1 (20 sq.m)


• Foyer (non A/C)

• Size 425 sq.m ; height 3m

VIEW OF EXPERIMENTAL THEATRE


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Case study

SEATING CAPACITY

• 185 seats

STAGE

• Floor Timber flooring on MS slotted angle frame;

• 0.65m from auditorium level

• Wing-to-wing 9m (w) x 5.6m (d) height: 2.34 m

WING SPACE

• Stage- right 3.55m (w) x 6.7m (l) height: 2.34m

• Stage-left 2.2m (w) x 6.7m (l) height: 2.34m

• Cross-over space 14.9m (l) x 1.1m (w) height: 2.34m

• Proscenium opening 9.55m (w) x 2.40m (h)

• House curtain Maroon velour; motorized travel


• Foyer( non-A/C)

• Area-158 sq.m

• Sunken Garden 232 sq.m

DRESSING ROOMS (2 nos)

• Ground floor - 13.8 sq.m & 17 sq.m

• Common lobby - 19.6 sq.M

OUTER AREA OF THE THEATRE

STAGE OF THE THEATRE AND FIXTURES

VIEW OF GODREJ THEATRE

DANCE THEATRE GODREJ


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Case study

LITTLE THEATRE SEATING CAPACITY

• 114 seats

• Cushioned chairs (off-white) on carpet (Maroon)

STAGE

• Floor timber flooring on concrete slab;

• 0.8m (h) from auditorium level.

• Size with side wings and 6.66m (w) x

• 5.47m (d) x back concertina flat 3.96m (h)

• Downstage 3.08m (h) upstage

WING SPACE

• Stage-right 1.1m (w) x 6m (l) x 3.08m (h)

• Stage-left 1.0m (w) x 6m (l) x 3.08m (h)

• Cross-over space 8.7m (l) x 0.6m (w) x 3.08m (h)

• Proscenium opening 5.85m (w) x 3.96m (h)

• House curtain Maroon velour; motorized travel

DRESSING ROOMS

• Ground floor 1; 8.5 sq.m

• First floor 1; 15.8 sq.m

MISCELLANEOUS SPACE

• Foyer (air-conditioned)

• Size 13.3m (l) x 5.6m (w) x 6m (h)

• Area 74.5 sq.m

VIEW OF LITTLE THEATRE


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Case study

RECORDING STUDIO

• Studio is equipped with state-of-the-art multi track

• recording equipment based on the Pro Tools HD platform

• Main recording hub , interconnected to all five theatres

• through fiber optic cable spreading an area of 24,000sqm.

LIBRARY

SUNKEN GARDEN (75-100 members)

• Located next to the dance theatre godrej.

• Reception space also used for small-scale performances

• Stepped seating leading down to a performing area.

STRUCTURE

• All the Auditoriums having column beam structure

• JBT and TATA theatre have good span column free space,

• Coffered ceiling is cast for making the space column free.

• Cantilevers more than 10 feets is projected at the entrance of TATA theatre.

• Building is finished with different materials like stone, plastered etc.

WAY TO THE BASEMENT PARKING OUTER AREA OF JBT

OUTER AREA OF TATA THEATRE


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Case study

THEATRE JAMSHED BHABHA

THEATRE

TATA THEATRE EXPERIMENTAL

THEATRE

ARCHITECT Patel manohar and associates

Phillips johnson Patel manohar and associates

USE Can host any event from staged Indian epic and classical concert to westerns dance

Indian music , dance and other art forms.

Ideal both for traditional folk and performance type presentation

SEATING 1190 1010 300

SPECIALITY Heavily ornamented interiors, with orchestra pit.

Fan shaped, rotating stage, and the convex concave ceiling as well as wall provide with even distribution of sound.

Flexible seating, stage unit can provide complex asymmetrical seating arena.

FEATURES Stage craft has 33 fly bars due to which multiple backdrops can be provided and lighting facility can change according to the requirement. Also has 3 conference room large foyer spaces, a museum and a black box, which is the ticket and event information system

Built in thrust shape, based on the seeing pattern of Indian audience, fan shaped plan,

Additional balconies on 3 sides with 50 seating capacity, situated at a height of 13 feet. Ceiling grid frame and catwalk system


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Case study

TRIVENI KALA SANGAM


Study of functional aspect of the center. To study the open air theater and its functions.

