Professional Documents
Culture Documents
Nehru center for performing arts, aims to provide the planned city of Chandigarh a traditional outlook. As
this Indian city lacks the local street culture , this performing art center aims to make people aware about the
Indian tradition and culture, and conserve it to educate the up-coming generation. It will also help promote
tourism of Chandigarh.
Cent er f o r pe r f o r mIn g a r t s
Thesis 2012
Jyotsna Mishra Introduction
070901162 | Xth Sem |MSAP
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Through the years, the art has evolved taking new shapes every time, converting and integrating through the passage of time. This gives to many
new forms of art. Art has survived many criticism as well appreciation in the test of time.
Today art is understood and appreciated by larger section of society. The Nehru center for performing arts at Chandigarh, attempts to be the
converging point and a national level platform for people who are interested in performing arts.
The site in Chandigarh is year marked at sector 34b by the Chandigarh development authority, this will be developed to cater to the surrounding
population and beyond.
The project focus on developing into a center that caters primarily to the performing arts, providing with space, infrastructure, knowledge recourse
and acting as a magnet to those practicing or interested in art. A potential attempt will be made to promote learning and interest towards the arts
through observation, interaction and practice.
Mr Rakeshwar Katoch, a theatre buff, said: “The city has a potential to emerge as a major cultural centre in the North. All art forms need the support
of the state and neighbouring state governments need to get together with the UT Administration to form a common action plan for the promotion of
art and culture.
Sanjeev Singh Bariana
Tribune News Service
The future of performing arts will be shaped by many factors, but perhaps none is more important than the future structure of demand. The size and
shape of the market for performing arts has changed over time, reflecting shifts in demand that are stimulated by technological change as well as
social, demographics and economic trends in society.
Cent er f o r pe r f o r mIn g a r t s
Thesis 2012
Jyotsna Mishra justification
070901162 | Xth Sem |MSAP
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Justification :
Justification of support for both capital and revenue funding has included one or more of the following reasons:
Cultural: to safeguard an aspect of cultural heritage; continuity of art forms, display of performing skills and sustaining national, local or ethnic
traditions; to retain and improve an existing stock of facilities and established companies for the performing arts, or to provide new facilities to
ensure cultural opportunities.
Economic: direct employment of staff and performers; benefits to secondary businesses such as poster and programme printing and material
supply; a widening of the tourist and conference market which, in turn, brings money into the town or city; an attraction to encourage
relocation, and location of organizations, institutions, industry and commerce in an area with subsequent employment benefits.
Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational
programme for schoolchildren, students and those in adult education.
Prestige: international, national, regional, city or town comparison; re-enforcement of regional identity emphasizing dispersal from
metropolitan focus.
Quality of life: performing arts as acceptable complementary activities to work and domestic obligations as a positive use of leisure time
which enriches life culturally and also socially.
Regeneration: part of a wider programme to revitalize an existing city or town centre or to assist in the formation of a new community, to
attract industry, commerce, institutions, housing, and so on.
Cultural Democracy: to stimulate and foster participation in the performing arts by all sections of a community, defined locally, as a creative
activity .
Aim:
Developing a performing art center at Chandigarh, Punjab, which facilitates, practice, teaching, research, display and appreciation of various art forms.
Objective:
To provide leadership on a national level as India’s premier performing arts, research and training centre through the presentation of Indian and
international art forms, the promotion of excellence and the preservation of India’s rich cultural heritage.
Development of a performing arts center providing the required areas and infrastructure to be able to display and promote the art. Designing a self
integrated and flexible space, and also ensure constant activity at the center, involving the community and public.
Project Outline:
Performing art center at Chandigarh, Punjab shall be a center for research, understanding and promotion of the performing arts. It shall cater to all
forms of performing arts stressing upon dance, theater and music also including the contemporary art form. It will also have a research center for
music and dance form. Provision for accommodation for a limited number of people will also be included in design.
Focus on multiple use of one space, convertible spaces mostly for community and public interaction. Landscape plays an important role in making the
planning and resolving the circulation, so it will be designed accordingly.The project envisages the creation of an environment for the arts, meant
exclusively for the arts and not for any one exclusive art. It is therefore meant to encourage in a broad sense all kinds of artistic pursuits.
From an architectural point of view the building will be planned in order to create an environment befitting the nature of the activities related to the
arts and their promotion. Apart from the functional spaces, therefore the creation of an ample amount of space for the interpretation of art by the
sensitive art- lover and the interaction between the people interested in the arts is envisaged. The mood and the ambiance of the built space will be
conductive for the reflecting over subjects and missing over art of the solitary thinker’s mind. The architecture will be sensitive to art and yearn to be
an extension of it.
From the functional point of view the building will be designed to house the facilities required for the staging and presentation of various
disciplines of performing arts.
