Performing Arts Centre Bengaluru by Sandhya S Sarwanan.pdf

VISVESVARAYA TECHNOLOGICAL

UNIVERSITY“JnanaSangama”, Belgaum-590018

ARCHITECTURAL DEIGN PROJECT (THESIS) 2016-2017

“PERFORMING ARTS CENTRE

BENGALURU”

In partial fulfilment of the requirements for the degree

Bachelor of Architecture

Submitted by: SANDHYA S SARAVANAN

Guide: Prof: MALLIKARJUN N

ACHARYA’S N R V SCHOOL OF ARCHITECTURE(AFFILIATED TO VTU,BELGAUM, ACCREDITED BY COA, AICTE,NEW DELHI)

Acharya Dr. Sarvepalli Radhakrishnan Road, Soldevanahalli, Bengaluru-560090

CERTIFICATE

This is to certify that this is a bonafide record of the Architectural Design Project

completed by Ms/Mr. SANDHYA S SARAVANAN of VIII SEMESTER B. Arch, USN no

1AA13AT082 on Project titled – “PERFORMING ARTS CENTRE” at BENGALURU.

This has been submitted in partial fulfilment of the requirements for the degree of B. Arch

awarded by VTU, Belgaum during the year 2016-17.

Dean

Acharya’s NRV school of Architecture,

Bengaluru-560090

External examiner 1

Prof. Mallikarjun N

Thesis Guide

Assistant Professor

External examiner 2

ACKNOWLEDGEMENT

First and Foremost, I would like to express my sincere gratitude to my guide Prof. Mallikarjun N for the

continuous support of my thesis study and research, for his patience, motivation, enthusiasm, and

immense knowledge. His guidance helped me in all the time of research and writing of this thesis.

I would like to express my sincere appreciation and gratitude to our Dean, AS Arch for giving us

inspiration and support that was required.

I also express my sincere appreciation and gratitude to Prof. Priya Joseph, thesis co-ordinator for her

steadfast encouragement for her valuable insights.

I would like to thank our library staff for providing me all the valuable information and co-operation in

the completion of my thesis successfully.

Last but not the least, I would like to thank my family and friends for their constant support and

understanding during the course of this project.

NAME : SANDHYA S SARAVANAN

USN : 1AA13AT082

CONTENTS

INTRODUCTION:

• INTRODUCTION

• OBJECTIVE

• SCOPE

• METHDOLOGY

• PERFORMING ART FORMS OF KARNATAKA

• VERNACULAR ARCHITECTURE OF KARNATAKA

CASE STUDY

• NRITYAGRAM, BANGALORE

• NCPA, MUMBAI

LITERATURE STUDY

• KALAKSHETRA, CHENNAI

• KOREAN FOLK VILLAGE, KOREA

DESIGN BRIEF

BYLAWS

AREA REQIREMENTS

SITE ANALYSIS

BUBBLE DIAGRAM

ZONING

FORM DERIVATION

DESIGN OUTPUT

Performing arts village is an institution which unifies all folk art performances under one roof. The performance

art centre are to develop ways and means by which the basic folk cultural and aesthetic values and perceptions

remain active and dynamic among the people. It also undertakes programmers of preservation, encouragement

and dissemination of various manifestations of contemporary creativity.

In the present day world, folk art is not confined to merely being a manifestation of the urge for self-expression by

individuals and communities but is also a vehicle for providing employment opportunities. With a large number of

people dependent on the output of this sector, promotion of this sector is necessary to spur economic growth, apart

from strengthening its role as an expression of the creative urges of the people.

India is called unite country with diversities which ranges from the snow-capped mountains to the sun washed

beaches, crispy old bazaars to chichi designer boutiques, serene temples to spirited festivals, tumbledown rural

villages to techno ability urban hubs this country is the planet’s most multidimensional country. India is a country

where culture echoes, tradition speaks, beauty captivates and diversity delights. India is a vivid kaleidoscope of

landscapes with significant historical sites and royal cities, misty mountains, colorful people who are rich in

culture and festivities. To gather these all phenomenal diversities at one place and to spread the essence of our

rich Indian culture, we have cultural centers at various regions in which through arts, exhibitions, drams, theaters

we describes different folk art cultures of India.

There are three broad dimensions of folk art culture: National Identity, Mass Media and Tangible and Intangible

Heritage. National Identity revolves around questions like: Who are we? What is our national identity as Indians?

What is our shared perception or history, lifestyles, values and beliefs? These are not questions of purely

academic interest alone but serious questions having a bearing on the well being of the nation and its people. Mass

Media comprises cinema, radio, television and print media. Tangible and Intangible Heritage includes, among

other things, monuments, sites and archaeology; anthropology and ethnology; folk and tribal art; dance and

drama; and visual arts in the form of painting, sculpture and graphics.

The requirement of the present is the preservation of the folk art forms but with a thread of continuity that binds

the diversities into a cohesive whole. The need is to create a celebratory space for learning and sharing, enabling a

synergy between tradition and modernity through the collective wisdom of cultures, communication and social

change.

Performing art centre are necessity to keep people educated about their folk cultural history, also help them

understand the importance of folk art forms. It is an important hub for promotion of new urban and rural

Performing Artists.

Objectives

• The aim is to design a space to provide opportunities by which people from different parts of India get to know

more about each others tradition and art forms and thereby help in promoting mutual understanding and

national integration

• To preserve, innovate and promote the projection and dissemination of the art form

• To develop and promote the rich diversity and uniqueness of the various performing art forms of the state and

to upgrade and enrich the consciousness of the people about their cultural heritage.

INTRODUCTION

PERFORMING ARTS CENTRE 01

Methodology

• Finalization of Topic & Site selection.

• Literature, survey and study about the topic from websites, journals, articles, etc.

• Studies of similar art Centres.

• Selection of at least two potential case studies.

• Conducting case studies to understand concept & design principle about the topic as why and where studies of

standard and norms about similar structure.

• Finalizing requirements , areas and constraints after reference to various case studies, norms , standards and

desk appraisals.

• Site finalisation & analysis.

• Initial concept & sketch design.

• Preliminary design

• Final Design.

• To lay special emphasis in its activities on the cultural linkages among various areas through evolution of

styles and their contribution to the larger composite identity of the cultural heritage of Karnataka.

• To make special efforts to encourage folk and tribal arts and to frame special programs for the preservation

and strengthening of the art forms that are languishing towards extinction

• Promote the rich ethnic inheritance of the city and develop Bangalore as a hub of performing art Create a

space and environment to preserve the traditional art of the state for the tourists.

• Promote the talents of local artists though giving them a platform to exhibit their art forms.

• Encourage and promote Private Sector Participation in the development of tourism sector.

Scope

The thesis topic would help me explore the spaces required for artists to practice their crafts. It would help me

understand the social and cultural setting of the region and explore the implementation of cultural context on

building design. It would allow me greater freedom in form and spaces as many of the spaces to be designed

would be of flexible nature

India has rich cultural values and diverse art forms in it. These values have to be conserved for the future

generations. They have to be promoted through some medium. The performing art centre will offer vital role for

promoting folk art forms and culture, entertainment balanced growth of the city and society and to spread

knowledge


PERFORMING ART FORMS

Dance

Folk dances play an important role and provide the best medium to express the feelings and emotions to common

man. Indian folk dances are roughly classified as per the States boundaries.

These folk dance forms have contributed significantly in the development of the classical dance forms of the

country too. Therefore, India has a large number of folk dances, with different regions of the country to their own

set of dances. Folk dances are particularly prevalent in tribal, rural or comparatively less developed areas, where

dance is regarded as an integral part of their lives.

Folk dances are dances of ordinary people and mostly are traditional in nature. Depending upon customs, every

village has its own folk dances performed on specific occasions such as the birth of a child, to celebrate the arrival

of new seasons, weddings and festivals. Therefore, folk dances can be classified, as harvest dances, celebration of

arriving season, ceremony based dance such as wedding dances, dances that are performed exclusively to show

joy and happiness, ritualistic dance etc.

In many cultures, the term ethnic dance or traditional dance is used to indicate Folk dances. Although every single

term has its own context for interpretation, the latter terms may encompass significance of ceremonial dances.

India is having a treasure of a variety of folk dances. The cultural diversity and rich traditional pattern of Indian

society is truly reflected through variety of Indian folk dances. The origin of Indian folk dances forms can be

traced to different parts of the country. Each form of dance represents the culture and ethos of a particular region

or a group of people. Most of the Indian dances describe & explain the Indian art of living.

Indian folk dances are full of variation and multiplicity in terms of themes, forms, and styles. Folk dances

continue to be a distinct category that can be characterized by the overwhelming spontaneity of participation

without an artificial barrier between the actors, performers and in various the audience.

The terms ethnic and traditional are used when it is required to emphasize the cultural roots reflected from that

particular dance. In this sense, nearly all folk dances are ethnic ones. But if some dances form, cross ethnic

boundaries such as Kuravanji, a folk dance of Tamil Nadu is originated in neighboring State Andhra Pradesh and

still termed as Folk one. However, not all-ethnic dances are folk ones. The simplest example of these are ritual

dances or dances of ritual origin.

There is no such separate genre as folk dancing. Rather, there is a large body of unrelated non-classical dance

forms. The only thing common among these dance forms is their origin in rural areas.

It would be more appropriate to categorize these folk dances into two categories: folk and tribal. The difference

between the two is of cultural. Folk dances are the rural extensions of the larger Indian population. Examples are

the Bhangra of Punjab and the Garba of Gujrath. However, the tribal dances are dances by India`s aboriginal

populations. These people, known as adivasi, have a culture, which is very different from the larger Indian

population. So, attempting to relate Indian tribal dances with Indian folk dances is not right.

Indian folk and tribal dances are product of different socio-economic set up and traditions of that particular

region. The skill and style, steps of the dances influence the final performance of the dance in each case.

It is very usual, that on special occasion, the villagers will gather , sing and dance, accompanying themselves on a

variety of folk instruments for gaining music. Such special occasions include harvesting, planting, marriages and

religious holidays ,etc.

Dance culture in Karnataka.

If one studies the historical literature and the Chalukyan sculptures that abound in places like Badami and Aihole,

it is obvious that the classical dance form of Bharatanatyam has been practiced and performed since ages in this

region. Even as early as the 5th century itself, sculptors had carved dancing women based on the ancient

Natyashastra treatise. The Hoysala and Vijayanagar dynasties encouraged dance forms and artists which gave a

boost to the art form. In fact the queen of the Hoysala empire, Shantala was herself a great dancer.

Subsequent rulers, specifically the Wodeyars, continued to patronize the art and that tradition is still living. While

classical Bharatnatyam, Kuchipudi and Kathak are widely performed in Karnataka, the state is particularly well


known for what is called the Mysore style of Bharatnatyam, patronized by the ruling Maharajas. K

Venkatalakshmamma and Jatti Thayamma are the pioneers who laid the foundations for this art form and today

have loyal followers who practice this style.