TRIVENI KALA SANGAM

NEW DELHI (1957-77)

ARCHITECTS: J.A. STEIN

INTRODUCTION:

Triveni kala sangam was founded in 1952 by Smt. Sundhari Sridharni, as an academy of dance,

music and painting with the aim of reintroducing traditional forms of expression into Indian

life.

Each of the functional units of the complex its, theatre, classroom, studios and galleries is

individually articulated in the building massing

LOCATION:

Triveni kala sangam is located on 205, Tansen Marg, New Delhi.

It is the cultural core of the city with similar buildings like Sri RamCentre for Arts,

Rabindra Bhawan and Sangeet Bharati located close by.

ACCESS:

Access to the site is form the Tansen Marg, the road that leads to the Bengali Market.

There is not much heavy traffic on this road.

GENERAL PLANNING AND LAYOUT:

The centre is organised into a four storey classroom block with a canteen and

shaded dining/ tea terrace to the north. And a ground floor gallery back with a

shaded roof terrace above to the west

Opposite to the gallery is a covered stage opening onto an outdoor garden theatre

which is heart of the complex.


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Case study

PHASE II-comprise of an auditorium for 200 people, painting and sculpture workshops and residential apartments

The building layout is influenced by 2 major factors-

Large no of functions to be handled on a small site

A high degree of flexibility required for various functions. The building has been perfectly designed in a relatively small site of one acre

following individual articulation of functional units in the building massing.

On entering the lobby the principle areas of interest like art galleries, auditorium, OAT etc is visible at once.

The two heavy massed blocks rise up to 4 storeys and are a response to tight program within a tight site.

INDIVIDUAL SPACE ANALYSIS:

RECEPTION AND LOBBY AREA:

•The main entrance to the building leads to a large rectangular

space, which acts as the reception area.

•The wooden partitioned cubicle serves as the reception office.

•A staircase opens into this area and connects various floors to

basements.

•To the right of the main entrance is the “Sridharni Gallery” and

straight ahead is the corridor, which houses the classrooms.

PHASE I- houses the music and dance studios, an O.A.T, a library, café, exhibition galleries and the administrative areas.

EXHIBITION GALLERY:

•It is located right next to the main entrance.

•The gallery is curved in plan and is supported on a beam-column structure.

•The displays are hung on the walls

•A special framework of wood is attached on the roof, which has spotlight on it.


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Case study

MUSIC STUDIOS:

•The music studios are used for teaching instrumental and vocal music.

•There are 3 studios in all, each 15'-0"x15'-0", two for instrumental and one for vocal.

•These studios are located on the second floor. The access is from a 6'-0" wide singly loaded semi-open corridor,

which overlooks the O.A.T below.

•The flooring is bare except for mattresses on which the artists and students sit.

•Storage space is provided along one length of the wall, which is adequate.

Cavity walls are provided for insulation.

•The lighting and ventilation is taken care of by providing window opening on the whole length of the wall on the north side.

AUDIO VISUAL STUDIO:

•The AV studio is located in the basement of phase 1

•It has facility of recording of playback voices and music and a separate chamber

for listening.

The Triveni auditorium is a small hall with a capacity of 200 seats.

PARKING: There is no parking space in Triveni Kala Sangam. Vehicles have to parked

main road and parking space is also not sufficient

LANDSCAPING: •The whole complex is well landscaped.

•Three well landscaped lawns in front of the building is contrasting with its

external features.

The whole environment of the complex is calm and peaceful.


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Case study

ART HERITAGE: •Art heritage or a exhibition hall for visual art is located in the basement floor.

•The hall is L type in plan.

• The space is well lit and has good circulation area within.

the ground floor with the AC, green rooms, art room, stores etc, below.

It is a proscenium theatre with the actors and audience in separate spaces.

The side walls have teakwood paneling, whereas the rear walls, stairwells and railings have sound absorbing treatment of teakwood states over fiber glass

wood insulation.

The ceiling is coffered in expose concrete with a few acoustical panels, placed randomly.

The control room is located behind the audience seating. It includes both south and light control.

The lights for the stages are

•concealed in the depth of the coffers and are not visible to the audience.

•The seats are placed over precast slabs, combining the built in AC ducts. This leads to unusually high ranking of seats for a hall of this size.

•As the AC is fed through ducts below the seats, it causes chill at the audience feet.

•For exclusion of external noise, ducts are treated heavily internally with sound absorbing lining and externally with plaster.