Through the years, the art has evolved taking new shapes every time converting and branching out to give birth to new forms. The art has survived
all test of time, and today it is appreciated and understood in all its forms by a larger section of people. Today people recognise the value and
scope of performing arts, and more than a type of means of entertainment people are taking it up as a subject to study and research.
The performing arts center at chandigharh, punjab attempts to be the converging point for all interested in the performance arts and a source for
information.
The site is in the heart of chandigharh, a planned city by architect le corbusier, and it is a flat tarrain, it lies in sector 34 B.
Performing arts
Natya Shastra further divides classical dance into nritya- the rhythmic This was possibly the reason behind the
elements, nritya- the combination of rhythm and expression, and of devadasis (literally: servants of the deity), the earliest
origin
finally, natya – comprising the dramatic elements embedded in the performers of the classical Indian dances. They were supposed to
dance recital. To appreciate natya or dance drama, an individual needs pursue the dance forms devotedly and excel in them. At the
to possess sound knowledge, understanding and appreciation of Indian outset, devadasis were respectable women and highly talented
legends and mythology and folklore. Hindu deities like Vishnu, artists hailing from the highest strata of the society. They lived and
Krishna, Shiva and Lakshmi, Rama and Sita are commonly depicted in danced only in the temple premises – their vocation enjoying
these dances. Each dance form also draws inspiration from stories great religious prestige. It was only much later
depicting the life and traditional beliefs of the Indians. the devadasis condescended to perform in royal courts, in the
that
presence of the elite and the nobility.
Ancient Indian history reveals that several centuries before Christ,
India's art forms of dance, music and theatre were fairly well- A devadasi not only performed on all festive occasions, but also
advanced. The performing arts, i.e. dance and music reached the acme had to be present for the daily rituals, connected with the deity.
of their glory, during the reign of the Chola dynasty in Southern India. She was paid from temple funds; moreover the temple supplied
the food grains for her and her family. To render a realistic touch a
Dance forms were nurtured with a purpose in the sacred premises of
devadasi was ceremonially wedded to the deity. She was
temples. Temple dancing was imbued with the idea of taking art to the
consecrated to her lord and thus out of bounds for mortals.
people, and conveying a message to the masses. The temple rituals
necessitated the physical presence of mortal women (instead of the
ornate, carved figures of heavenly damsels, apsaras) to propitiate the
gods. The allegorical view of dance, used for the purpose of the
pleasing the devas, was gradually transformed into a regular, service
(with deep religious connotations) in the temples of the medieval
times.
Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. A Striking
feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters
are super beings from another world, and their make-up is easily recognisable to the trained eye as satvik or godlike,
rajasik or heroic, and tamasik or demonic.
Mohini Attam
The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most often the hero. The
spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular
movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find
adequate space for improvisations and suggestive bhavas or emotions.
The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These
names are derived from the nomenclature called vaittari. The Mohini attam dancer maintains realistic make-up and
adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a
beautiful white with gold border Kasavu saree of Kerala, with the distinctive white Jasmin flowers around a French
bun at the side of her head.
Kuchipudi
The dance drama that stil exists today and can most closely be associated with the
Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela
Natakam. The actors sing and dance, and the style is a blend of folk and classical.
Arguably this is why this technique has greater freedom and fluidity than other dance
styles.
Kathak
This north Indian dance form is inextricably bound with classical Hindustani music,
and the rhythmic nimbleness of the feet is accompanied by the table or pakhawaj.
Traditionally the stories were of Radha and Krishna, in the Natwari style (as it was
then called) but the Mughal invasion of North India had a serious impact on the
dance. The dance was taken to Muslim courts and thus it became more entertaining
and less religious in content. More emphasis was laid on nritya, the pure dance aspect
and less on abhinaya (expression and emotion).
Odissi
Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are
used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing
movements to express specific moods and emotions.
The form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust
and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are
replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which
depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath, whose temple is
in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly
visible.
Manipuri
This dance style was originally called jogai which means
circular movement. In ancient texts it has been compared to the
movement of the planets around the sun. It is said that when
Krishna, Radha and the gopis danced the Ras Leela, Shiva made
sure that no one disturbed the beauty of the dancing. Parvati, the
consort of Lord Shiva also wished to see this dance, so to please
her he chose the beautiful area of manipur and re-enacted the
Ras Leela. Hundreds of centuries later, in the 11th century,
during the reign of Raja Loyamba, prince Khamba of the
Khomal dynasty and Princess Thaibi of the Mairang dynasty re-
enacted the dance and it became known as Lai-Haraoba, the most
ancient dance of Manipur.
Hindustani music
(Main article: Hindustani classical music)
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC.
It further developed circa the 13th and 14th centuries AD with Persian influences and from existing
religious and folk music. The practice of singing based on notes was popular even from the Vedic times
where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted. Developing a
strong and diverse tradition over several centuries, it has contemporary traditions established primarily
in India but also in Pakistan and Bangladesh.