Other traditional dance forms of Karnataka include Dollu Kunitha, Suggi Kunitha, Kamsale, Gorava Kunitha,

Thatte Kunitha etc. In these forms, artists attired in colourful costumes dance rhythmically to the tune of drum

beats, singing folklore. Other folk forms are Krishna Parijatha, Bhootha Aradhane and Nagamandala. Most of

these dance forms have originated in coastal and northern parts of Karnataka and is losing its value over time.

There is need to preserve this dance forms.

Dollu kunitha

Dollu Kunitha is a major form of folk-dance performance in Karnataka.

Dollu Kunitha is performed mainly by men and women of the Kuruba

community of Northern Karnataka.

Dollu Kunitha in Karnataka is generally performed to commemorate an

auspicious event. The districts of Shivmoga and Chitradurga are

particularly noted for their excellence in the performance of this folk

form. The performance like almost all other folk performances of India

is not only a mode of entertainment but is intended towards the spiritual

well being of the performers and the spectators.

Dollu Kunitha at Karnataka has distinct religious overtones. They are

traditionally performed at the temples of Bireshwar. Traditionally the

themes were religious and were known as the 'Halumatha Purana' or

simply the 'Kuruba Purana'. However, recently it has been used to

propagate various government schemes and programs including adult

education, literacy programs, etc. It forms the center of attraction at all

religious festivals of Karnataka specially Northern Karnataka. Often it

is used to welcome the harvest season. However, it can also be

arranged to commemorate a wedding, the birth of a child or even a

burial or a funeral.

Beesu samsale and kamsale nritya

Kamsale of Karnataka, also known as Beesu Kamsale is a vigorous

dance form of the Kannada speaking inhabitants of the state that

employs a great blend of aesthetic sublimity and martial dexterity.

Karnataka's Kamsale is mainly practiced in the districts of Mysore,

Nanjagud, Kollegal and Bangalore. The religious aspect of Kamsale is

prominent. It narrates the glory of Lord Mahadeswara Shiva and the

performers are vowed to a lifelong allegiance to the god. The art is

transmitted orally and through closely guarded tradition transmitted

from the preceptor to the pupil.

Kamsale in Karnataka is closely associated with the rituals of Shiva

worship. Kamsale derives its name from the musical instrument used in

th performance. Usually Kamsale is performed by a group of three to

five dancers, although the number can go up to twelve with singers

included. They wear traditional dresses in gold and red. However, the

colour schemes worn by the singers are slightly different from the

dancers. They are a pair of cymbal-like discs made of bronze. The

brass discs are scooped out from the middle and is hollow at the center.

The disc on the left hand is held close to the palm while the one in the

right hand hangs loose generally at an arm's length. When they collide,

one gets a loud clang. The Kamsale are hit in rhythm with the songs

which typically are taken from the Mahadeswara epic exalting the

glory of the lord Mahadeswara. There is no written documentation of

these songs. They are orally handed down by tradition with great

respect for the purity of the form.


Kolatta

Kolatta is the traditional folk dance of the state of Karnataka, located in

Southern India on the western coast. Unlike its North Indian counterpart

Dandiya Ras, it comes in two forms. First, it is performed with coloured

sticks and usually involves both men and women dancing together.

Second, very rigorous play of sticks only by men dancing to folk songs.

Sticks here are thick and hard to sustain strong play.

In early days the dance was performed by women only, gradually the

changes occurred in this dance and now the dance was performed by both

male and female. Generally, this art form is performed during village

festivals. The dance is the combination of rhythmic movements, songs,

and music.

There are many types of Kolata, like jade ( ja - day) kolata which means

plait Kolata. People here jumble themselves holding long scarves. This

jumbling forms a plait. There are many types of jade Kolata including

fishtail

The dance is performed by 8 to 40 artists as a group and each two artists

grouped as a pair. Each one holds the two sticks and moves the sticks

according to their leader movements. The leader means a person handles

the whole performance of the group. Actually, there are two circles

formed before dance performance, one group is around inner circle and

another one is around the outer circle. The circles move in opposite

direction by following the rhythmic dance and hit the sticks from two

circle artists with rhythmic sounds.

Cultural traditions from various regions of the country reflect the rich diversity of Regional Music of India. Each

region has its own particular style.

Tribal and folk music is not taught in the same way that Indian classical music is taught. There is no formal

period of apprenticeship where the student is able to devote their entire life to learning the music, the economics

of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of

hunting, agriculture or whatever their chosen profession is.

Music in the villages is learnt from childhood, the music is heard and imbibed along with numerous public

activities that allow the villagers to practice and hone their skills.

The music is an indispensable component of functions such as weddings, engagements, and births. There is a

plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In

these activities the villagers routinely sing of their hopes, fears and aspirations.

Musical instruments are often different from those found in classical music. Although instruments like the tabla

may sometimes be found it is more likely that cruder drums such as daf, dholak, or nal are used. The sitar and

sarod which are so common in the classical genre are absent in the folk music. One often finds instruments such

as the ektar, dotar, rabab, and santur. Quite often they are not called by these names, but may be named

according to their local dialect. There are also instruments which are used only in particular folk styles in

particular regions. These instruments are innumerable.

The instruments of classical music are crafted by artisans whose only job is the fabrication of musical

instruments. In contrast the folk instruments are commonly crafted by the musicians themselves.

It is very common to find folk instruments that have been fabricated of commonly available materials. Skin,

bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments.

FOLK MUSIC

Janapada Geethe is yet another thriving music form of Karnataka. By combining elements of prose and verse,

several folk epics were created. Particularly the rural people had their own distinct songs and styles to celebrate

both social and religious occasions. Noteworthy among the folk music genre are the Vachanas of Basavanna, an

ardent Shaivaite whose verses were so lyrical that they got incorporated into Janapada Sangita.

Music

Theatre

Living traditions occupy a prominent place in the Indian social system. Any living tradition has a natural flow.

There can be no doubt about the fact that traditional art forms reflect the ideals of the society, its determination to

survive, its ethos, emotions, fellow-feelings, and so on. Drama in itself is a complete form of arts. It includes in its

framework acting, dialogue, poetry, music, etc.


Traditional theatre forms have definitely been influenced by industrial civilization, industrialization, and

urbanization. The socio-cultural aspects of these influences should be carefully studied. There was a time when

Kanpur became the centre of the traditional theatre Nautanki. Artists, dancers and singers produced plays based

on local heroes, their popularity and traditional love stories. Thus, a local theatre form acquired significance in the

field of entertainment.

Traditional theatre forms have a common distinguishing feature that is the element of simplicity. What is the

underlying force of traditional theatre forms that has enabled it to survive and maintain its simplicity? The fact

remains, that it is the immediate, direct, realistic and rhythmic relationship that the spectators are able to develop

with the artists of traditional theatre forms which is generally not experienced in other art forms. It is reflected in

the applaud by the spectators by means of clapping their hands.

Secondly the development of traditional theatre forms is based on such local and regional peculiarities which are

not bound and restricted by social and economic divisions, limitations, etc. Traditional art forms have influenced

classical art forms and vice-versa. It is an eternal journey in the sphere of ‘culture’.

In traditional theatre forms, characters keep changing their place on the stage to be more impressive and to give

the situation a greater significance. This technique also reduces the chance of boredom through repetition and

stillness. Dialogues delivery is usually carried out in a high pitch. This helps the actors in reaching out to a larger

audience. The artists always add something or the other to the original dialogue on their own. The changes

brought through improvisations, make the spectators ecstatic. Also, it establishes a direct relationship between the

artists and the spectators.

The clown also plays a similar role. While being humorous, he also touches upon the socio-economic, political

issues and situations with lot of satire. There are different methods too, in the way the clown makes his

appearance. If the king, in traditional theatre forms, decides on a step not beneficial for the people at large, the

clown appears and takes the side of the common man. He makes the audience laugh and at the same time

discloses the anti-people attitude of the king.

Both folk and contemporary theatre is well and alive in Karnataka. Yakshagana is a kind of dance drama which is

popular in the coastal region of Karnataka. It is an important theatrical form which combines folk and classical

tradition and is similar to Kerala’s dance form Kathakali in terms of bright and colourful costumes, dance and

music, and incorporates extempore dialogues, which is very unique to this form.

Yakshagaana, traditional theatre form, is based on mythological stories and Puranas. The most popular episodes

are from the Mahabharata i.e. Draupadi swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and

from Ramayana i.e. Raajyaabhishek, Lav-kush Yuddh, Baali-Sugreeva yuddha and Panchavati.

In community living, the art of singing has its own importance. In all the traditional theatre-forms, songs and the

art of singing have an important role to play. Traditional music of the theatre is an expression of the feelings of

the community.

Traditionally the language of ordinary people has an element of creativity, though not based on classical or

grammatical roots. This kind of creativity is spontaneous, emerging from the circumstances. When there is

intensity of emotions, there is a natural kind of rhythm in the expressions. It is this natural rhythm from which

emerges the traditional theatre-form. In this art form, sorrow, joy, frustration, hatred and love have their role and

place.

In different regions of India, there are religious festivals, fairs, gatherings, ritual offerings, prayers, almost

throughout the year. During these occasions, traditional theatre forms are presented. They reflect the common

man’s social attitudes and perceptions. In this social portrayal, there is also the individual’s role which is given

due importance.

Traditional theatre forms incorporate not only the common man’s interests but there is also a classical element in

them. This classical facet, however, takes on regional, local and folk coloring. It is possible, that those associated

with the classical world of Sanskrit drama, went to the neighbouring regions after its decline and intermingled

with the local theatre forms. This kind of synthesis, give-and-take must have taken place on various levels such as

written, verbal, classical, contemporary, national and local.

In traditional theatre, age-old forms, customs and the desire to improvise are intermingled. It is usually when the

significant themes are enacted, that the acting restricts itself to traditional norms, not deviating from it. But, every

time the theme inches towards the contemporary, the actors improvise as far as dialogue delivery is concerned.

In traditional theatre forms there are certain conventions of presentations depending upon and changing according

to the form and size of the stage or the platform and other available situations. There is no formal setup governing

the entry or exit of the actors. Depending on the situation or context, the actors enter into the stage and enact their

role without being formally introduced. After a particular event or incident is over, all the artists make an exit, or

all of them sit down on the sides of the stage or near the backdrop, conveying the change of a scene

In traditional theatre forms, there is no such thing as episodes. There is always continuity in its theme, structure

and presentation. There is also a scope for improvisation and incorporation of new references leading to subtle

extension in the story-line. There is direct and intimate communication between the actors and the audience.


Yakshagana

Yakshagana is one of the most popular tradition theatrical forms of

Karnataka. It is difficult to categorize Karnataka's Yakshagana as folk,

rural or classical.

It can be said to be a form of theater that encompasses many performance

traditions. Having its origin in the Bhakti movement in southern India,

Yakshagana literally means the songs of the celestial beings.