OAT: • The OAT is located between the

teaching corridor and art gallery.

• It has a capacity of 350-400 people.


75

Case study

BHARAT BHAWAN , BHOPAL


The only center for folk music in India. To study the opens in plan and courtyard style architecture.

Terraced planning, and site responsive design.

Charles Correa the architect found here the possibilities of a series of terraced gardens,

which would be seen cascading down to the lake. The visitors enter at the highest level and

walk down a pedestrian spine, flanked by a pattern of courtyards, to reach the various parts

of the complex. Each curve and space defines itself. Each of the part of the building is

distinct yet flows easily one another, linked by meandering paths. The total effect is one of

the surprise and pleasure. There is always a moment when the eye can rest and the mind

contemplates.

Location : bhopal , madhaya pradesh

Area: 1200m2

Architect : charles correa.

Court of Fountain :

Courts form a major special element in the building. The MUGHALSalways

planned their complexes around the courtyard.From the court ofthe fountain one

has a visual choice due to the level difference.This courtguides the visitor to

TRIBALFOLKART GALLERY & ADMINISTRATION,ANTARANG,

BHAIRANG, & VAGARTH towards west and south. This isthe largest court in the

3 courts.

Folk Art & Tribal Court;

This courtis also square in plan.The walls are barren and thevisitor traffic is less as

compared to the other courts.Informal seating isdone on the steps like GHATS.

SCULPTURE AND LOW LEVELLANDSCAPE are the dominating features of this court

ADMINISTRATION of the complex is housed in this court.At nights whenthe

INTERIORS get lighted the walls become dark and looks like a cavearchitecture.


76

Case study

Court of Antarang :

Onone enters this court either fromthe circulationaxisfromthecourtoffountain.The overbridge is the main gate for the

entrance tothis court. The court leads to GRAPHIC AREA, PERMANENT GALLERY &ANTARANG.The court

performs as an extension and a out space,passage, room for the visitor waiting to gain entry in the

permanent museum.

ROOPANKAR is the only museum of its kind in India which houses contemporary folk and

tribal art together with urban art. Roopankar has two fully equipped workshop for printmaking

and ceramics. There are about 6000 tribal and folk art objects and nearly 2,500 urban art work in

the collection of Roopankar museum.

WAFFLESLAB ROOF with coffersmakes The otherwiseheavy roof seem light.Large

Cut outs inPYRAMIDICAL SHAPESbreaks the monotony andnatural light is taken

fromthem. Wooden FLEXIBLE

Urban Art Museum :

The skylight over the shells and along the baysand edges form the

“YELLOW POOL OF LIGHT". To avoid the direct sunlight on paintings wooded vertical blinds are

used as controlling devices.

The entry is from a6.0 meter wide gate.Theartificial lighting is done bylamps placed in the waffleslab

and is directed towardsthe exhibit.The images ofbuildings from old Bhopal are

Condensed in the galleries of urban art.The modern art section is sprea over three levels.The lowest

level is plus88.2 and houses the TRAVELLING exhibitions.While the upper level plus90.2 houses the

PERMANENT MUSEUM OF MODERN ART.


77

Case study

RANGMANDAL is a professional repertory which has at its disposal a fully equipped indoor auditorium, Antarang, an open air

threatre Bahirang, with a spectacular location on the lake, and a studio theater Abhirang. It owns an impressive theater library and data

bank.

VAGARTH is the centre of Indian Poetry. It aims to collect and preserve the ancient and contemporary poetry in Indian languages, whether in

the spoken, written or in the printed form.

Vagarth's library consists of more then 13,000 books. These include book of poetry in Indian languages, English translations of poetry in

foreign languages, works on poetics, literary criticism and culture. Rare manuscripts of some renowned, Indian poets, hundreds of audio and

video recordings of reading in Bhart Bhavan by significant Indian poets are also collected in Vagarth's archives.

ANAHAD is the center for classical, folk and tribal music. Anahad, aspires to preserve the tradition and promote its immense contemporary

creativity in all its glory and diversity.

The chief activity of Anhad is organizing performances of classical and folk music and dance. It organizes several series of music concerts.

Anhad possess an archival collection of about 2000 hours of audio and video recordings, books on music and dance and over a 100 long

playing records of foreign music to aid reference and research..