In contrast to Carnatic music, the other main Indian classical music tradition originating from the
South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic
philosophy and native Indian sounds but also enriched by the Persian performance practices of the
Mughals. During the Medieval age especially in the Mughal era various Gharana became famous due
to excellence and class in type of musics like raga, almost all from the lineage of Tansen one of the
navratna of Mughal Emperor Akbar. Classical genres are dhrupad, dhamar, khyal, taranay sadra..
Carnatic music
(Main article: Carnatic music)
The present form of Carnatic music is based on historical developments that can be traced to the 15th
- 16th centuries AD and thereafter. However, the form itself is reputed to have been one of the gifts
bestowed on man by the gods of Hindu mythology. It is one of the oldest musical forms that continue
to survive today.
Carnatic music is melodic, with improvised variations. It consists of a composition with improvised
embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and in the
case of more advanced students, Ragam Tanam Pallavi. The main emphasis is on the vocals as most
compositions are written to be sung, and even when played on instruments, they are meant to be
performed in a singing style (known as gāyaki). There are about 7.2 million ragas (or scales) in
Carnatic Music, with around 300 still in use today.
Purandara Dasa is considered the father of carnatic music. Sri Tyagaraja, Sri Shyama Shastryand Sri
Muthuswami Dikshitarare considered the trinity of carnatic music and with them came the golden
age in carnatic music in the 18th-19th century
Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja Iyengar (the father
of the current concert format), Semmangudi Srinivasa Iyer,TN Seshagopalanand more recently
Sanjay Subrahmanyan TM Krishna Bombay Jayashri etc.
Every December, the city of Chennai in India has its six week-long Music Season, which has been
described as the world's largest cultural event. It has served as the foundation for most music in South
India, including folk music, festival music and has also extended its influence to film music in the
past 100–150 years or so.
Metropolitan centre:
Metropolitan centres are traditionally the main focus of cultural activity within a country, with a concentration of companies and facilities for the
performing arts, their organization, creative activity and education of performers, management and production staff. Such centres benefit from the
major concentration of population and national focus of transportation networks.
There are several categories as follows:
Opera house
National subsidized professional resident company in repertory or repertoire and visiting comparable companies of international standard providing
large-scale opera productions. Such a facility may be exclusively for opera or combined with ballet.
Ballet/dance theatre
National subsidized professional resident company as described under opera house, but exclusively for ballet and dance.
Concert hall
Classical orchestral and choral music, jazz and pop/ rock music, with the leading subsidized professional orchestras and groups. Either housing a
resident orchestra for their exclusive or seasonal use, or a touring facility hired by promotional organizations including the orchestras and groups.
Recital room
Medium- and small-scale classical orchestral and choral music, jazz and pop/rock music also with readings such as poetry. Either housing a resident
orchestra for a season or, more often, hosting touring companies and groups.
Arena
Facilities for the presentation of very large-scale pop/ rock concerts and other spectacles covering opera, music and musicals, hired by commercial
organizations who initiate and promote groups and companies as one-off events or part of a tour.
Drama theatre
National subsidized professional resident drama company in repertory, or repertoire and visiting companies of national and international standard,
producing new and established works.
Other categories
● Universities and Colleges including Schools of Music and Drama, providing theatres and concert halls for their own and public use
● Open-air auditoria for seasonal concerts and drama productions
● Informal external spaces for street theatre, music and entertainments
● Theatres with restrictions on company (e.g. Youth Theatre) and audience (e.g. club theatres with restricted membership)
● One-off events including stadium concerts and festivals.
●ticket check if at entrance, and not at points of entry into the auditorium
●information in the form of leaflets and other handouts describing productions and events, notice boards providing information on events and,
possibly, a reception/information desk
●circulation and waiting area
●seating (desirable for ambulant disabled)
●directional signage directing the public to the various facilities (consider carefully colour, size and type face for clarity and for the visually
impaired and elderly)
●supervision: some consideration needs to be given to oversee the entrance area by the staff in order to offer assistance and exercise control
●exhibition and display: space for temporary exhibitions or wall display; display cases for merchandise and crafts
●access to box office, crèche, cloakrooms, toilets and sales, as well as meeting rooms and other public facilities
The public needs to be able to easily identify visually the main circulation routes to the auditorium and other public facilities from the
entrance
foyer.
Foyer
The foyer provides the means of access to all parts of the auditorium and should have facilities for the public to sit, talk, walk about and meet
friends. These social aims can include also a legitimate level of self-display from formal promenading to a general awareness of those attending a
performance. The floor area is related to the capacity of the auditorium: allow a minimum of 0.6M2 per person for all the foyer areas, excluding
toilets, cloakroom and vertical circulation.