The themes employed in Yakshagana of Karnataka are typically taken

from the epics of Ramayana and Mahabharata and other important

episodes of the Hindu mythology. However being a theater form, it

enjoys more aesthetic freedom than the dances. Yakshagana is

traditionally presented by specialized traveling artists who travel from

village to village in groups of 15 to 20. Performances of Yakshagana at

Karnataka usually take place in the night. They start towards the end of

the afternoon and go on till the early hours of the dawn. The villagers

gather from far and wide to see them and there are no tickets charged for

the performances.

Krishna parijatha

Krishna Parijatha is based on one of those mythological tales that is

widely popular in Karnataka. This art form depicts the rich and vibrant

culture of the land. The belief and customs of the people are reflected in

these art forms.

Krishna Parijatha is a folk theatre that heavily draws from the ancient

religious books. Revolving around Lord Krishna, it is a delight to watch

drama being performed on stage. It is often presumed that Krishna

Parijatha is an amalgamation of the themes of the other two popular

dance dramas -Yakshagana and Byalatta.

Performance of Krishna Parijath

The story of Krishna Parijatha is performed in group. It beautifully

portrays the rivalry and jealousy between the two consorts of Krishna -

Rukmini and Satyabhama.

The dancers usually wear glitterati attires and decorate themselves with

beautiful jewelleries resembling Lord Krishna, Rukmini, Satyabhama and

other important characters. The wonderful performance of this drama

takes the audiences to the mythical story of Krishna Parijatha.

Popularity of Krishna Parijatha

The dresses and the make-up of the artists in Yakshagana, Karnataka are extremely codified and ascertained by

tradition. The different characters use dresses and make-ups suiting their roles. The bhagavat holds the narrative

together and the artists indulge in dialogues in verse and prose to carry the plot forward. The dress of the heroes

are different from the demons and they are in turn different from the comedians and the narrator or the

‘Bhagavat'. Songs are often employed as are dances.

Krishna Parijatha is mostly popular in various districts of Northern Karnataka. From village squares to open

markets, it continues to be a popular folk religious theatrical form.

Puppetry

puppet is one of the most remarkable and ingenious inventions of the man. It has been said that a puppet has to be

more than his live counterpart for it is definitely the suggestive element that is more captivating and enduring in a

puppet.

Ancient Hindu philosophers have paid the greatest tribute to puppeteers. They have likened God Almighty to a

puppeteer and the entire universe to a puppet stage. Srimad Bhagavata, the great epic depicting the story of Lord

Krishna in his childhood say that with three strings- Satta, Raja and Tama, the God manipulates each object in

the universe as a marionette.

In Sanskrit terminology Puttalika and Puttika means ‘little sons’. The root of Puppet is derived from the Latin

word ‘Pupa’ meaning a doll. India is said to be the home of puppets, but it is yet to awaken to its unlimited

possibilities. The earliest reference to the art of puppetry is found in Tamil classic ‘Silappadikaaram’ written

around the 1st or 2nd century B.C.


Natyashastra, the masterly treatise on dramaturgy written sometime during 2nd century BC to 2nd century AD.,

does not refer to the art of puppetry but the producer-cum-director of the human theatre has been termed

as ‘Sutradhar’ meaning the holder of strings. The word might have found its place in theatre-terminology long

before Natyashastra was written but it must come from marionette theatre. Puppetry, therefore, must have

originated in India more than 500 years before Christ.

Almost all types of puppets are found in India. Puppetry throughout the ages has held an important place in

traditional entertainment. Like traditional theatre, themes for puppet theatre are mostly based on epics and

legends. Puppets from different parts of the country have their own identity. Regional styles of painting and

sculpture are reflected in them.

Stories adapted from puranic literature, local myths and legends usually form the content of traditional puppet

theatre in India which, in turn, imbibes elements of all creative expressions like painting, sculpture, music, dance,

drama, etc. The presentation of puppet programmes involves the creative efforts of many people working

together.

• String Puppets

• Shadow Puppets

• Rod Puppets

• Glove Puppets

In modern times, educationists all over the world have realised the potential of puppetry as a

medium for communication. Many institutions and individuals in India are involving

students and teachers in the use of puppetry for communicating educational concepts.

• String Puppets

India has a rich and ancient tradition of string puppets or marionettes. Marionettes having jointed limbs controlled

by strings allow far greater flexibility and are, therefore, the most articulate of the puppets. Rajasthan, Orissa,

Karnataka and Tamil Nadu are some of the regions where this form of puppetry has flourished.

Gombeyatta, KarnatakaThe string puppets of Karnataka are called Gombeyatta. They are styled and designed like the characters of

Yakshagana, the traditional theatre form of the region. The form is believed to have been prevalent in the ninth

century, as mentioned in the Puranas. All the ritualistic rigours of the Yakshagana are observed. The string

puppets are made of wood. Their costumes are like those worn by the characters from Yakshagana, with the same

elaborate make-up, colourful headgear and heavy jewellery. These puppets are manipulated by five to seven

strings tied to a prop. Some of the more complicated movements of the puppet are manipulated by two to three

puppeteers at a time.

• Shadow Puppets

India has the richest variety of types and styles of shadow puppets. Shadow puppets are flat figures. They are cut

out of leather, which has been treated to make it translucent. Shadow puppets are pressed against the screen with a

strong source of light behind it. The manipulation between the light and the screen make silhouettes or colourful

shadows, as the case may be, for the viewers who sit in front of the screen. This tradition of shadow puppets

survives in Orissa. Kerala, Andhra Pradesh, Karnataka, Maharashtra and Tamil Nadu.

Togalu Gombeyatta, KarnatakaTogalu Bombeaata is an ancient form of puppetry still popular in certain parts of rural Karnataka. They employ

leather puppets and typically employ themes drawn from the epics and mythological stories.

They are used both as instruction and entertainment. Sometimes Togalu Bombeaata at Karnataka is used to

perform certain beneficial magical purposes; they are still believed to be infused with divine power in certain parts

of Karnataka.

The person conducting the show is known as Bhagavathar. He

is a sensitive musician and an imaginative storyteller, giving

dramatic expressions to the simple or complex situations

through the puppets. The contents are drawn from the epics and

the Bhagavat Puran. The Maddale and the Shruti (drone)

provide the accompaniment. Episodes enacted in Gombeyatta

are usually based on Prasangas of the Yakshagana plays. The

music that accompanies is dramatic and beautifully blends folk

and classical elements.

Togalu Bombeaata in Karnataka is essentially a form of puppet

theater. The puppets are made of leather. The structures of the

various mythological characters are stylized and can be

identified from the dominant iconography practiced by the

puppet makers since very early days. Tales from Ramayana

and Mahabharata are the most common themes for the

presentation of Togalu Bombeaata of Karnataka.

The mode of communication and the scripts are as old as the form itself and is handed down by tradition.



VERNACULAR ARCHITECTURE OF KARNATAKA

Vernacular architecture of Karnataka symbolises houses designed and built by people for their own use. It is the

form that a neighbourhood or community has arrived at, through a system of development, in a precise cultural,

climatic and technological context. The architectural scene after independence presents some overwhelming

changes, most significant being the influence of the western culture. The most notable development in the recent

years has been the idea of vernacular architecture, which is unique form of design. The architecture in India is

constantly changing and the prospect of the modern and the vernacular coming together points towards an exciting

period of new creativity in our architecture.

Features of vernacular architecture of Karnataka are varied and constitute the elements intricate designs and

forms. The inter-relation between built-form and life-style can be better understood through specific examples.

Courts And Courtyards A court, which is open to the sky and surrounded by a building, is a fairly

common architectural feature throughout the tropical world. It serves

essentially as a modifier of the local climate by providing lighting and

ventilation in an area of complete privacy. It provides circulation space,

knitting closely as it were the different parts of the household. There could be

several household activities peculiar to the court even as it serves as a spill-over

space for other activities in the interior.

In the case of naturally evolved row housing in small towns, a backyard court is

a familiar feature. It provides space for extended kitchen activity and for

washing and drying chores. Besides, it also accommodates the ubiquitous Tulsi

altar, focussing on the religious activity of the household. Finally, it is the

circulation space in order to reach the bath, the water closet, the well and the

cowshed. Its use is also observed in government-sponsored row housing,

though not in a developed form. Where land use is not restrictive, the

colonnaded courtyard in the centre of the house is often seen. This type of court

forms part of a large multiple activity living room. The bigger courtyard,

besides performing the normal functions of a court, can act as storage space for

food grains or a gathering place on the occasion of ceremonies and family

rituals.

There is the other, more extrovert, variety of court, which is situated in the front

of the house, acting as a garden-cum-activity space, separating the house from

the street. This variety can also be found in some contemporary, architect-

designed bungalows. The last and the most interesting variety is the semi-

private courtyard, providing a common space for several independent

households or the semi-independent members of a joint family. For agricultural

or pastoral families it is a space for storage, grain processing and a shelter for

animals at night. In towns and cities we find a different version of this, housing

several middle-class families in one enclosure known as the vathara in

Kannada. Such units are generally used by lower income groups, since the plan

here facilitates a highly economical use of land. It is probably an interesting

development in the economical organization of houses and may have relevance

even in the modern context.

Open Verandah-platform Or The JagaliThe jagali is the Kannada word for what may be rather inadequately described

as an open verandah with a raised platform. This is invariably located in the

front of the house. It is associated with a large number of functional and

symbolic values. It is the buffer between the shared community area in the

front of the house and the privacy of the inner house. The pleasant and relaxed

feeling which a jagali often suggests is indeed an expression of the invitation

and hospitality extended to a visitor. In its simplest form, it is a semi-open

raised platform. In a rural household it is the major domestic activity space.

One can rest here on a hot afternoon, friends can gather for a chat on the jagali

and at other times one may find children playing on the jagali. It may also be

used by a weary and unknown traveller for resting, and with no questions

asked. The variety of uses to which this space can be put is really endless. It is

probably the most versatile living space of the house, giving symbolic

expression to its inner character.

Roofing The roofing of rural houses, in general, dominates the expression of the form of the house as well as the village

cluster itself. Depending upon the climatic situation, we have the gabled tile and the gabled thatch, or the flat mud

roofs of the drier tracts using stone slabs or wood as supports. The tiled villages are probably more common, the

gables being of different proportions and elevations jutting out of the earth in a very, harmonious fashion. No two

roofs are completely alike, even when they carry the same cultural stamp.

There are other roofing forms to be found mostly in cities, such as the flat roofs of the Madras terrace and the

Jack-arch terrace variety. These roofs used mainly local materials like brick, lime and wood while steel was

introduced in the Jack-arch roof for the supporting structure. Soon after Independence, the freedom of form

provided by reinforced concrete proved very attractive and the Madras terrace and the Jack-arch terrace made a

quick exit.


