Performing Arts Centre Bengaluru by Sandhya S Sarwanan

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 Prof. Mallikarjun N

Acharya’s NRV school of Architecture, Thesis Guide
Bengaluru-560090 Assistant Professor
External examiner 1 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
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.
PERFORMING ARTS CENTRE 01

• 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
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.

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.
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.

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.
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.

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.
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
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
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 In modern times, educationists all over the world have realised the potential of puppetry as a
• Shadow Puppets medium for communication. Many institutions and individuals in India are involving
• Rod Puppets students and teachers in the use of puppetry for communicating educational concepts.
• Glove Puppets
• 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.
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.
Open Verandah-platform Or The Jagali

The 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.
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.
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.
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
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.
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.
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.

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.
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.

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.
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

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.

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
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

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
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.
Legend: Zone 1 – Little Theatre, Nicholson Gallery, Teaching
A. Corporate office
and Research Block, Admin Block, quaters.
B. Library and stuart-liff collection
J. Tata theater Zone 2 – Godrej Theatre, Experimental Theatre,
K. Membership department Sunken Garden, Piramal Gallery.
C. Little theater
L. Amadeus Zone 3 – Jamshed Bhabha Theatre, Rehearsal
D. West & east room 1 & 2
M. Open air plaza
E. Box office Rooms, Café.
N. Piramal art gallery
F. Jamshed bhabha theatre
O. Experimental theatre Zone 4 – Tata Theatre, Open Air Plaza, Amadeus
G. Basement parking Restaurant.
P. Dance theatre godrej
H. Cafe
Q. Sunken garden
I. Sea view room

Zone 1: little theatre
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
• 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).
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. Auditorium
• It has red Shahabad stone paving on the Service room
raised walls and the stepped seating. Office space
• The sunken area helps in maintaining privacy Stairs/lifts
and cuts off the noise from the surrounding Washrooms
areas. Green room
• This space is also used as an amphitheatre for
small plays. It serves as a spill over space for
the Godrej Dance Academy Theatre.
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
Zone 2: piramal gallery
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 3: jamshed bhabha theatre
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.
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.
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

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).
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.

•Open Air Plaza
Outdoor spaces •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
Open Air Plaza Sunken Garden Experimental Tata Theatre Garden

Theatre Garden
Parking
Open parking in front of Basement parking

the Godrej theatre
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 Reference Library
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.
The Stuart-Liff Collection
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.
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
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.

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.

Outdoor Spaces
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
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.
Outdoor classroom
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.

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

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).
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)
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

Various Exhibition Halls Providing A Single-View Survey of Folk Culture With various
exhibition halls, KFV provides a sweeping view of the folk culture.
•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
Traditional Food Filled with Heartiness / Shopping
•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
Korean Folk Museum which presents daily life and culture from late Joseon period
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
The World Folk Museum - Exhibiting Culture in the Daily Life of Countries of the World
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.
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.

Pottery Exhibition Hall - Tales of Earthenware Conveying the Heartiness and Wisdom of Our
Ancestors
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.
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
Play Village Where Kids’ Dreams Grow

•12 play facilities including Viking.
•Sled slope in winter.
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.
Bazaar
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.

INFERENCE
NRITYAGRAM NCPA KALAKSHETRA KOREAN FOLK

VILLAGE
LOCATION Bangalore, Mumbai, Chennai, Korea
Karnataka Maharashtra Tamil Nadu
SITE AREA 40000 sqm 32,000 sqm 40000 sqm 990,000 sqm
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
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. ƒAncillary land use category: R, C2 & T2 ƒAncillary
uses to the main use shall not exceed 20% of sital area.
Far And Ground Coverage In Public And Semi Public
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
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
58342.90 5779 + 1444.75 (25% 12.38% 0.12

circulation) = 7223.75
Design Brief
The centre will have dedicated sections for various performing arts. Dance events, Music performances and
theatre performances will take place.
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

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
ZONING
Water body Open ground