Public entrance
The front entrance provides the main access into, and egress from, the
building for the public. The entrance should be located along the main
access route and be clearly visible: the public should be aware of the
entrance by its location and signage. The entrance gives information
about the attitude of the management towards the public and can be
welcoming or intimidating, exclusive or embracing, clear or obscure.
Canopy: Provision of shelter at the main entrance from inclement weather with a protective cover over, and across, the line of doors. A
canopy is a useful device for gathering together pedestrian routes and dropping-off points if dispersed (Figure 13.2).
●Entrance doors and lobbies: Two lines of doors reduce noise and draught penetration into the foyer; automatic doors are essential for
wheelchair users. The distance between the lines of doors should be a minimum of 2 M: several pairs of doors
Parking:
Landscaping:
Integration of all the spaces can be achieved by landscape, built form- such as
connecting corridors, pergolas, pavement design etc.
Signage's :
Standard signage's used for the building services, the signage's should reflect the cultural theme of
the
design it should be placed in such a manner that people need not ask which direction to go.
Art gallery :
The gallery may be designed as a formal interior essentially for pictures, or
less formal and specific, allowing exhibitions to be created for the space. Live
Art should be considered, as should the use of gallery space for recitals,
drama performances and so on, in which case the acoustic characteristics of
the space would require particular attention. The whole of the gallery can be
the foyer space to the auditorium, with refreshment areas, toilets, etc.
off the gallery, thus making the gallery the focus of the public spheres.
Library :
The relationship between the auditorium [the audience] and the platform/stage [the performance] is a fundamental requirement. The selected
format affects the experience for both audience and performers, seating capacity and auditorium size and shape, from which follows the general
arrangement of the building.
The relationship may be summarized as either the proscenium format or open stage format: the proscenium format is as if the performance is
seen through a window’ or hole in the wall and there is a clear division between audience and performers; the open stage formats follow the
concept of the auditorium and platform/ stage being within a single volume with the seating confronting, partially surrounding or wholly
surrounding the platform/stage.
The open stage forms may be classified into five broad categories:
● End stage: the audience focused towards the stage within a rectangular box: the stage at the narrow end, with stage and audience in the same space.
● Fan-shaped: the stage is encircled by the audience by 90°. This level of encirclement allows the performer to command the audience and for the
performer to be seen against a scenic background by the audience.
● Thrust stage: with the audience on three sides, semi-surrounding the stage.
● Theatre-in-the-round: the audience surrounds the performance. Entrances by the performers are through the audience. Acoustically the performer
needs to project to the whole audience in every direction, which implies a limit to the maximum distance from stage to rear row.
● Traverse stage: the audience either side of the stage.
Multi-purpose formats:
As opposed to an auditorium and platform/stage for a predominant type of production in a purpose-built facility, the brief may refer to more than
one type of production to be accommodated within a single format.
Also productions may require combination with non-performing arts activities. Each of the alternative uses will require specific provisions to be
made in its design and equipment; in platform/stage space; in orchestra space and modification of acoustics; in scenery storage and workshops; in
stage lighting and sound. While some degree of flexibility can be accommodated at reasonable cost and with success, there is a limit to the
multiplicity of use. Apart from design difficulties, the cost of providing for the different requirements and of operating a multi-purpose form may
become disproportionately high. The success of a multi-purpose format depends upon the compatibility of the various activities and the designer
must be rigorous in the assessment of the activities.
The viewer:
• The horizontal angle of polychromatic vision is generally 40 degree without eye movements.
• The horizontal angle to the projector screen at witch distortion on the screen becomes substantially intolerant is 60 degree measured to the far
side of the projected image .
LOCATION OF AUDIENCE
• Audience will not choose a location beyond a line proximity 100 degree to the curtain at the side of the proscenium .
DESIRABILITY OF LOCATIONS BY AUDIENCE
• Judged by the ability to recognize shapes, and confirmed by free audience, choice of seats, the following are the desirable locations:
A – front center B- middle center C-middle side
D-front side E-rear center F-rear side
ACTION SPACE
Quick change 1) dressing room – min 50sqft/ actor
space for dresser to help actor
location- immediate to the stage.
Confer with stage manager/ director 1) green room with adjoining kitchenette.
A LOADING PLATFORM
DELIVERY DOCK
B LOADING DOOR
STOCK ROOM
RECEIVING AND
C SHIPPING SPACE
CRATE STORAGE
CARPENTER SHOP
D
STORAGE SPACE
PAINT SHOP REPAIR SHOP
E SCENERY SPACE
STORE ROOM
Manage the show Stage managers desk- on stage near proscenium on working side.
Equipments- calls, phone, monitor, moving stage control etc.
Work the show Locker room
equipment-lounge furniture , adjoining toilets
ACTION SPAC
E
Brought to theater and unpacked Loading door – 6’x8’ / 1.83m x 2.5m
Separate from scenery door, adjacent to loading platform - 100sqft
Fitted to set of scenery , stored on stage (floor / rack / shelves) Operated during show, repaired, struck and transported.