Wall Textures At close sight, the textures of the walls and roofs in rural

houses express the earthiness and simplicity of rural life-

styles. The rural craftsman is in total control, producing a

variety of textures. In areas which abound in stone, the

rough-hewn stone in mud mortar with natural colours,

covering a wide range, is generally left completely

exposed. These wall textures have a kind of perennial

beauty in spite of the coarse finish. Where mud mortar and

whitewash are used, one finds a reposeful smoothness and

whiteness which contrast with the natural strong colours of

the roofing. In areas which abound in bamboo, very thin

bamboo walls with elegant clay plastering immediately

show the quality of the local craftsmen. The use of brick

and laterite very often also goes along exposed masonry,

which provides a harmonious match to the red tiles. The

down-to-earth colours of the walls again suggest a strong

affinity to nature. This approach to natural colouring may

be contrasted with the modern urban taste for mass-

produced paints and colours of every shade. The freedom

in choice of colours and textures has actually led to a

chaotic situation, where the houses in a street are coloured

as per the tastes of individuals or the concerned architects.

These urban houses in a street are no longer members of a

vernacular family. The discord between house and house,

house and community is often complete in such

settlements.

Housing PatternThe cluster of village houses is always of low profile, the succession of

gables nestling in the surrounding greenery. This is significantly an

expression of man as the child of nature and not as its master, in total

contrast to the modern urban skyline which suggests an attitude of mastery

over nature with a forest of skyscrapers soaring beyond the level of trees.

The rural scene thus presents an image of harmony between man and nature

while the urban picture is one of discord between the two. It is probably

necessary to infuse some of the rural ethos into the urban architectural

milieu if we wish to halt the progress of the city towards chaos.

Stone masonry is a traditional form of construction that has been practiced

for centuries in regions where stone is locally available. Stone masonry has

been used for the construction of some of the most important monuments and

structures around the world. Buildings of this type range from cultural and

historical landmarks, often built by highly skilled stonemasons, to simple

dwellings built by their owners in developing countries where stone is an

affordable and cost-effective building material for housing construction.

Stone masonry buildings can be found in many earthquake prone regions and

countries including Mediterranean Europe, North Africa, the Middle East,

and Southeast Asia.

Karnataka's history, dating back to 3200 BC has been influenced

considerably by the disposition, development and use of stones and other

construction materials. Dimension stones have also left deep imprints on the

architectural heritage of the state. Innumerable temples, forts and palaces of

Ancient Civilisation have been carved out of locally available stones.

STONE

Stone Masonry

Traditional stone masonry evolved from dry stone stacking. Stone blocks are

laid in rows of even (courses) or uneven (uncoursed) height, and fixed in place

with mortar, a cement or lime mixture pasted between the stones. The building

stones are normally extracted by surface quarrying, drilled and split using

diamond saws or iron wedges, and then shaped and polished according to their

requirements. The basic hand tools used to shape stones are chisels, mallet and

a metal straight edge, but modern power tools such as angle grinders and

compressed air-chisels are often used to save time and money. Stones are

either shaped (dressed) into a block, known as ashlar masonry, or left rough

and cut irregularly, known as rubble masonry. Mortared stone structures are

less durable than dry stone, because water can get trapped between the stones

and push them apart.

Traditional stone masonry is rarely used today, because stone is expensive to

quarry, cut and transport, and the building process is labour and skill-intensive.

Instead, most modern stonework utilises a veneer of stone (thin, flat pieces)

glued against a wall of concrete blocks. This is known as veneered stone or

stone cladding.

Slipform stone structures are a cross between veneered masonry and

traditional masonry. Short forms (around 2 feet tall) are placed on either side

of the wall, to serve as a guide for the structure. Stones are placed inside the

forms with the flat face out, and concrete is then poured behind the rocks to

hold it together. Stone buildings can be constructed quickly and easily with

this method.

Sustainable Stone

Stone is a highly durable, low maintenance building material with high

thermal mass. It is versatile, available in many shapes, sizes, colours and

textures, and can be used for floors, walls, arches and roofs. Stone blends well

with the natural landscape, and can easily be recycled for other building

purposes.

Dry Stone Stacking

The earliest form of stone construction is known as dry stone, or dry stacking.

These are freestanding structures such as field walls, bridges and buildings that

use irregularly shaped stones carefully selected and placed so that they fit

closely together without slipping. Structures are typically wider at the base and

taper in as height increases. The weight of the stone pushes inwards to support

the structure, and any settling or disturbance makes the structure lock together

and become even stronger. Dry stone structures are highly durable and easily

repaired. They allow water to drain through them, without causing damage to

the stones. They do not require any special tools, only the skill of the

craftsman in choosing and placing the stones.


MANGALORE TILE ROOFING

Mangalore Pattern Roof Tiles is the oldest pattern of roof tile which is

still popular in India. This can be used over a fabricated wooden or

metal structure. These days, Mangalore tiles also used over a RCC slop,

roof to protect it from direct heat and rain.

They provide excellent ventilation especially during summer and

aesthetically as well. Some of them are especially made to be placed

over kitchen and bathroom for the smoke to escape. Over a period of

time, these tiles become dark to black from constant exposure to soot

and smoke. These red colored clay tiles, unique in shape and size are so

famous and export to all the corners of world. They are unique and are

made or available in different size and shapes depending on the users

need.

Mangalore tiles first made in ‘Mangalore', a coastal town in Karnataka!

Even before the missionaries of Bassel Mission from Switzerland

landed in coastal Karnataka during the 18th century, rounded roof tiles,

now called as country tiles, were popular all over the south. Produced in

most villages, these were hand made, had no interlocking facility, and

were more prone for cracks.

Roofing with wooden rafters and terra cotta tiles

Pitched roof construction where the building plan, being hexagonal in profile coupled, with a double level

demanded an innovative coming together of varied joinery details. Rafters radiate outwards and come together

atop a central pillar while supported by the periphery walls. Tiling creates cover against the elements and is

aesthetically pleasing.

Pitched roof construction also uses an assembly that integrates metallic, wooden as well as earthen elements. Cast

iron brackets are hinged on columns that provide support to the main wooden roof edge member, which in turn

holds rafters in place that are connected by battens upon which Mangalore terracotta tiles have been laid to

provide a shelter for this verandah space.

Tiled roofs are part of building with clay, possibly amongst the most sustainable construction systems. They

create an induced passive cooling, wherein the tiles and the air underneath get heated up and the hot air is allowed

to escape outside in the gaps of the tiled roofs. This ensures cooler air from the floor level rises up. The secret

behind the thermal comforts of traditional tiled homes lie in this natural air draft, besides the soft light they let in

through the tile gaps. There are minimum windows to ensure least heat gain and glare-free living. Of course,

higher the roof height, the greater the benefits.

Irrespective of how the tiles are used – as original roof or cladding – Mangalore tiles are among the cultural

preferences of many communities. Despite the onslaught of newer technologies, dwindling manual labour and

depleting soil resources, we find tile roofs among the most eco-friendly ideas. It is good to see their continued

popularity and revival by architects even in cities like Bangalore.


CASE STUDY 1: NRITYAGRAM

Introduction: Nrityagram is India’s first modern Gurukul for Indian classical dances

and an intentional community in the form of a dance village, set up by

odissi dancer Protima Gauri in 1990.

Protima Gauri, converted ten acres of farmland outside Bangalore, into an

ideal setting for the study, practice and teaching of Odissi dance.

Location:Hessaraghatta P O, Bengaluru, Karnataka 560088

Design Process:Gerard da Cunha, the architect of Nrityagram, practices in Goa under the title ‘natural architecture’. This choice

of name is no mere whim, for it signifies a belief in what the state of architecture should be that which does not

decide everything in advance within the artificial and isolated context of the drawing board and office, but

evolves ‘naturally’ on site.

This approach would combine the roles of architect and builder, actual construction starting with only a general

notion of the overall organisation of the building and its materials, which would serve for the articulation of the

architect’s concept as well as obtaining the client’s approval.

The design evolves on the site through the act of building, and in this discussion, this approach is termed as

‘evolutionist’, which stands in sharp contrast to the conventionally accepted approach called ‘conceptualist’.

Gerard arrived to face the task of designing and building Nrityagram through:

• The use of granite as a locally available, termite-free material for columns, foundations and roofs.

• The process of forming rooms with clearly defined, simple geometries that would allow spanning stone slab

roofs across them.

• The use of stone plinth beams to distribute foundation loads in uncertain soils.

• The different types of mud that can be used for mortar in different situations.

• The manner in which stone columns and capitals are made.

• The techniques of cutting, dressing and lifting stones etc.

• Eclectic development of walls using different kinds and sizes of stone.

Construction began as soon as the design was understood in terms of an overall building plan, section studies, and

a foundation plan (all done to a scale of 1:100). Design development then took place on site, sometimes

supplemented by detail drawing studies at a scale of 1:20. all drawing were done freehand, scale and pencil being

the only drawing instruments used.

AMPHITHEATRE

GUEST HOUSE

GURU’S RESIDENCE

KATHAK GURUKUL

GUEST COTTAGE

FUTURE EXPANSION

ODISSI GURUKUL

OFFICE

TEMPLE AND YOGA HALL

TAJ KUTEERAM

PARKING

The axis development suggested by

the linear site began at its southern

end next to a telephone line and a

grove of casuarinas trees.

Starting with yoga hall and temple, it

developed with the Gurukul along

the eastern edge, with the services

that support them alongside on the

west. The main entry into the axis

lies between the yoga centre and the

first Gurukul. However, while this

was a general concept, no definite

master plan was made, and growth

was to take place through a gradual

process of adaption.


Temple

Designed and built by ray meeker in 1998.

It is fashioned from the raw mud of the locality and was

fired after it was built.

It is decorated with panels depicting the elements, dance

motifs, mudras and designs costumes and jewels.

Inside is a granite rock scooped out to hold water and a

flame that stays lit.

At present the area in front of the temple is used as a yoga

centre and also used for meditation.

Front view back view

Yoga centre

• Reminiscent of Stonehenge, the Yoga

centre is an open structure attached to the

temple. This space is also used for in-

house performances under an open sky.

• Designed by Gerard da Cunha. Built in

1990.

• The beams and columns are supported on

self weight without the use of mortar.

• Red oxide flooring in used.

Office block

Crowned with a horn-like structure, this

building was made to house Protima’s work

space.

Designed by Gerard da Cunha.

It is stone column and beam construction.

It is plastered with mud.

Has G.I sheet roofing presently.

It is the core administrative block today

Service block

Built like a reverse 2, this structure is the heart

of the village. The entire community eats

together and it is from the service block that

their daily sustenance appears.

Designed by Gerard da Cunha.

The service block had a curved shape to

smoothen the passage of entry, and this

geometry led to the decision of the thatched

roof (G.I sheet roofing presently)

The service block contains the common dining hall,

kitchen and store room and accommodation for the cook.

One reaches the Gurukul by going around the service

block to find a Torana which takes us further into the

Gurukul.

It is a stone masonry with pointed arches spanning the

openings.

Staircase is supported by archway.

It has central courtyard around which the rooms are

placed.


Odissi gurukul

ODISSI GURUKUL is also known as Raymond

Gurukul; Of all the diverse edifices that highlight

Nrityagram's campus, it is the Odissi Gurukul that most

mystifies the viewer.

Designed by Gerard da Cunha. Inaugurated in 1990.

The design of the Gurukul recognized four distinct

elements:

1. The guru’s residence

2. The male student’s residence

3. The female student’s residence

4. The practice hall

These four elements were gathered around a courtyard,

which became a central gathering point, with the stair to

the roof placed here as an element to sit on and watch the

activity of the practice hall.