NIRALA SRIJANPEETH is the chair for creative writing instituted in Bharat Bhavan by the government of Madhya Pradesh, the

incumbents have been writers of repute including Nirmal Verma, Dilip Chitre, Krishan Sobati, Kedarnath singh, Krishna Baldev Vaid,

Kamalesh, Ramanath Tripathi, Vinod Kumar Shukla, Ramesh Chandra Shaha and Manzoor Ehtesham.

ASHRAM has hosted artists and writers of national eminence, Mallikarjun Mansur, Bhavesh Sanyal, Namver Singh, Nirmal verma, Zia

Mohiuddin Dager and Ambadas have lived in residence at Bharat Bhavan's Ashram.

CHHAVI is recently opened center for classical cinema.


78

Case study

ANALYSIS

Plus Points :

(a)Material Economy.

Extensive use of local material like BASODASTONE & ALANGA for

masonry and external wall.These have a lowrejection factor of 33%.

(b)Space Economy.The positioning of columns on a square grid of

9.2 x 9.2 mtr. gives a .large column free space.

(c)Energy

Economy.

Horizontal spread receives maximum solargains of 80% of the roof is covered with lawn and savesextensive use ofartificial energy.

Negative Points :

(a) Maintenance.High cost of maintenance of the terrace gardenisalackingfactor.40%ofthe annual repair bill goes for thispurpose 40% is spent on

water proofing of roof, skylights, onwalls, floors, stair and expansion joints.

(b) Restricted Future Expansion.

With covering entire horizontalspace available if the- need arrive for expansion there is no space leftfor this purpose. Existing exhibition area

cannot be expanded due tomaximum horizontal coverage.


79

Case study

location :thrissur kerela

Area : 32 acre

Founded in 1930 by renowned poet Padmabhooshan Vallathol Narayana

Menon along the banks of the river Nila in the Cheruthuruthy village of

Thrissur District, Kalamandalam is an immortal name in the cultural map

of the world. Kalamandalam is strictly a residential center of learning.

Veteran teachers and talented students are its inestimable wealth. For art-

recitals held in Kalamandalam and outside, artiste-teachers and students

participate.

koothambalam

Kerala kalamandalam.

The performing area

The theatre consists of a main entrance infront

of which a flat pole, used to announce a

performance.

-The raised stone entry steps of flanked by

hand carved stone panels

-- designed according traditional kerala lion

motifs

-- capacity of 600 people

- stone column with hand carved stone dance

poses, bassed on classical posture

- green room and toilet facilites .

- wooden stage

Waiting area/ karnatic music room

Administration-

-staff 25

-Total strength 700 students

- 3 ladies hostel

- 1 boys hostel

Kalari class room

-Used for learning various art forms

Library

Small shop


80

Case study

“I have welcomed very greatly one experiment in India: Chandigarh. Many people

argue about it; some like it, some dislike it. It is the biggest example in India of

experimental architecture. It hits you on the head and makes you think. You may

squirm at the impact but it has made you think and imbibe new ideas, and the one

thing which India requires in many fields is being hit on the head so that it may think. I

do not like every building in Chandigarh. I like some of them very much. I like the

general conception of the township very much but, above all, I like the creative

approach, not being tied down to what has been done by our forefathers, but thinking

in new terms, of light and air and ground and water and human beings.”

[Jawaharlal Nehru. Speech, 17 Mar 1959]”

Chandigarh is a city and union territory in

India that serves as the capital of

two states, Punjab and Haryana . The name

Chandigarh translates as "The Fort of

Chandi". The name is derived from an

ancient temple called Chandi Mandir,

devoted to the Hindu goddess Chandi, in the

city. It is also referred to as The City

Beautiful due to its beautiful surroundings,

central grid of gardens, each to dedicated to

different species of flora.

The city of Chandigarh was the first planned

city in India and is known internationally for

its architecture and urban design.The city

has projects designed by architects such

as Le Corbusier, Pierre Jeanneret, Matthew

Nowicki, and Albert Mayer.

The city tops the list of Indian States and

Union Territories with the highest per capita

income in the country at Rs.99,262 at current

prices and Rs.70,361 at constant prices

(2006–2007).

The city was reported in 2010 to be the

"cleanest" in India.

Chandigarh


Site study

81

Le Corbusier replaced the native Indian town plan with a rectangular grid

based on the metaphor of a human body but totally divorced from ideas

about complex, vibrant Indian cities. He placed the Capitol Complex at

the top resembling the head, the intellectual base, reflecting Nehru's

conviction that government should rule a city as the head rules the body.