Auditorium acoustics:
The acoustic performance of the auditorium is a critical design requirement and needs to be considered as part of the initial brief. Acoustic
performance refers to the quality of the sound – music or speech – heard by each member of the audience, and also the performers on the
platform/stage. Design considerations for the acoustics of an auditorium, when the sound is not amplified, include:
●Type of production: each type has its own requirements with different characteristics for music and speech.
● Shape and size of the auditorium: the extent to which the audience surrounds the platform/stage;
seating capacity; number and depth of balconies; rake of the seating; for concerts, the proportion of length to width and height to width; for
opera, dance and musicals, the location of the orchestra pit; location of performance lighting and sound equipment and lighting bridges.
Seating density
Density of seating can vary (Figure 12.20): seats with arms and
a tippable seat can occupy an area as small as 500 mm wide,
and less with seats without arms, with a row to row dimension
of 760 mm, but can be as large as 750 mm wide by 1400 mm.
This is a variation from 0.38M2 to 1.05M2, with these
examples, and the increased dimensions means fewer seats
within a given area and reduces the seating capacity. The
minimum dimensions laid down by legislation offer a low
standard of comfort for the audience. Comfort needs to be
considered, especially knee room, and these dimensions should
not be taken as the norm. Social cohesion of the audience may
be lost if the space standards are too high, with the performer
being less aware of the grouping and more the individuals.
Travel distance
The evacuation from each level of the auditorium within a limited period of time is required in case of a fire. For traditional seating the travel
distance is 18 M measured from the gangway: for continental seating, 15 M from any seat. The aim is to evacuate the audience of each level within
2.5 minutes.
Exit numbers
At least two separate independent exits must be provided from each level within the auditorium. The exits should be located with sufficient
remoteness from each other to allow alternative directions of escape. The number of exits per level are two for each level within an auditorium with
the seating capacity up to 500: an additional exit is required for every further 250 seats as
defined by legislation. Egress in case of emergencies should follow the natural flow of movement from the
seats away from the platform/stage.
Exit widths
The exit widths are laid down by regulations. The base calculation is 45 persons per minute per unit width of 520–530 mm. The minimum total
exit widths required are outlined
Exit route
The exits from the auditorium must lead directly to a place of safety. The exit route must be the same width as the exit and be a consistent
width avoiding bottlenecks. The exit doors from the auditorium, any doors within the route and the final exit doors must open in the
direction of egress. Staircases within the route are subject to the following conditions: the maximum number of steps, 16: the minimum
number, 2; tread/riser to be 275 – 180, as a recommended ratio, and consistent.
Ramps should be at a pitch of 1.15, in lengths of 10 m maximum with intermediate platforms. Exit routes for wheelchair users are required
to be on the flat or ramped if there is a change of level, and may be required to be separate from the other routes. Routes are to be enclosed
by fire-resistant material within the building.
Gangways for use by wheelchair users require to be flat or ramped: the pitch should not exceed 1.15 for a
ramp with a maximum distance of 10 M. Beyond 10 M, the regulations require a flat platform, which in a
large auditorium may be inconvenient as it may break the line of the seating banks. Permission will be
necessary to have a continuous ramp. For a wheelchair user moving from a ramped gangway to a flat
platform will require an intermediate ramp. Gangway widths are established through the regulations
covering fire escape from auditoria. The minimum width though is taken as 1100 mm unless used
by wheelchair users where the width increases to 1200mm.
Handrails will be required to a stepped gangway adjacent to an enclosing wall; to a stepped gangway if a
drop at the side; at landings, rear of rostra and where there is a drop of more than 600 mm; where the rake is
above 25° to a gangway the ends of the rows served
by the gangway may require a loop rail
Rails are usually 900 mm above the pitch line and 1200 mm above landings, with panels either solid or sub-
divisions which may require a 100mm maximum gap.
Broadcasting requirements
Television cameras
External broadcasting – television and radio – and recording in auditoria may be a requirement
especially in those buildings for the performing arts housing
or hosting national and regional professional companies. Television cameras require to be
located in the seating areas either in specific
locations, on platforms, or by displacing seats.
Adaptation
In multi-purpose auditoria where different formats or
uses are combined then all or part of the raked seating
will require to be movable. This can be achieved
by forming a structure off a flat floor, and include
●Rostra: Complete raked units with either permanent or removable seats, on wheels or air pallets for ease of
movement into storage areas when not in use.
●Sectional rostra: A set of boxes able to be built up to form raked units with removable seats. The storage requirements
are less than complete rostra.
●Kit of parts: Scaffolding or equivalent set of components able to form raked levels to receive seating. This is the most
flexible system, it has efficient storage requirements, but is labour intensive.