The use of stone slab roofs determined the simple

rectilinear geometry of the residences and the guru’s

house was located so that it could have its own private

spill-over to the eastern side.

The practice hall, required a larger span, had a palm

thatched roof ( presently G.I sheets).

It’s a stone masonry walls left unplaster giving a rustic

look.

Guest cottages

These round structures, inspired by the yurts of Tibet and

Ladakh.

Designed by Gerard da Cunha. Built in 1990.

Stone for foundation and plinth.

Mud plastered wall construction; painted red and white.

Two cottages face each other, with a seating space in

between for interaction.

Round structure lead to the decision of Thatched roofing.

One of the guest cottage has a Mangalore tile roofing and

it has a utility area attached to the cottages.

Kathak gurukul

Kathak Gurukul is also known as Inlaks Cundill Gurukul

Winding flowery paths approach the Gurukul, the strong symmetrical base of granite, red brick and large door-

like windows.

Mortar-less stone-filled archways are a distinguishing characteristic of the Gurukul. Relying on nothing more than

ancient physics, the fine silvery stones are suspended in space, frozen in non-existent motion.

Designed by Gerard da Cunha. It has rectangular courtyard surrounding which is the residence on the three side

and practice hall on the fourth side.

Red oxide flooring is provided in the practice hall.

Residence are attached to a gathering space behind and has a common utility

area.

Light and ventilation is through the archways in the practice hall.


Amphitheatre

Scooped out of the red earth and built along

the lines of Roman amphitheatres,

Designed by Gerard da Cunha. Built in 1990.

To avoid disturbance amphitheatre is located

at the edge of the site.

Stone columns and beams are used.

Two circular stairway on either side of the

stage.

Gardens

Fruits and vegetables are grown on their own

and the same used for the cooking purpose.

They have stone seating as interactive space.

Sculpture garden is located near the service

block with lot of mini sculpture.

Stone pavement for the pathways.

Future plan

Whole body centre

While it is important to train the mind and

body, it is also equally important to provide a

system of physical care for the body. Over the

past few years, they have come to realize the

debilitating impact of injuries caused by the

use of inappropriate flooring, inadequate

preparation of the body before training and

lack of facilities for physiotherapy on an

ongoing basis.

To address this need, they are building a

"Whole Body Centre" for the dancers at

Nrityagram. This will house two studios for

dance (with wood flooring), a gymnasium,

Yoga room, massage room, steam room and

Jacuzzi. In addition, one of the dance studios

will also serve as an indoor performance

space, which will seat 250 people and have all

the facilities of a well-equipped auditorium.


Many built parts are of stone

masonry and few brick masonry.

Usage of arches at many places

have been done

Arches which were supported

by pressure no mortar between

them.

Arches are used to support the

stairs and also used as entrances

at some place.

The columns and the beams are

set out without mortar.

Lots of importance given to

natural ventilation and sky lights.

Overview:

• Sensitivity to local conditions

Existing features on the site tend to have greater impact on the

layout, as their immediate presence allows a reasonably

accurate evaluation.

• Totality of special elements

Although the design in terms of its overall development, each

individual space is tightly defined, especially in terms of its

sense of enclosure, which arises both out of the choice to

employ traditional methods of construction, and ability to

accurately visualize the finished space by actually being there.

• The ethics of labour

Workmanship is the ability to carry out an act well, and its

availability is usually a function of supply and demand ratios

or cultural definitions of standards of acceptability.

• Spirit of vernacular

• Development of regionalism

Resource centre

The Dance Collection: This will be the corner stone of

the resource centre. A history of Indian Dance over the

last 100 years will be housed here. This will be open to

and draw scholars from all over the world.

Library: A complete library on Dance. This includes

dance from all over the world and any discipline that

could be related to dance. The library will be updated

continuously.

Costume Gallery: A comprehensive display of dance

costumes from all over India.

Music Centre: A display of musical instruments from

India and a collection of dance music over

the ages.

The Protima Gauri Collection: A display of

photographs, writings, video recordings, costumes,

music, etc. covering the life of the founder of

Nrityagram and specially pertaining to dance and this

village. This will in essence also be an exhibition that

traces the beginnings of Nrityagram


CASE STUDY 2: NATIONAL CENTRE OF PERFORMING ARTS (NCPA)

Introduction

Inaugurated in 1969, the National Centre for Performing Arts (NCPA), Mumbai, is the premiere centre of the

Performing Arts in India, with five vibrant theatres, making it the largest institution of its kind in our region. The

first of its kind, to be built in South Asia, it has been committed since its inception to promoting and preserving

the country’s rich and vibrant traditions in music, dance and theatre, as well as catalysing new and innovative

work in the field of the performing arts. The vision was to develop a platform for the promotion of great Indian

and International Culture by providing facilities that live up to international standards.

Location:

• NCPA Marg, Nariman Point, Mumbai, Maharashtra

400021

• located at end of marine drive

• built on reclaimed land

Site and neighbourhood • The NCPA complex occupies an area of about3200m².

• The site can be accessed through 6 gates, the side is divided into 6 major blocks.

• Apart from these, within the site there are parking spaces, A.C. plants, staff quarters

and electric substations.

• The site is located in a commercial area.

• NCPA is surrounded by hotels, malls, offices etc.

• NCPA is 1km away from Church gate station

A. Corporate office

B. Library and stuart-liff collection

C. Little theater

D. West & east room 1 & 2

E. Box office

F. Jamshed bhabha theatre

G. Basement parking

H. Cafe

I. Sea view room

J. Tata theater

K. Membership department

L. Amadeus

M. Open air plaza

N. Piramal art gallery

O. Experimental theatre

P. Dance theatre godrej

Q. Sunken garden

Legend:

Entry sequence

NCPA has entries and exits from the Vinay Shah

Road (1), Sir Dorabji Tata Road (2 + 3) and NCPA

Marg (4 + 5 + 6). Multiple accessibility routes help

distribute the traffic evenly from the outer roads as

well as the traffic within. Each of these gates are

made use of based on the respective Theatre or

function being used; Gate 2 and 3 for the Tata

Theatre, Gate 4 and 5 for the Jamshed Bhabha

Theatre, Gate 2 and 4 for the open air plaza, Gate 1,5

and 6 for Little Theatre, Admin Block, Godrej

Academy Theatre and the Experimental Theatre.

Zoning

NCPA is zoned into four main buildings dedicated to

specific cultural and commercial functions, such as,

theatres, restaurants, cafes and art centres.

Zone 1 – Little Theatre, Nicholson Gallery, Teaching

and Research Block, Admin Block, quaters.

Zone 2 – Godrej Theatre, Experimental Theatre,

Sunken Garden, Piramal Gallery.

Zone 3 – Jamshed Bhabha Theatre, Rehearsal

Rooms, Café.

Zone 4 – Tata Theatre, Open Air Plaza, Amadeus

Restaurant.


Zone 1: little theatre

• The Little Theatre is located along with the main Admin Block.

• This proscenium theatre is used for music, dance and video

projection, acoustically designed as a Recording Studio.

• It has a Seating Capacity of 114; seats are Cushioned chairs (off-

white) on carpet (Maroon)

• The Recording Room is located at the rear of the auditorium.

• There are two Dressing Rooms provided, one at the ground floor

level (8.5sqm) and one at the first floor level (15.8sqm).

• The Stage measures 6.66m (w) x 5.47m (di) wing-to-wing with

a height of 3.96m downstage and 3.08m upstage.

• The wing spaces being 1.1m (w) x 6m (l) height of 3.08m and

1m (w) x 6m (l) height 3.08m, stage right and stage left

respectively; the proscenium opening being 5.85m (w) x 3.96m

(h).

Inaugurated in 1975, equipped with a multipurpose auditorium, a

state-of-the-art recording studio and a listening area, this space can

seat 114 people and is perfect for promising young musicians, dancers

and poets to showcase their skills. It is also an ideal venue for film

screenings, talks and seminars

Guest house

Auditorium

Service room

Office space

Stairs/lifts

Washrooms

Green room

Zone 2: godrej theatre

Inaugurated in 1985, with a stage that caters specially to the needs of

dancers and just 200 seats, this theatre is an intimate space that gives

every patron of dance a chance to observe, focus and appreciate

performances to the fullest. It also serves as a venue for classes,

workshops, film screenings, lectures and seminars.

• Godrej Dance Academy Theatre is a proscenium theatre

designed especially for dance performers.

• It has the capacity to house 185 people. Plastic bucket chairs

(blue) on red carpet

• The theatre is slightly sunk below the ground level and is

entered from the Chauraha Court.

• Its foyer is a linear rectangular space overlooking the court.

• The concourse is about 4m wide and is quite spacious.

• The seating is stepped and divided into two segments with 3

aisles, and arranged in an area of about 8m x 12m.

• There are wooden strips as acoustic panelling on the side walls,

and the false ceiling has been broken into a series of convex

panels to absorb to sound.

• The control room is located at the rear of the theatre, behind the

glass observation window.

• There are 2 Dressing Rooms (13.8sqm and 17sqm) provided at

the ground floor level, with a common lobby of an area

19.6sqm.

• The Stage measures 9m (w) x 5.6 (d) height of 2.34m wing-to-

wing. Timber flooring on MS slotted angle frame

• The wing spaces being 3.55m (w) x 6.7m (l) height of 2.34m

and 2.2m (w) x 6.7m (l) height 2.34m, stage right and stage left

respectively.


• the proscenium opening being 9.55m (w) x

2.4m (h).

• The Academy opens up to a sunken courtyard

(232sqm) with a central landscaped area.

• It has red Shahabad stone paving on the

raised walls and the stepped seating.

• The sunken area helps in maintaining privacy

and cuts off the noise from the surrounding

areas.

• This space is also used as an amphitheatre for

small plays. It serves as a spill over space for

the Godrej Dance Academy Theatre.

Auditorium

Service room

Office space

Stairs/lifts

Washrooms

Green room

Zone 2:experimental theatre

As flexible as its name, this theatre opened in 1986 and has 300

movable seats which allow it to be configured to suit a range of

events. Its unique 'black box' auditorium is the perfect platform for

innovative theatre productions as well as small-scale dance and music

performances. It also doubles up as a teaching and workshop space.

Experimental Theatre (285 Seats), is a ‘black box’ venue with

modular seating and staging units.

The space provides a platform for innovative production design and

presentation, promotes the exploration of new directions in

performance art.

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

Dressing Rooms (with toilets & showers):Ground floor 2 (7 sq.m

each), First floor 1 (20 sq.m)

Auditorium

Service room

Office space

Stairs/lifts

Washrooms

Green room

The Piramal Art Gallery was developed by NCPA with the help of a generous donation from Dilip Piramal. It is

one of the only galleries of its kind in India to exhibit works from leading Indian and International photographers,

as well as other forms of visual art. The gallery is spacious and modular in design, allowing for more than one

exhibition at a time. It is temperature controlled and is equipped with professional lighting and security systems.