The industrial and educational belts on either side of the city symbolized

the limbs. The city center with commercial buildings, shopping, and

offices represented the heart.

The city was further starkly separated into inward-looking sectors of

2600 by 4000 feet (800 by 1200 meters) dimensions, each considered to

be a self-sufficient neighbourhood. A hierarchy of roads separated

pedestrian and vehicular traffic into seven different road types, from V1

for the fast-moving inter-city traffic to V7 for pedestrians within the

sectors.

The most positive aspect of the sectors is that they provide a safety area

for children, they can play, walk to school, and to shopping areas, usually

without crossing a street.

All this was based on his designs for the "Radiant City" - the ideal city of

an omnipotent Western machine-age civilization promising a

decongested city center, filled with sun, space, and greenery.

Planning of Chandigarh


82

Site study

Location: 30.74°N 76.79°E Chandigarh is located near the foothills of the Shivalik range of

the Himalayas in northwest India. It and shares its borders with

the states of Haryana in the east and Punjab in the north, west

and south.

Average Elevation: 321m/ 1053ft Altitude 304-365 meters above MSL with 1% drainage gradient

Area : 114km2 The surrounding districts are of Mohali, Patiala and Roopnagar

in Punjab and Panchkula and Ambala in Haryana. The

boundary of the state of Himachal Pradesh is also minutes away

from its north border.

Geographical location:

30.74°N 76.79°E Transport:

Chandigarh has the largest number of vehicles per capita in India. Wide, well maintained roads and parking spaces all over the city ease local

transport.

Chandigarh is well connected by road by NH 22 (Ambala - Kalka - Shimla - Kinnaur) and NH 21 (Chandigarh - Leh), and has both a railway

station and theInternational Airport.

The Chandigarh Metro Rail project is underway but recently, due to reduce cost, it is planned to partially replace metro projects by tram and

monorail.


83

Site study

Average temperature

Spring: The climate remains the most enjoyable part of the year during the spring season

(from mid-February to mid-April ). Temperatures vary between (max) 16 °C to 25 °C and

(min) 9 °C to 18 °C.

Autumn: In autumn (from Mid-September to mid November.), the temperature may rise to a

maximum of 36 °C. Temperatures usually remain between 16° to 27° in autumn. The

minimum temperature is around 11 °C.

Summer: The temperature in summer (from Mid-May to Mid-June) may rise to a maximum

of 45 °C (rarely). Temperatures generally remain between 35 °C to 40 °C (94 - 101F).

Monsoon: During monsoon (from mid-June to mid-September), Chandigarh receives

moderate to heavy rainfall and sometimes heavy to very heavy rainfall (generally during the

month of August or September). Usually, the rain bearing monsoon winds blow from south-

west/ south-east. Mostly, the city receives heavy rain from south (which is mainly a persistent

rain) but it generally receives most of its rain during monsoon either from North-west or

North-east. Maximum amount of rain received by the city of Chandigrah during monsoon

season is 195.5 mm in a single day.

Winter: Winters (November to Mid-March) are mild but it can sometimes get quite chilly in

Chandigarh. Average temperatures in the winter remain at (max) 7 °C to 15 °C and (min) 0°C

to 8 °C. Rain usually comes from the west during winters and it is usually a persistent rain for

2–3 days with sometimes hail-storms

Climate type: humid subtropical climate

Seasons : very hot summers, mild winters, unreliable rainfall

Variation in temperature: (-1 °C to 41.2 °C)

Annual rainfall: 1110.7 mm

Climate :

The city also receives occasional winter rains from the west.


84

Site study

Sun path diagram :

Maximum sunshine: in months of july.

Minimum sun shine in months of january and december.


85

Site study

Mean relative humidity for an average year is recorded as 49.2% and on

a monthly basis it ranges from 25% in April & May to 73% in August.

Winds are generally light and blow from northeast to southeast direction

with exception of easterly to southeasterly winds that blow on some days

during the summer.


86

Site study

Environment

Most of Chandigarh is covered by dense Banyan and Eucalyptus plantations. Asoka, Cassia, Mulberry and other trees flourish in the forested eco

system. The city has forests surrounding it which sustain many animal and plant species. Deers, Sambars, Barking Deers, Parrots, Woodpeckers and

Peacocks inhabit the protected forests. Sukhna Lake hosts a variety of ducks and geese, and attracts migratory birds from parts of Siberia and Japan

in the winter season.