●Hydraulic lifts: Mechanical method of raising sections of the flat floor to form a rake floor to receive
seating. Loose seats, secured in position when required for
Performances.
Sightlines: seated audience
For the whole of the audience to have an uninterrupted view of the performance and its setting over the heads in front
and clear of overhangs,
the section and plan of the auditorium needs to conform to certain limitations set by vertical and horizontal sightlines.
Vertical sightlines
Vertical sightlines may be calculated by establishing:
Lowest and nearest point of sight on the platform/ stage for the audience to
see clearly. The platform/stage height, when raised, can range from 600 to
1100 mm above the lowest level of the auditorium and point can be the
leading edge, or setting line for the performance, at or above the
platform/stage level. If a forestage is part of the proscenium or end stage
formats then point needs to relate to the forestage. If an orchestra pit is
included between stage and seating then point may be regarded as the
conductor’s head. With a symphony orchestra in a concert hall, the ability to
see each musician at the front of the stage (who partially masks the other
musicians) may not be critical and point P may be taken as over 600 mm
above the platform level at the front edge.
Cent er for per f o r mIn g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
45
Horizontal sightlines:
Horizontal sightlines are to be considered only with a
proscenium stage and possibly end stage and platforms
for classical and choral music. Given a particular
performance area, sightlines will limit the width
of seating that can be provided in the auditorium.
Conversely the sightlines from the side seats restrict
the amount of the performance area that can be used.
The narrowest dimension of the proscenium opening,
if adjustable, should be taken as the basis of the
calculations.
Each member of the audience should have a direct
view of the performance focused towards the centre
of the performance area. Curved or angled rows
direct the focus of the audience towards the centre.
The curved rows radiating from the circular stage of a
Greco-Roman theatre is a clear and simple example
of this form with the geometry emanating from a single
point. With a proscenium stage the geometry of Without head movement the arc to view the whole
of the performance area on plan is 40° from the eye.
the performance area varies from the setting out point
An acceptable degree of head movement is debatable,
of the seating; the audience should be contained
where the seat is focused away from the stage, as
within a 130° angle peripheral spread of vision
from the performer at the point of command on the with side galleries, requiring the head to be turned by
the member of the audience .
performance area for opera, dance, musicals and
Drama.
Ventilation
The experience of enjoying a performance is influenced Ventilation supply rates of air relate to the need to
by the quality of the ventilation in the auditorium, provide fresh air at a rate of change to achieve suitable
and the avoidance of draughts, stuffiness and comfort conditions: rates are subject to legislation
noise of mechanical ventilation. Health needs include expressed as a minimum of fresh air supply per
respiration while comfort needs include maintaining person, including a proportion of recycled conditioned
body heat, control of airborne contamination and air. Air change rates appear to vary according
removal of odours. There is also the cost of the ventilation to the authoritative body.
and associated questions about heating which The basic principle of mechanical ventilation lies
can contribute significantly to the running costs. with bringing air into an auditorium, with air which is
The approach to the ventilation of an auditorium fresh, clean and at a similar temperature, achieving a
reflects its size and shape (number of balconies in particular), number of air changes per hour when the auditorium is
level of flexibility (different audience/performance occupied. This is complemented by the extract of air to
relationships), the type of construction of achieve the air changes. There are different locations for
the auditorium enclosure and external climate conditions. the introduction of air into an auditorium and for the
The initial design decisions lie with defining the extraction of air.
noise criterion and number of air changes per hour to
be achieved in the auditorium. The acceptable level of
noise can vary according to performing art: for drama
the level can be NR25 while for orchestral music the
level may be required to be much lower at NR20. For
recording, the level would be even lower with a recommended
NR15. This criteria refers to the background
noise level and not the quality of the sound as experienced
by members of an audience.
Auditorium lighting: For illumination of circulation routes and seating areas for the audience to move around the auditorium, read programmes, and
so on; decorative lighting emphasizing architectural features within the auditorium. Auditorium lighting is usually dimmed and out during the actual
performance for all types of production except for classical and choral music, where the tradition is to dim the lights only.
●Emergency lighting: An illumination of the circulation routes within the auditorium during a performance, with the luminaires located at ceiling
level or/and at a low level incorporated into the design of the gangways; exit signs and emergency directions at points of egress in the auditorium;
lighting of the auditorium at times of emergency.
Working lights: general illumination of the auditorium for cleaning and maintenance as a separate system during times when the auditorium is
not used for performance and rehearsals.
● Director’s desk lighting: supply of power within the auditorium to serve temporary location of director’s desk during rehearsals. This is not
usually applicable for classical music.
● Cue lights: at entry points into the auditorium.
● Blue lights: areas within the auditorium which will be accessed during the performance by technicians and performers require lighting but at
a low level with a blue light to avoid distraction to the audience. This covers lighting bridges and entry points into the auditorium.
Ease of access is required to service all luminaires.