Zone 2: piramal gallery


From large format orchestras to full-scale operas, the most technically

complex performances can be staged at this Proscenium theatre with a

seating capacity of 1,109. Named after our founder, and operational

since 1999, its technical facilities allow for international productions

of opera, ballet and major musicals.

This well-equipped, elegant theatre also boasts of a historic marble

staircase and a dazzling double-level foyer. It is, undoubtedly, the

cornerstone for theatrical extravaganzas staged in South Asia.

Zone 3: jamshed bhabha theatre

Auditorium inverted ceiling plan

• Divided into 3 parts the ceiling in the middle can double up for the

extended stage or audience.

• The ceiling of the stage and the adjacent are laid at an angle while

the ceiling of the seating area is suspended 2-3m below the actual

ceiling surface.

• The grid like ceiling is equipped with centralized air conditioning

system and lighting fixtures spread all over covering the entire seating

area.

• In between the grid is another framework which holds the false

ceiling in place.

Walls

• The panels on the walls around the first three seating rows /

orchestra pit of the auditorium is made of concrete or Plaster of Paris,

with a pointed finish plaster.

• Marble is used for the panelling of the lower portions of the

auditorium.

• The panels above the control booth in the rear of the auditorium are

made of concrete with marble inlays.

• There are hollow projections that come out from the sides of the

auditorium that may act as resonators or anti focusing surfaces that

help in dispersion of sound.

• The rear of the stage has diffusive wooden panels in different

shapes.

• This along with the acrylic banners hung in the ceiling help to

diffuse and reflect sound appropriately into the auditorium.

Auditorium

Service room

Office space

Stairs/lifts

Washrooms

Green room

Control room

• Control is divided into three parts

• The first section was sound room with another partitioned channel

mixer in the third room.

• The second section was projection room and had different opening

sizes for different types of projectors.

• The third part was light room which had the additional fire setup

• The whole control room was air conditioned and carpet floored

• Control Room Location Rear of the auditorium behind glass

window; partially operable divided into 4 compartments inter-

connected through common passage suitable for production control.


Zone 4: tata theatre

This distinctive space that can seat 1,010 is the best of both worlds. It

effortlessly combines the intimate ambience of a small-scale venue

with the splendour of a full scale arena. A revolving stage, brilliant

acoustics and a foyer with a breath-taking view of the sea are just

some of the things that make the Tata Theatre the venue of choice for

both, performers and audiences.

Created by the renowned American Modernist architect Philip Johnson

and the legendary acoustician Cyril Harris, this theatre opened in

1982. Today, it is Mumbai's preferred venue for Indian classical

concerts, Western chamber music and theatre.

One of the main buildings, the Tata Theatre, was conceived by the post-modernist American architect, Philip

Johnson. It is located by the plaza, close to the sea. This place, with a seating capacity of 1010 people, is a fan-

shaped theatre (without a proscenium) designed for music concert, dance, drama and film screening. It is

equipped with the latest lighting, sound, accessories and projection facilities; and boast of excellent acoustics

meticulously devised by Cyril Harris. It is also centrally air-conditioned.

The Solo Dressing Rooms are located on the ground floor whereas the Group Rooms are on the mezzanine, 4

(11.6sqm each) and 2 (23sqm each) numbers respectively. Each room furnished with wardrobe, attached toilet

with shower and drinking water facilities. This block has other miscellaneous spaces housed within around;

foyers at two levels framing views of the sea at each end, occupying an area of 577sqm. The height of the upper

concourse is 6m and the lower concourse is 9.6m. The Courtyard Garden which is spread over an area of 450sqm,

also acts as an activity space. The Rehearsal Room which is again a separate venue occupies an area of 82sqm.

The service entry to the theatre is towards the right of the stage, through Dorabji Tata Road (Marine Drive).

The foyer is on the same axis as the entrance at 450 to the street, but the ingenuity of this orientation is the fact

that it opens out to the view of the sea. Thus a second entrance is provided with the same dynamic character,

overlooking the sea, which seems as the vehicular entrance. The striking feature of the foyer is the openness,

continuity and exquisite treatment of material. The rich magenta carpet, the murals in tantric art and the black

‘samaies’ and the Kota stone flooring (polished) and Malad (yellow) stone cladding on the walls impart an

electric mix of elements to the space. The original exposed concrete surfaces, which were eventually coated with

white paint, contribute to the liberating effect of the foyer space. The foyer begins with a large flight of stairs at

both the ends, which is as wide as the foyer itself giving it an impressive feeling.

The auditorium has false ceiling suspended from the main RCC roof and is made up of pyramidal forms of high

density compressed plaster, alternatively convex and concave radiating from the central backdrop on the stage to

the outer wall. The system consists of a three sided elongated tetrahedral form with each of it having a shape

different from the other. These forms were handmade and lifted to position. The multiple reflecting surfaces thus

helped in distributing the sound evenly, hence being highly effective. The treatment is employed similarly on side

walls of the auditorium. The floor is carpeted.

With regard to the structure and materials – the two terminal points of the foyer are built on independent pile

foundations separate from the pile foundations carrying the heart of the auditorium. RCC columns and beams

along with stone masonry techniques have been adopted construction. The main material used is Malad stone

mixed with a lot of concrete.

The Stage is of the size 9m (d) x 17.5m (w) at its maximum width, with a height of 3m at Upstage and 6m at

Downstage. It is semi-circular in shape, no proscenium, no house-curtain; the inner portion of the stage being

rotatable (4.7m radius) and the outer portion being fixed. The rotatable stage is electronically controlled, with the

rotation being 1800. It is made of Hardwood Timber Flooring with a concrete base.

Auditorium

Service room

Office space

Stairs/lifts

Washrooms

Green room


Outdoor spaces

•Open Air Plaza

•Located adjacent to the Jamshed Bhabha Theatre and Experimental

Theatre. Suitable for grand, formal receptions with capacity for

seated dining.

Capacity: 500 - 1,000

•Sunken Garden

•Located next to the Dance Theatre Godrej. A characterful reception

space that can also be used as a forum for small-scale performances

and gatherings, with stepped seating leading down to a performing

area.

Capacity: 75 – 100

•Experimental Theatre Garden

•Ideal for small, informal gatherings.

Capacity: 60 - 75

•Tata Theatre Garden

•An intimate green space with views over the sea at Nariman point.

Ideal for medium-sized receptions and celebrations.

Capacity: 75 - 100

Parking

Libraries

The NCPA Library has an extensive collection of books on Music,

Dance and Theatre. The Library also covered Film, Painting,

Sculpture, Architecture, Photography, Television, Fashion and even

Magic, dealing with theoretical as well as practical aspects of these

subjects.

NCPA houses the world-famous Stuart-Liff Collection of 6,000

books and 11,000 LPs on Western classical music. This collection

was generously donated to the Centre in 2009 by Mr Vivian Liff and

is an invaluable source for research by musicologists and students as

well as for general music lovers.

Basement parkingOpen parking in front of

the Godrej theatre

NCPA Reference Library

The Stuart-Liff Collection

Open Air Plaza Sunken Garden Experimental

Theatre GardenTata Theatre Garden


Overview

This case study helped me understand the design of a

performance center and its various theatres, of

varying scales and functions. It offered a lot in terms

of requirements and its distribution, building

materials. The entire ensemble of spaces is really

functional. The design incorporates an amalgamation

of forms – rectangles and triangles.

Although the spaces for movement, concourses were

provided, the experience/walk there did not offer any

sort of views or open spaces. Only the Tata Theatre

did impress with regard to the above.

It would have been interesting to see how the centre

would have functioned without a compound wall.

Architecturally a space, where elements and

activities of different natures were collective, while

maintaining formal and above all visual connectivity.

In accordance with true spirit of the centre, known

for bringing independent and individual entities

together, which, when combined form a single

collective; the project does not contribute to the

public-minded togetherness, a place where the

visitors/ building interact with local passer-by and

workers.

The scale has been pulled down to match what the

average citizen can be a part of, but at times is

released to reveal huge double height volumes.

Various degrees of porosity are employed in the

exterior walls. There is a portion which is completely

blank, another which has expressive big entries as

well as a side with miniature openings. The image is

of a stately and stable complex which instigates a

sense of curiosity. Small pitched elevation was built

to gain views of the city and the sea.

Café at NCPA

Looking over the Arabian Sea on one side, the all day café transforms into a

softly lit haven by sundown, where visitors to the NCPA can meet and soak

in the atmosphere, unique to one of the city’s largest cultural spaces

The library's Listening Room currently contains 5,622 records, 1,396

cassettes, and 116 CDS covering many styles of music and featuring several

collector's items.

NCPA Music Library

The Amadeus Restaurant

At the NCPA, the art of leisure and the culinary arts get their due as well.

Ensconced within our campus is the fine dining restaurant Amadeus. With

walls decorated with photos of cultural icons, a classy ambience and a

location within the city's cultural hub of NCPA, Amadeus will appeal to the

art and culture lovers of the city.


LITERATURE STUDY 1: KALAKSHETRA FOUNDATION

Introduction:

Kalakshetra, as the name suggests, is a centre for artistic

endeavour. Founded in 1936 by the vibrant visionary

Rukmini Devi Arundale, the Institution stands testimony

to her dream of creating a space where the essence of

Indian thought would find expression through artistic

education. An institution she established with the vision

“of imparting to the young the true spirit of Art, devoid of

vulgarity and commercialism."

Spread over almost 100 acres by the seashore in Chennai,

the Kalakshetra Foundation, as it is known today, is a

vital centre for the study and performance of fine arts,

envisioned and designed with the style and proportion of

Indian aesthetics.

It was recognised by the Government of India as an

Institute of National Importance by an act of Indian

Parliament in the year 1993 and is now an autonomous

body under Ministry of Culture, Government of India.

location:

Kalakshetra is located in the age old pilgrim centre of

tiruvanmiyur, in southern Chennai.

It is located away from main road and major traffic areas.

Approach- a direct road of around 800m from the bus

stand leads to the Kalakshetra campus.

Layout and plan:

A free flowing informal pattern that has

organically grown with the need of the

institution.

There are hardly any big building around

– most are kept to the single ground

floor.

The classrooms, auditorium and the

prayer hall are spread in the central part

of the campus, while the administrative

parts, hostels, staff quarters, dining hall

and schools cover the outer region.

The classrooms are all single- roomed

individual cottage like structures with

separate plinths and sloping roofs.

Sound buffer – the campus is lined by

huge neem trees, which adds to the

already moderately quiet environment.


The small sculptures and landscaped areas strewn

throughout give the natural scene a personalizes feeling

of art, which can have multiple uses such as spill-outs

and informal practice spaces.

The small man-made pond among the classroom, with

stone mandapas make the ambience very surreal.

All in all, a Gurukul-like atmosphere prevails, which

creates a perfect state of mind for music learning

Outdoor Spaces

Classrooms

All classrooms in the campus are single-roomed open

cottages with individual plinths, sloping roofs and a small

veranda- like space for footwear.

They are sprawled in a random fashion, one after the other, to

create an organic atmosphere.