Private estate Farm land
Proposed site Roads
Residential zone
APPROACH TO THE SITE
Nice road junction
Kanakpura road
B.M Road Vederahalli bus stop Project site

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 :
3 4 5 6
JYOTHY INSTITUTION GOVERNMENT SCHOOL SUVIDHA RETIREMENT HOUSE KUMARAN SCHOOL
2 7
5
6
DAYANAND SAGAR INSTITUTION
3 URBAN VALLEY RESORT
1
8
4
7
2 8
1
ART OF LIVING
KHEDDA RESORT
VEGETATION:
Tectona grandis Parthenium Cocos nucifera Lantana camara Calotropis

TOPOGRAPHIC MAP
C D
A A
SECTION CC
SECTION DD
B SITE B
C D
SECTION AA
SECTION BB
SITE IMAGES
VIEW FROM EAST VIEW FROM SOUTH
LAKE VIEW FROM SITE VIEW OF VILLAGE FROM SITE
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.

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.

ZONING
PUBLIC ZONE
SEMI PRIVATE
PRIVATE ZONE

FORM DERIVATION
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.
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.

FORM DERIVATION
Accommodation
Admin block
Gurukul
THE FORM IS INSPIRED AND DERIVED FROM THE HEADGEAR OF YAKSHAGANA

DESIGN OUTPUT

Bibliography
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

Performing Arts Centre Bengaluru by Sandhya S Sarwanan

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VISVESVARAYA TECHNOLOGICAL

ARCHITECTURAL DEIGN PROJECT (THESIS) 2016-2017

“PERFORMING ARTS CENTRE

Submitted by: SANDHYA S SARAVANAN

Guide: Prof: MALLIKARJUN N

ACHARYA’S N R V SCHOOL OF ARCHITECTURE

Dean Prof. Mallikarjun N

External examiner 1 External examiner 2

NAME : SANDHYA S SARAVANAN

PERFORMING ARTS CENTRE 01

• Finalization of Topic & Site selection.

PERFORMING ARTS CENTRE 02

PERFORMING ARTS CENTRE 03

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

Beesu samsale and kamsale nritya

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

PERFORMING ARTS CENTRE 04

PERFORMING ARTS CENTRE 05

PERFORMING ARTS CENTRE 06

Yakshagana is one of the most popular tradition theatrical forms of

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

PERFORMING ARTS CENTRE 07

Open Verandah-platform Or The Jagali

PERFORMING ARTS CENTRE 10

PERFORMING ARTS CENTRE 11

They provide excellent ventilation especially during summer and

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

PERFORMING ARTS CENTRE 12

PERFORMING ARTS CENTRE 13

Designed and built by ray meeker in 1998.

Front view back view

• Reminiscent of Stonehenge, the Yoga

Crowned with a horn-like structure, this

Built like a reverse 2, this structure is the heart

PERFORMING ARTS CENTRE 14

ODISSI GURUKUL is also known as Raymond

These round structures, inspired by the yurts of Tibet and

Kathak Gurukul is also known as Inlaks Cundill Gurukul

PERFORMING ARTS CENTRE 15

Scooped out of the red earth and built along

Fruits and vegetables are grown on their own

While it is important to train the mind and

PERFORMING ARTS CENTRE 16

The Dance Collection: This will be the corner stone of

Many built parts are of stone

• Sensitivity to local conditions

PERFORMING ARTS CENTRE 17

• NCPA Marg, Nariman Point, Mumbai, Maharashtra

Site and neighbourhood

NCPA has entries and exits from the Vinay Shah

NCPA is zoned into four main buildings dedicated to

PERFORMING ARTS CENTRE 18

Zone 2: godrej theatre

PERFORMING ARTS CENTRE 19

Zone 2:experimental theatre

Zone 2: piramal gallery

PERFORMING ARTS CENTRE 20

Auditorium inverted ceiling plan

PERFORMING ARTS CENTRE 21

PERFORMING ARTS CENTRE 22

Open Air Plaza Sunken Garden Experimental Tata Theatre Garden

Open parking in front of Basement parking

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