The sound equipment described in the following sections may be required to be incorporated into
the auditorium design. Control rooms for performance sound, broadcasting and recording are
discussed under Performance Organization
Sound reinforcement:
Fire protection
The enclosing walls and floors of the auditorium should be fire-resistant as should the doors and other openings in the walls. Other aspects to be
considered,include:
● non-combustibility of materials including finishes and seating
● detector system: smoke detectors in auditorium and associated voids
● extinguishers: hose-reels, portable extinguishers; automatic sprinkler systems will not be allowed over seating areas
● alarms: connected to automatic detector system and central indicator panel and, possibly, direct link to local fire station; alarms should be
visual
(flashing light) in auditorium and not audible.
Fire precautions should be discussed with the local fire authority and fire insurers
Structure:
A large span structure will be required, capable of carrying shaped ceiling, lighting bridges and ventilation ducts. Floors will be sloped, raked, dished
or, if a multi-purpose auditorium, flat. Balconies introduce additional long spans able to carry heavy loads. For sound insulation purposes the
auditorium walls will have to be substantial, which suggests load-bearing construction.
Ceiling zone:
The ceiling and ceiling zone are mainly determined by functional needs and include the following requirements:
●Acoustic requirements: Profiled reflector panels and possible adjustable diffusers to ensure distribution of sound over the whole seating area.
For non-amplified music the reflectors will need to be suspended over the platform as well.
●Lighting requirements: Access and supporting framework for performance lighting, ‘house’ lighting and also working lights and emergency
lights.
●Ventilation requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of access
for servicing.
● Production requirements: For opera, dance, musicals and drama, a grid and pulley suspension system for flying or suspending scenery over
forestage, including access by technicians.
● Fire control requirements: Alarm system in voids;
fire dampers in ducts.
Seating capacity:
The maximum capacity within an auditorium depends on the selection of format and the aural and visual limitations set by the type of
production. Other influences on the calculation include, levels, sightlines, acoustics, circulation and seating density, as well as the size and
shape of the platform/stage (to be described in the following section). To maximize the seating capacity within these limitations, sightlines
may be compromised so that, say, 10 per cent of the audience experiences 90 per cent of the performance area. This is a debatable issue
mainly associated with the proscenium format, where, to achieve an intimate character in the auditorium, a desire to provide
perfect sightlines for everyone may have to be overridden. The actual seating capacity depends on the ability to attract audiences which may
be less than the possible maximum. Also the potential peak demand could exceed the selected capacity on a particular evening: the aim
though should be to spread attendance across less popular days, or extend performances over a longer period of time rather than increase the
capacity over a short duration.
To minimize the gulf between stage and audience the pit can extend under the stage
front for a distance no greater than 2 M. The soffit of the overhang should reflect the
sound outward into the auditorium. For opera, the pit should be designed for a
maximum of 100 musicians: for musicals, 60; for dance, 60–90. The numbers could be
less with touring companies. The floor level of the orchestra pit should be adjustable,
between 2–3 m, below the stage level to suit the different requirements of the musicians
and directors. The fire separation between auditorium and stage
must be maintained including the entry point into the pit: access must be possible from
both ends. The orchestra pit requires its own independent ventilation system, locally
controlled. Lifts may be required to reduce the size of the pit, and its acoustics.
The orchestra pit requires acoustic treatment and working lights, as well as the socket
outlets for lighting to music stands.
KALA ACADEMY,
GOA
LOCATION: Situated at Campal, Panaji along the banks of river Mandovi
Area has mixed land use with a military hospital across the
road, a cricket ground and a park on either side.
ARCHITECT: Charles Correa
BUILDING TYPE: Institution
SITE AREA: 6.3acres
SITE GRADIENT: Gentle Slope
INTRODUCTION:
• Venue of international film
festival of India.
• 1969 - prime institution for
promotion of art and culture in
Goa.
ACCESS:
• Regular buses connecting Panaji
and the academy are available.
• Dabolim airport, 35km
• Nearest railway station is
Madgao, 53 km.
LAYOUT:
• Four entries to the site.
• Boat jetty provided on the river
side.
• Coverage is about 40%
• Well defined pedestrianCandent er f o r pe r f o r mIn g a r t s
vehicular systems Thesis 2012
• Includes the cafeteria,Jyotsna
garden Mishra Case study
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BUILDING STYLE AND CHARACTER:
• Designed by ar. Charles correa.
• Importance to the process of moving through the spaces in a building.
• Built form has been kept low ranging from one to three floors.
• This is further enhanced by the use of parapet walls for upper floors, which
emphasize horizontally.
• The 'pergola 'above the entrance acts as an extension to the foyer of the
main
auditorium and amphitheatre.