A parrot sanctuary located in the city is home to a variety of bird species.

Economy

The government is a major employer in Chandigarh with three governments having their base here. A significant percentage of Chandigarh’s

population therefore consists of people who are either working for one of these governments or have retired from government service. For this reason,

Chandigarh is often called a “Pensioner's Paradise”. There are about 15 medium to large industries including two in the Public sector. In addition

Chandigarh has over 2500 units registered under small scale sector. The important industries are paper manufacturing, basic metals and alloys and

machinery. Other industries are relating to food products, sanitary ware, auto parts, machine tools, pharmaceuticals and electrical appliances. Yet, with

a per capita income of Rs. 99,262, Chandigarh is the richest city in India. Chandigarh's gross state domestic product for 2004 is estimated at $2.2

billion in current prices.

Three major trade promotion organizations have their offices in Chandigarh. These are: Federation of Indian Chambers of Commerce & Industry,

(FICCI) the PHD Chamber of Commerce and Industry (PHDCCI) and the Confederation of Indian Industry (CII) which has its regional headquarters

at Sector 31, Chandigarh.

Chandigarh IT Park (also known as Chandigarh Technology Park) is the city's attempt to break into the IT world. Chandigarh's infrastructure,

proximity to Delhi, Punjab, Haryana and Himachal Pradesh, and the IT talent pool attracts IT businesses looking for office space in the area. Major

Indian firms and multinational corporations to the like of Quark, Infosys, Dell, IBM, Tech Mahindra have set up base in the city and its suburbs.

According to a 2007 survey, Chandigarh is ranked ninth in the top 50 cities identified globally as "emerging outsourcing and IT services destinations".


87

Site study

Decennial Population Growth 40.33%

Literacy Rate 81.9%

Demographics

As of 2001 India census , Chandigarh had a population of 900,635, making for a density of about 7900 persons per square kilometre. Males constitute

56% of the population and females 44%. The sex ratio is 777 females for every 1,000 males–which is the lowest in the country. Chandigarh has an

average literacy rate of 81.9%, higher than the national average of 64.8%; with male literacy of 86.1% and female literacy of 76.5%. About 12% of the

population is under 6 years of age.

Description All

India Chandigarh Punjab Haryana

Density of Population-2001 Census

(Km2) 313 7900 484 478

Literacy Rate (%) 64.8 81.9 69.7 67.9

Per Capita Income (Rs.) (At

Current Prices) 23241

67370

(Highest in All

India)

30701 32712

Bank branches/ 1000 persons - 0.25 0.11 0.79

Credit-Deposit Ratio (%) - 107 62.19 51.94

Per Capita Consumption of

Electricity (2004)

(Kilowatt hours)

79.00

(2002-

03)

853.34 902.76 902.76

Hospital Beds /10000 persons N.A. 23 10 5

Birth Rate/1000 persons 25.00

(2002)

21.45

(2005)

20.6

(2003)

26.3

(2003)

Infant Mortality Rate/ 1000 live

births 63.00 44.13 49.00 59.00


88

Site study

Land use:

Land Use residential/commercial

industrial

public/semi public and recreational

transportation

The soil texture varies from sand to sandy loam with 10-40% gravel. The

dominant soil are loamy skeletal typic ustorthents.

Soil type:


89

Site study

Delhi, Chandigarh and many parts of Haryana lie in Zone IV and

thus they are extremely vulnerable to earthquakes. Most

earthquakes in this region are shallow though a few earthquake of

intermediate depth have been recorded in Haryana. The alluvial

cover of the Indo-Gangetic plain makes even distant earthquake

felt here quite strongly.

Seismic Map:


90

Site study

View from the site : site surroundings.

SWOT analysis

strengths :

-a developing sector not much of development has taken place, so freedom of elevation

design.

- Site surroundings are mostly related to development of culture, like mela ground, ect.

Weakness: no much of trees, so have to plant trees in the design process.

No good skyline to enhance the proposed building.

Opportunity as the backdrop of the site is very dull a vibrant elevation can come

contrasting it.

Threat : site is in isolation, and all building in construction phase, attracts anti-social

activities.

View of site from the road.


92

Site study

Climate Humid subtropical climate, very hot summers, mild winters, unreliable rainfall.