They are all roughly of two sizes (8m x 4.5m and 10m x

7.5m) and each classroom is used for any kind of teaching –

vocal, instrument or dance.

The question of acoustical privacy does not come in here

because the huts are placed at a good distance from each

other, so they do not carry the sounds to the next classroom.

Even the little sound that might travel are taken care by the

trees around.

All classrooms have full length bamboo jaali work, which

provide sufficient lighting and cross ventilation.

All the huts have red-oxide flooring.

Prayer hall

It is situated separately, further beyond the classrooms in complete quiet. It accommodates 180 people. It is also

used as an open class for the crafts.

Outdoor classroom


THE AUDITORIA (RUKMINI ARANGAM)

Originally built as an open- air theatre designed by architect Kiffin

Peterson, it served as an assembly hall and performance stage for

many years until it was destroyed during cyclone.

Architect Lurie baker was one of the first to be invited to evolve a

proper theatre design after the cyclone. Over the years, a new,

more permanent structure with modern equipment was built on the

model of a traditional Indian theatre.

Measuring 70’x80’, the open air space can accommodate 300-350

audience.

Dressing rooms are available, on either side of the stage, each

measuring 10’x12’.

The stage is made of black oxide which is suitable foe effective

lighting.

The theatre is equipped with lighting and sound systems.

BHARATA KALAKSHETRA AUDITORIUM

Rukmini Devi wanted to build a new theatre of more solid

construction, after the cyclone had damaged the open air theatre.

During one of her tour to Kerala, she visited Koothambalam in

Kalamandalam, which appealed to her very much.

Appukkuttan Nair helped her design a theatre with concept of

Natyashala, as a universe with the basic concepts of Koothambalam

also incorporated in it.

Situated centrally in the plot, it is also in direct access from an

external road on the north.

Measuring 40’x40’, the auditorium can seat 750-800. there are 428

chairs in the octagonal well of the theatre, 168 chairs on the

peripheral veranda, and 104 in galleries in the balcony.

Dressing rooms are available for artists, on the ground floor.

Bharata kalakshetra auditorium is equipped with state of the art

lighting and sound systems.


LITERATURE STUDY 2: KOREA FOLK VILLAGE

Introduction

Lying in a spacious site of 990,000 ㎡ and in nature-given

geomantic location ‘facing water and backgrounded by

mountains’, Korean Folk Village (KFV) is a village from

the Joseon period composed of real houses relocated from

provinces of the country. Reconstructed through a long

survey of houses remaining in different parts of the

country and authentication by specialists, it is a real

village from the Joseon period that unfolds in seasonal

transformation scenes from everyday folk culture

meticulously collected.

The village was created with common people’s houses

and aristocrats’ houses relocated or restored from

different parts of the country such as south, middle, north,

and islands. It presents the real life from old Joseon life,

which includes gwana (provincial government office),

seowon and seodang (the educational institutions),

hanyakbang (the medical institution), Buddhist temples

and seonangdang (the religious buildings), and the

fortune-teller’s place

KFV was created with a view to presenting the national culture to local and international tourists by collecting in

one place the folk customs in our culture that have been passed down for a long time. The Joseon period village in

KFV is composed of real houses relocated and reconstructed from different parts of the country, thus enacting the

culture in daily life through four seasons based on thorough historical verification and consultation. Presenting

experience-style outdoor exhibitions, craft in daily life continuing traditional methods, and seasonal customs

marked by solar terms.

KFV has since its foundation in 1974 been loved as a tourist destination that provides vivid cultural experience as

well as traditional culture set in beautiful nature. The Korean tradition is the Korean people’s mode of life that has

permeated every portion of our contemporary life. The role of KFV consists in renewing the value of our

traditional culture and preserving it so that it may shine throughout the world. Come and join in witnessing in the

traditional culture cherished by KFV the value that it continues to create in experiencing past and present and

opening up future

Joseon Period Houses and Traditional

Work Shop

KFV allows visitors to survey the

architectural characteristics of the Joseon

period houses from different parts of the

country. And visitors can experience and

purchase traditional craft items at the

nine ateliers in operation.

•270 houses on display.

•Nine ateliers (blacksmith’s workshop,

earthenware, bamboo ware, wooden

ware etc.)

•20,000 or so traditional instruments

from daily life (wooden furniture,

porcelain, farming tools etc.)

Inside the village you will see lots of traditional houses that shows how Koreans live in the past. These traditional

houses are actually ancient (real, not just replicas) and were just relocated from different provinces to the Korean

Folk Village for us to see it all in one place


Traditional Art Performances with Excitement that

makes the audiences dance with their shoulders.

•KFV Main Performance Space (accommodating some

500 persons)

•Tightrope Walking Performance Space (accommodating

some 300 persons)

•Horseback Martial Arts Performance Space

(accommodating some 200 persons)

•Traditional Wedding Ceremony Space (accommodating

some 200 persons)

•Family Park Performance Space (accommodating some

200 persons)

A Beautiful Village Set in Nature-Given Environment

KFV boasts a geomantic location ‘facing water and

backgrounded by mountains’. The farm work also adds

flavour to the village scene.

•245acres (Folk village, Play Village)

•Traditional farming through four seasons (in farm land

of 13,223 ㎡)

•Growing 80 or so trees and 100 or so traditional farming

products (including some 30 herbs).

Farmer’s Music and Dance leading performance depicting the national people’s spirit and joy

The Farmer's Music and Dance of KFV, which wishes

for good harvest, demonstrates a splendid and protean

look while mixing Hwaryongjinbeob and

Byeongjeonnori. As an open-air market Farmer's Music

and Dance that adds to this mix Ilgwangnori,

Chaesangsogonori, Beonanori, and Omudong.

KFV farmer's music is not simply given to passive

audience, but actively gets them engaged in the

performance.

Acrobatics on a Tightrope walking is a performance that

demonstrates skills and boasts a witty talk on the shaky

tightrope and was designated as Important Intangible

Asset No. 58 of the country. (Listed in 2011 as UNESCO

Intangible Human Heritage).

It is KFV’s unique performance in which the spectators

can enjoy the thrilling stunt and intervening witty speech

by Mr. Hong Ki-cheol, the country’s first maestro

tightrope walker.

Equestrian Feasts, as a performance that presents the essence of the horseback

Equestrian Feats is also known as equestrian art because

it employs splendid horse-riding techniques such as two

swords on horseback, horseback archery, and horseback

tumbling. The Equestrian Feats performance at KFV

incorporates into its contemporary elaboration the

dynamic techniques of the horseback tumbling such as

horseback standing, backward riding, reverse riding, and

sideways riding.

Also reenacting horseback bow shooting, horseback

lance wielding, and horseback swordsmanship, which

constitute the essence of Equestrian Feats, the

performance demonstrates the spirit of a horse-riding

people


•Seven traditional folk exhibitions halls (1,100㎡

accommodating 200 persons) with 860 cultural artifacts.

•Nine world folk exhibition halls (1,700㎡

accommodating 200 persons) with 3,000 or so cultural

artifacts.

•One earthenware exhibition hall (480㎡ accommodating

80 persons) with 700 cultural artifacts.

•One masked dance exhibition hall (270㎡

accommodating 100 persons) with 30cultural artifacts

Various Exhibition Halls Providing A Single-View Survey of Folk Culture With various

exhibition halls, KFV provides a sweeping view of the folk culture.

•Shop District Korean restaurants: Korea House,

Gilmokjip, and Yangbanjang

•Traditional teahouses: herb medicine shop, and

traditional teahouses

•Marketplace

•Eight folk village shops

•Play Village restaurants: Railroad and Minsok Banjeom

•Souvenir and ateliers

Presenting a sweeping view of the life in rural

community and traditional culture in daily life in the late

Joseon period, T Korean Folk Museum creates a vivid

image of the yearly life of four farming families in

Yongin that unfolded on the 24 solar terms through four

seasons from cradle to grave during the late Joseon

period. As an exhibition hall where people can easily

learn and experience the traditional culture of the

country, Korean Folk Museum is loved by visitors

Korean Folk Museum which presents daily life and culture from late Joseon period

Traditional Food Filled with Heartiness / Shopping

Opened on Sep. 22, 2001, KFV The World Folk Museum

is composed of nine permanent exhibition buildings.

With 3,000 or so items of cultural heritage collected from

the five oceans and seven continents, the Museum

provides exhibition areas for different cultures, which

present clothing, food, and housing, technology for

livelihood, and culture and arts of each country.

The World Folk Museum - Exhibiting Culture in the Daily Life of Countries of the World

KFV Mask Dance Exhibition Hall presents a vivid

display in a diorama of various masked dances such as

Bongsan Masked Dance and Bukcheong Lion Dance

Drama with explanations of masked dances from

different parts of the country. Also, at the entrance of

the exhibition hall, visitors can see an artisan making

various masks.

Mask Dance Exhibition Hall - Various Masks Carrying Laughter and Humor and Tales of Masks

from Different Regions


KFV Earthenware Exhibition Hall collects in one single

place items of earthenware that provide a peek at the

wisdom of our ancestors. First made in the period of

Three Kingdoms, earthenware has since been used in

close connection with the traditional life of our ancestors

and at the same time provides excellent pieces for folk

painting and patterns demonstrating artistic beauty.

Earthenware Experience Hall, which provides an

opportunity to make earthenware carrying natural leisure

and richness, is a place loved by families, group or

international visitors.

Pottery Exhibition Hall - Tales of Earthenware Conveying the Heartiness and Wisdom of Our

Ancestors

Tradition-embedded Youth Training Facilities and

Youth Hostel

•Five lodging buildings (accommodating 541 persons)

and Auditorium (accommodating 500 persons).

•Etiquette Education Center

•Two cafeterias and one shop.

•Forest bathing trail

Various Amenities

•Tourism information, Clinic, Broadcasting Room, and

Lost Children Station.

•15 restrooms, and some 30 pavilions as rest areas.

•Stroller rental, wheelchair rental, personal stuffs check-

in etc.

Play Village Where Kids’ Dreams Grow

•12 play facilities including Viking.

•Sled slope in winter.

It is a marketplace from the Joseon period that smacks of

human chemistry, where visitors can soothe their hearts

while sampling old sentiments. It is a famed attraction in

KFV that exudes the Korean sentiment, serving as the

venue for the traditional workshop street offering various

institutions and customs such as earthenware atelier, fan

atelier, and yeot (Korean taffy) confectionery and

eateries presenting hearty hometown tastes.

At the marketplace, a visitor can sample 20 or so local

dishes and appetizing seasonal food such as naengmyeon

(cold noodle), muk (jellied food), bibimbap, and

handmade dumpling soup. All food is free from artificial

flavors and processed food and uses only natural flavors

to ladle traditional taste in the nature-friendly old method.

