Professional Documents
Culture Documents
Performing Arts Centre Bengaluru by Sandhya S Sarwanan
Performing Arts Centre Bengaluru by Sandhya S Sarwanan
UNIVERSITY
“JnanaSangama”, Belgaum-590018
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.
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.
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
INTRODUCTION
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.
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
Methodology
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
Dollu kunitha
Music
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.
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.
Krishna parijatha
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.
• 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, Karnataka
The 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.
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.
• 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, Karnataka
Togalu 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.
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.
PERFORMING ARTS CENTRE 08
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.
Housing Pattern
The 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.
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.
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.
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.
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.
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.
The axis development suggested by
the linear site began at its southern
end next to a telephone line and a
AMPHITHEATRE grove of casuarinas trees.
Starting with yoga hall and temple, it
GUEST HOUSE developed with the Gurukul along
the eastern edge, with the services
GURU’S RESIDENCE 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
KATHAK GURUKUL was a general concept, no definite
master plan was made, and growth
FUTURE EXPANSION was to take place through a gradual
process of adaption.
GUEST COTTAGE
ODISSI GURUKUL
OFFICE
TEMPLE AND YOGA HALL
PARKING
TAJ KUTEERAM
Office block
Service block
Guest cottages
Kathak gurukul
Gardens
Future plan
Whole body centre
Overview:
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:
Entry sequence
Zoning
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.
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.
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.
Auditorium
Service room
Office space
Stairs/lifts
Washrooms
Green room
Auditorium
Service room
Office space
Stairs/lifts
Washrooms
Green room
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.
Parking
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
Overview
Introduction:
location:
Classrooms
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.
Introduction
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
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
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.
Korean Folk Museum which presents daily life and culture from late Joseon period
The World Folk Museum - Exhibiting Culture in the Daily Life of Countries of the World
Mask Dance Exhibition Hall - Various Masks Carrying Laughter and Humor and Tales of Masks
from Different Regions
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.
Bazaar
SITE PLANNING Organic master Merging with the Organic Organic planning
plan, urban fabric, development, no along the river
Buildings are placed building are closely master plan as such bank, with village
along a central axis placed with very was created, like setting
of the site with lot little green space buildings were built
of open space as and when
required
ARCHITECTURE Vernacular Contemporary Vernacular Vernacular
STYLE architecture architecture architecture architecture
FUNCTION School for classical Centre for all forms School for classical Museums, art
dance of performing arts dance and music, gallery , workshop
Gurukul system, with different types Gurukul system with space for various
Accommodation for of auditorium for accommodation for activity, exhibition
teachers and different students and spaces,
students performances teachers performance area
for folk arts
MATERIALS USED Stone masonry with Brick and concrete Brick wall with stone
brick arches and construction mangalore tile subfoundation,
thatched roof, roofing, red oxide wood, curved roof
mangalore tile roof flooring covered with tiles
LEARNINGS Sensitivity to local various theatres, of Passive design Korean Folk
conditions: Existing varying scales and strategies Village introduces
features on the site functions. It offered Indoor and outdoor traditional culture
tend to have a lot in terms of spaces mingle into from the late
greater impact on requirements and each other Joseon period to
the layout, as their its distribution, A prior site plan both local and
immediate building materials. would have led to international
presence allows a The entire better usage of visitors through
reasonably accurate ensemble of spaces space and cultural classes
evaluation. is really functional. uniformity in experience,
Totality of special The design designs of different shaman faith,
elements incorporates an buildings. seasonal customs
The ethics of amalgamation of The site has a and others.
labour: forms – rectangles seafront, but it has It is successful in
Workmanship is the and triangles. not been utilised in promoting the
ability to carry out Good example of design culture of Korea
an act well, and its building responding The outdoor Buildings of
availability is usually to its context in learning spaces is different
a function of supply possible ways enchanting and civilization at a
and demand ratios Focus on creating mesmerizing place
or cultural public spaces various of
definitions of Successful in activities- ideal as
standards of creating landmark a public space and
acceptability. cultural magnet. cultural
Spirit of vernacular promotion
Development of
regionalism
PERFORMING ARTS CENTRE 32
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.
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.
Bylaw Achieved
Size of the plot (sq.m) Total built-up area Ground cover FAR
• 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
Dean office 1 30
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
Studio 10 39
Foyer 200
Wash room 50
Stage 100
Library 20 50
Audio room 30 50
Wash room 15
Kitchen 100
ZONING
Kanakpura road
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 :
3 4 5 6
2 7
5
6
DAYANAND SAGAR INSTITUTION
3 URBAN VALLEY RESORT
1
8
4
7
2 8
1
ART OF LIVING
KHEDDA RESORT
VEGETATION:
A A
SECTION CC
SECTION DD
B SITE B
C D
SECTION AA
SECTION BB
SITE IMAGES
SWOT ANALYSIS
STRENGTH:
• Site on lake front.
• Road along only the south of the site
• Open spaces all around
• Located Interior from the main roads
• Free from pollution and noise.
OPPORTUNITIES:
• Presence of lake and vegetation provides a cooler
• Development of Lakefront.
environment.
• Creating a cultural hub and identity to the city.
• Close to nature within the city limits.
• vernacular architecture in the rural setting
WEAKNESS:
THREATS:
• Sensitivity to lake may restrict design and add
• May increase the activity along the lakeside.
limitation
• Might increase the traffic into the village.
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.
PUBLIC ZONE
SEMI PRIVATE
PRIVATE ZONE
The triangle is one By using radial symmetry, we Using symmetry once A building based on
of the most can turn a triangle into a again, a hexagon can be hexagonal modules is
structurally stable frame element of a hexagon, mirrored along its side to therefore uniquely suited
geometric shapes. which can serve as a primary share a frame element to address the varying
However, its acute modular unit. This hexagon is with another hexagon topography on the site,
angles make it naturally stable as it is braced thus increasing its because it can follow the
uncomfortable for in all directions since all sides stability as loads are topography on the site,
inhabitation. are equal and structural spread across multiple because it can follow the
members are radially frames. topography and still
oriented. maintain its stability
Structural form : relative to the cube the hexagonal form is inherently more structurally stable without
added structure.
Accommodation
Admin block
Gurukul
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/
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scorching-sun/sharon-davis-design-dormitory-in-rwanda-lead-2/
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3-1-the-circularradial-model/
8. https://www.behance.net/gallery/28396227/-KALAKSHETRA