Temperature Mean annual temperature ranges to 13°Cto 32°C

Mean maximum temperatures is 36 °Cin the month of June (hottest)

Rainfall Rainfall of 39% in month of july (280mm)

Humidity Mean relative humidity for an average year is recorded as 49.2% and on a monthly basis it ranges from 25% in

April & May to 73% in August.

Wind Winds are generally light and blow from northeast to southeast direction with exception of easterly to

southeasterly winds that blow on some days during the summer.

Soil The soil texture varies from sand to sandy loam with 10-40% gravel. The dominant soil are loamy skeletal typic

ustorthents.

Tectonic actitvity Chandigarh and many parts of Haryana lie in Zone IV and thus they are extremely vulnerable to earthquakes


93

Site study

Requirement Area in sqm

SITE ENTRY AND PARKING

-Security

- Parking

• visitor parking

• staff parking

ADMINISTRATION

Estimate visitor (50/day)

-Entrance foyer

•Foyer

•Reception/enquiry(1 staff)

•Telephone exchange(1 staff)

-Waiting

•Lobby and lounge

• Toilets

-Administration

•Director

•Visitor room

•Dy. Director

•Administrative assistance office

-Planning department

•Technical manager

•Planning assistance

•Helper/visitor

-Publicity and public relation

•Public relation

•Visitor room

•Assistance

•Art director

•Audio/video publicity

-Audit and accounts

•Accounts officer

•Cashier

•Safe vault

•Cashier counter

•Mailing and dispatch

LIBRARY

Estimate visitor(200/day)

-entrance

•Foyer(1 staff)

•Check room (1 staff)

•New arrivals

•Toilets

-locker

-lending and return

-administration

•Director

•Secretary

•Visitor room

• librarian

-Book section

-Digital lib.

4 ppl(20)

(100 cars + 200 two wheelers) 4500+ 450(6 buses)

(8cars+30 two wheelers)500

25

15

20

(20 ppl) 100

20

20

20 (4 ppl)

60(6 people +common area)

20

30 (2ppl)

20(4ppl each)

15

15 (6ppl)

10

15

10

15

10

10

50

20(2ppl)

30

20

20

20

20

20(1 staff)

30(2 staff)

20

10

20

15

175(5000 books 3 staff)

150

Requirement Area in sqm

-recording room

-editing and maintenance

-store

SHARED RESOURSES

Estimated visitor 200/day

-Entrance

-Foyer

-Box office

-Enquiry

-Lobby/ lounge

-Book shops

-Store

-Toilet

-Administration

-Office

-Meeting

EXPERIMENTAL THEATER(200Ppl)

-Lounge

-Toilet

-Enquiry

-make up and rehearsal room

•Lounge

•Dressing

-Monitoring

•Projection

•Sound recording/video

-Performance

•Stage

•Auditorium

-Gallery

•Display

•Security

•Preparation area

•Outdoor exhibits

PERFORMANCE AREA

Estimated visitor (200ppl/day)

-Mini theater OAT

-seating

Green room

Store

DANCE THEATER

-Entry

•Foyer

•Control desk

•Tickets

-Visitor waiting

•Lobby and lounge

•Toilet

•Administration office

-Make up and rehearsal room

•Lounge

•Rehearsal room

•Discussion room

•Dressing room

10

15

10

230

30

10

15

50

20

15

50

20

25

20

15

10

15

20

15

15

60

200

300

20

45

Temporary

500

50

20

100

25

15

100

70

40

100

150

50

150


94

requirements

Requirements area in sq m

-Production

•Stage manager 15

•Stage workshop 100

•Scene store 100

•Costume workshop 40

•Store 20

-Monitoring 145

-performance 810

-auditorium 1200

LEARNING AREA 786

CATERING 130 (20Ppl/day)

RESIDENCE 120(10PPL)

LANDSCAPE AREA 60

SERVICES 1680

FIRST AID 40

MUSIC THEATER 400

TOTAL AREA:14,726

CIRCULATION:30%

GRAND TOTAL: 19,144

EXPECTED NO. OF PPL ON AN AVERAGE 500/Day

ON THE DAY OF PERFORMANCE: 1000 ppl


95

requirements

Design guidelines:

Exterior

-Properly lit building/driveways and parking .

- signage's

-Changes of level are best made with ramps

-Steps should be properly marked and lit.

-Walk able distance between all the facilities.