Bazaar



INFERENCE

NRITYAGRAM NCPA KALAKSHETRA KOREAN FOLK VILLAGE

LOCATION Bangalore, Karnataka

Mumbai, Maharashtra

Chennai, Tamil Nadu

Korea

SITE AREA 40000 sqm 32,000 sqm 40000 sqm 990,000 sqm

SITE PLANNING Organic master plan,

Buildings are placed along a central axis of the site with lot

of open space

Merging with the urban fabric,

building are closely placed with very little green space

Organic development, no

master plan as suchwas created,

buildings were built as and when

required

Organic planning along the river

bank, with village like setting

ARCHITECTURE STYLE

Vernacular architecture

Contemporaryarchitecture



FUNCTION School for classical dance

Gurukul system,Accommodation for

teachers and students

Centre for all forms of performing arts

with different types of auditorium for

different performances

School for classical dance and music,

Gurukul system with accommodation for

students and teachers

Museums, art gallery , workshop space for various

activity, exhibition spaces,

performance area for folk arts

MATERIALS USED Stone masonry with brick arches and thatched roof,

mangalore tile roof

Brick and concrete construction

Brick wall with mangalore tile

roofing, red oxide flooring

stone subfoundation,

wood, curved roof covered with tiles

LEARNINGS Sensitivity to local conditions: Existing features on the site tend to have greater impact on the layout, as their immediate presence allows a reasonably accurate evaluation.Totality of special elements The ethics of labour: Workmanship is the ability to carry out an act well, and its availability is usually a function of supply and demand ratios or cultural definitions of standards of acceptability.Spirit of vernacularDevelopment of regionalism

various theatres, of varying scales and

functions. It offered a lot in terms of

requirements and its distribution,

building materials. The entire

ensemble of spaces is really functional.

The design incorporates an

amalgamation of forms – rectangles

and triangles. Good example of

building responding to its context in possible ways

Focus on creating public spacesSuccessful in

creating landmark cultural magnet.

Passive design strategies

Indoor and outdoor spaces mingle into

each otherA prior site plan

would have led to better usage of

space and uniformity in

designs of different buildings.

The site has a seafront, but it has not been utilised in

designThe outdoor

learning spaces is enchanting and

mesmerizing

Korean Folk Village introduces traditional culture

from the late Joseon period to

both local and international

visitors through cultural classes

experience, shaman faith,

seasonal customs and others.

It is successful in promoting the

culture of KoreaBuildings of

different civilization at a

placevarious of

activities- ideal as a public space and

cultural promotion

BYLAWS

According to BDA bylaws, following are the regulations for a public/ semi public building:

Description:This zone includes Government owned complexes and civic amenities and large infrastructure facilities of health,

education, sports, cultural and social institutions.

Permissible Land Use:Main land use category: U4 This shall include Government administrative centres, district offices, law courts,

jails, police stations, institutional offices, health facilities (including health tourism), educational, cultural and

religious institutions, community halls, working hostel facilities, convention centres of non-commercial nature,

utilities and all uses permissible in parks and open spaces. ƒ Ancillary land use category: R, C2 & T2 ƒ Ancillary

uses to the main use shall not exceed 20% of sital area.

Size of the plot (sq.m) Ground cover FAR

Up to 500 60% 1.50

Up to 1000 55% 1.75

Above 1000 up to 2000 50% 2.00

Above 2000 45% 2.25

Far And Ground Coverage In Public And Semi Public

Setbacks : Setbacks for building Height up to 11.5m & For plot over size of 4000 sq.m, a minimum setback of 5.0 m on all

sides shall be insisted.

Size of the plot (sq.m) Total built-up area Ground cover FAR

58342.90 5779 + 1444.75 (25% circulation) = 7223.75

12.38% 0.12

Bylaw Achieved


Tentative requirements:

• Administrative block: Office space for management of whole village and resource centre

• Service block: kitchen and dining spaces for the artists.

• Residential block: rooms/cottages for the artists and guest.

• Rehearsal halls/studios

• Meditation hall/yoga centre

• Open spaces/interaction spaces

• Auditorium and amphitheatre

• Music centre: display of musical instruments

• Café/restaurant

• Costume Gallery: A comprehensive display of dance costumes

The centre will have dedicated sections for various performing arts. Dance events, Music performances and

theatre performances will take place.

Design Brief

AREA STATEMENT


Component Spaces No. of users Area in Sq.m

Administration Chairperson office 1 30

Dean office 1 30

Reception & Waiting lobby 20

Conference room 30 50

Accounts 5-6 30

Manager’s office 1 10

pantry 10

Wash room 25

Ticket counter 2 10

Cloak room 10

Gurukul Main studio 20-30 130

Studio 10 39

Wash room & change room 25

Prop/ instrument room 15

Auditorium Hall 500 500

Foyer 200

Green room 2-3 25

Wash room 50

Stage 100

Back stage 200

Resource centre Gallery 50 100

Library 20 50

Audio room 30 50

Wash room 15

Restaurant Kitchen & store 100

Indoor Dining 100 100

Outdoor seating 100 100

Accommodation Students room 100 1500

Teachers room 20 500

Service block Mess 100 200

Kitchen 100

Helpers accommodation 3-4 150

Common facilities Recreation room 50 100

Yoga / meditation hall 100 150

SITE ANALYSIS

Site size: 58342.90 sq. m (14.4 acres)

Location: Vaderahalli, B M Kaval, Kengeri Hobli Off

Kanakapura Main Road, Bangalore 560062

Off site features: Nice Road Junction, 4.2 km, 8min

Kanakpura Road, 1.8 km, 4min

Art Of Living, 4.1km, 8min

Urban Valley Resort, 400m, 2min

APPROACH TO THE SITE

Nice road junction

Kanakpura road

B.M Road Vederahalli bus stop Project site

ZONING

Water body

Private estate

Proposed site

Residential zone

Open ground

Farm land

Roads


CLIMATE

Macro climate• Located at a height of over 914.4m above sea level,

Bangalore is known for its pleasant climate throughout the

year.

• Moderate climate throughout the year.

• Bangalore receives rainfall from both the northeast and the

southwest monsoons and the wettest months are august,

September and October.

• Relative humanity varies between 30 to 80%

Micro climate:• Lakeside experience cooler micro climates and also help

store the monsoon water for later use.

• Also being the centres of rich ecosystem, the lake with its

flora and fauna provide for psychologically soothing

atmospheres.

• There is a huge opportunity to create an energy efficient

intervention as the need for air conditioned spaces is

reduced.

• Presence of dense vegetation around provides a cooler

atmosphere.

NEIGHBOURHOOD CONTEXT :

VEGETATION:

Tectona grandis Parthenium Cocos nucifera Lantana camara Calotropis

JYOTHY INSTITUTION

DAYANAND SAGAR INSTITUTION

ART OF LIVING

GOVERNMENT SCHOOL SUVIDHA RETIREMENT HOUSE KUMARAN SCHOOL

URBAN VALLEY RESORT

KHEDDA RESORT

1

4

3

6

2

5

7

8

1

2

3 4 5 6

7

8


TOPOGRAPHIC MAP

SITE IMAGES

VIEW FROM EAST VIEW FROM SOUTH

LAKE VIEW FROM SITE VIEW OF VILLAGE FROM SITE

SWOT ANALYSISSTRENGTH:

• Site on lake front.

• Open spaces all around

• Free from pollution and noise.

• Presence of lake and vegetation provides a cooler

environment.

• Close to nature within the city limits.

WEAKNESS:

• Sensitivity to lake may restrict design and add

limitation

• Road along only the south of the site

• Located Interior from the main roads

OPPORTUNITIES:

• Development of Lakefront.

• Creating a cultural hub and identity to the city.

• vernacular architecture in the rural setting

THREATS:

• May increase the activity along the lakeside.

• Might increase the traffic into the village.

A A

B B

C

C

D

D

SECTION AA

SECTION BB

SE

CT

ION

CC

SE

CT

ION

DDSITE


BUBBLE DIAGRAM


ZONING

Basic zoning is done by implying town planning pattern followed in

vedic period.

The zoning is a combination of two pattern namely ‘Nandyavarta’ and

‘Karmuka’. The idea of selecting these zoning pattern is based of the

site conditions.

Firstly Nandyavarta,

“Nandyavarta” is the name of a flower, the form of which is followed in

this layout

The streets run parallel to the central adjoining streets with the temple of

the presiding deity in the center of the town

It is generally adopted for the sites either circular or square in shape

Its basically a radial development pattern, site being located in

Bangalore and Bangalore being a radial development inspires to follow

this pattern.

Secondly Karmuka,

This plan is suitable for the place where the site of the town is in the

form of a bow or semi-circular or parabolic and mostly applied for

towns located on the seashore or riverbanks

The main streets of the town run from north to south or east to west and

the cross streets run at right-angles to them, dividing the whole area into

blocks

The site being located adjacent to a lake inspires to follow this pattern.


PRIVATE ZONE

SEMI PRIVATE

PUBLIC ZONE

ZONING


FORM DERIVATION

Structural form : relative to the cube the hexagonal form is inherently more structurally stable without

added structure.

Generative clustering: hexagonal plan can be combined into various

combinations of clusters that enclosed shared green spaces. Whether

linear or radial, these clusters can be oriented to allow for accessible

and pedestrian walkways.

The triangle is one

of the most

structurally stable

geometric shapes.

However, its acute

angles make it

uncomfortable for

inhabitation.

Using symmetry once

again, a hexagon can be

mirrored along its side to

share a frame element

with another hexagon

thus increasing its

stability as loads are

spread across multiple

frames.

By using radial symmetry, we

can turn a triangle into a

frame element of a hexagon,

which can serve as a primary

modular unit. This hexagon is

naturally stable as it is braced

in all directions since all sides

are equal and structural

members are radially

oriented.

A building based on

hexagonal modules is

therefore uniquely suited

to address the varying

topography on the site,

because it can follow the

topography on the site,

because it can follow the

topography and still

maintain its stability


FORM DERIVATION

THE FORM IS INSPIRED AND DERIVED FROM THE HEADGEAR OF YAKSHAGANA

Gurukul

Accommodation

Admin block


DESIGN OUTPUT


1. https://issuu.com/nikitaverma27/docs/undergraduate_thesis_2014

2. http://www.coroflot.com/sreekanthsasi/Thesis-Ananthapuram-Lake-Temple-Restoration-and-

Revival

3. https://www.behance.net/gallery/774114/Center-for-Vernacular-Architecture

4. https://modernacular.wordpress.com/tag/stone/

5. http://inhabitat.com/low-cost-eucalyptus-screen-shields-a-hospital-dormitory-from-rwandas-

scorching-sun/sharon-davis-design-dormitory-in-rwanda-lead-2/

6. https://amimahabba.wordpress.com/2012/01/25/contemporary-vernacular-the-shifting-definitions/

7. https://quadralectics.wordpress.com/4-representation/4-1-form/4-1-3-design-in-city-building/4-1-

3-1-the-circularradial-model/

8. https://www.behance.net/gallery/28396227/-KALAKSHETRA

Bibliography


https://modernacular.wordpress.com/tag/stone/

Performing Arts Centre Bengaluru by Sandhya S Sarwanan.pdf

Documents

Transcript of Performing Arts Centre Bengaluru by Sandhya S Sarwanan.pdf