-Light music on the pathway (to reflect the cultural heritage)

Box office:

-Minimum of 2 windows required, (for 1250 seats)

-Access is by single door inside the theater.

-Mostly placed in the vicinity of the entrance

Lobby :

-Sound from lobby should not come in the theater.

-Warm lighting and proper signage's.

-High ceiling sense of luxury.

-Mirrors to increase volume.

Door and foyer

-Theater door must open out

-Hung in pair generally metal with glass pannel

Foyer

-Floor surface should stand a lot of traffic

- self closing doors

-Walls and ceiling clad with material of higher absorption

co-efficent

-Air conditioning/ if required

Check room

-check room counter should take 5 attendants/ 1000 seats.

-Located on left side of lobby from foyer.

Lounge

-located opposite side of check room

-Should accommodate refreshment area, telephone, water

cooler and lavatories.

-The lounge may be out doors/ in this case it has to be huge.

-Indoor space should have rental exhibition space.

Lavatories

-Should have ante-room

- one dressing table/600seats.


96

Guidelines

Design guidelines:

House

-wall behind the last row of seat should be min. 1.4m

-Comfort in the house depends upon: •Shape and upholstery of seat and the distance between the rows.

•Temperature ,humidity and freshness of air .

•Position and width of aisles.

•House lighting

•Floor slope.

Absence of distraction

•Flat black chairs are desirable.

•Marginal comfortable seating back to back is 34’’.

•Spacing to permit easy passage past seated patron is 45’’

• central aisle to be avoided.

Stage :

-the shape , size and arrangement should naturally develop

from the performance involved.

-The stage is divided into 3 parts, catering to the performer, the

scenic investiture and the storage.

- solo dancers require a floor space of 300sqft.

Proscenium

- The audience looks at the show through the proscenium

opening.

Orchestra pit:

-Minimum 1sqm per person apart from space for instruments.

Feeling of tightness should be avoided by creating semi open

and open spaces which can also act as interaction area.

Integration of all the spaces can be achieved by landscape,

built form- such as connecting corridors, pergolas, pavement

design etc.

Open air theater should me located considering the wind

direction from performer towards audience.

Noise can be avoided by use of landscaping elements.

Vehicular entry should be restricted.


97

Guidelines

Layout

1 buildings should be orientated on an east—west axis, the long elevations lacing

north and south, to reduce exposure to the sun

2 buildings should be planned around small courtyards if thermal storage is

required for most of the year. i.e. when the hot-dry season is dominant

Spacing

3 buidings should be broadly spaced for breeze penetration As a rough guide:

space between long rows of building should not be re than five times the height

4 if wind penetration is needed only for part of the year. item 3 still applies, but provision must be made for protection from cold or dusty hot winds.

See diagnosis in table 2 and wind directions in table 1

Air movement

This is influenced by planning arrangements:

6 rooms should be single banked with windows in the north and south walls, to ensure air movement by ample cross-ventilation

7 rooms may be double banked, but the plan should allow for temporary cross- ventilation (e.g. large interconnecting doors). If wind is unreliable, or

site limitations restrict planning for cross-ventilation. celing-mounted fans may be considered These would require a room height of not loss then 275

m, which will affect the basic built form

8 if air movement is never essential and is desirable for not more then a month rooms can be double banked and there is not much need for cross

ventilation.

Openings

Openings in walls are classified in three categories:

9 ‘large’, between 40 and 80% of the north and south walls. These need not be fully glazed, but should be protected from the sun, sky glare and rain,

preferably by horizontal overhangs 10 ‘very small’, less than 20% of the wall 11 ‘medium’, between 20 and 40% of the wall area. Openings in the east

wall may be desirable where the cold season is long in west walls openings are acceptable in moderate or cold climates, but under no circumstances in

the tropics

There are two broad categories of walls.


98

Guidelines

13 both external and internal walls should be massive

Roofs

Two basic types are distinguished:

14 a light but well insulated roof, with Low thermal capacity

15 a heavy roof, with substantial thermal capacity, giving a time-lag of at least

8 hours

Outdoor sleeping

Provisions for out-door sleeping is either required or not If so:

16 it should be provided on roofs, balconies or in patios, so that sleepers are exposed to the coldest part of the night sky (the zenith) to increase

heat loss by outgoing radiation

Rain prootection

17 special protrctive measures are needed if rain is frequent and heavy — such as deep verandahs. wide overhangs and covered passages


99

Guidelines

performing arts centre final

Documents