• Use of coffer slabs and parapet walls
• Extensive use of specially designed seating
A
D
M
I
N
I
S
T
PREVIEW THEATRE:
• Capacity - 24. R
• Used during ‘IFFI’ for special screening. A
• Has got a jury room and projector room attached. T
• Particle board has been used for acoustical effect. I
O
N GALLERY:
ART
•: Running wall space - 30 x 1.50 mts
•• Carpet
A area of gallery – 90 sq.mts
d exhibits are displayed on the wall on four sides.
• The
m
• Lighting features are very normal no facility to hold a good exhibition.
i
• Adjustable cove lightings are used in gallery
n
i
s
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LIBRARY :
• area- 135 SQ.M
• Library is in proximity with mini oat.
• Books are raked in glass shelves
CAFETERIA :
• Capacity for 100 members
• Square table are provided each with 4 seats
• 3 sides open in to the outdoor landscape TEACHING STUDIO:
• It is accessible from all theatre meeting room - 45 sq.m • All the music studios are of the same size 3.3 x 2.6ms
• Central air conditioning is provided for all class rooms.
• Acoustically treated classrooms with the same type of
padding provided for the walls and ceilings.
• Three walls are faced with linen material and glass
wool, the
rest is paneled with wood particle board
PARKING FACILITIES:
• Parking facilities is provided on the south-eastern side.
• Nearly 250 public parking are provided.
• Special VIP and staff parking provided.
LANDSCAPE:
• Beautiful lawns form the main part of the
site. Trees are provided aptly at the front side
of the building.
• Specially designed benches and lamp posts
line the path Along the river side.
ANALYSIS
• The layout and the building zoning provided
are excellent
• Good acoustical treatment
• Flow of spaces has resulted in a good built-
open relationship.
• Good use of site features has successfully
made the public spaces interesting by
use of sculptures, paintings, seating etc.
• The cafeteria is the most active space with
good view to the river.
Cent er
• Vehicular and pedestrian ways properly
fo r per f o r mIn g a r t s
Thesis 2012
defined.
Jyotsna Mishra Case study
• Service blocks are separated
070901162 | Xth Sem |MSAP
NATIONAL CENTRE OF PERFORMING ARTS,MUMBAI
CONTROL ROOM:
• Location Rear of the auditorium behind glass window; partially openable
divided into 4 compartments inter-connected through common
passage
• Compartment 160 sq.m.
• Compartment 228 sq.m.
• Compartment 310 sq.m. (Light Control Cubicle)
• Compartment 445 sq.m.
• Power supply 18 kW, 30 Amps per phase
MISCELLANEOUS SPACES
Foyers at two levels.
GROUND FLOOR (LEVEL 0)
• Area 930 sq.m.
• Height variable, minimum
2.5m
• Elevator 1 (West Foyer)
• Accessory electric 9 kW
•Service
(East Foyer) Lighting
Counter supplyFoyer and one in West Foyer)
2 (one Front MAIN ENTRY OF THE JBT FOYER AND THE FOOD COUNTER
• LoadFLOOR
FIRST 15 Amps(LEVEL
per phase
1)9
• Area
kW (WestFoyer)
465 sq.m. Lighting
•Height
load 15 Amps per
variable; phase 2.5m
minimum ORCHESTRA PIT
•Service counter 1 (East Foyer) • Forestage orchestra elevator 19m (w) x 4m (d) : travel -2.9m(below stage),
MUSEUM 0.0m (auditorium level) to + 1m (Stage level);locking @ 400mm increments(9)
• Area 165 sq.m. • Capacity 60 musicians
•Height 5.45m • Below-stage pit, fixed portion 15.4m (w) x 4.2m (d) x 3.1m (h)
TATA THEATRE:
SEATING CAPACITY
Total capacity -1010 seats
Capacity reduced in the following cases:
• Use of in-house
• sound mixer/monitor Reduced by 7 seats Sound System
• 8-Channel audio mixing console
• Basic sound system for speech and music reinforcement
STAGE
• Floor Hardwood timber flooring on concrete
• Size 9m (d) x 17.5m (w) at its maximum width:
• Height 3m at upstage: 6m at downstage rotatable stage
FOYER MAIN ENTRY TO THE THEATRE • Operation electronically controlled
• Rotation 180°
• Rotation time 80 sec.
DRESSING ROOMS
Ground floor- Solo rooms 4 (11.6 sq.m. each)
Mezzanine- Group rooms 2 (23 sq.m. each)
STAGE
•9.7m (w) x 7.3m (d) x 0.7m (h) maximum
• Variable configuration; modular wooden platforms
FLOOR
•Concrete floor 19.20m (l) x 19m (w)
•Floor-to-grid height (Catwalk) 9m (h), average
CONTROL ROOM
•Behind glass observation window at first floor level
LIGHTING
•Electronic light dimmer 1
Specifications
•Lighting console -Phoenix Cantor-48 ,48 channels
(ADB make)
MISCELLANEOUS SPACES
•Foyer (non A/C)
•Size 425 sq.m ; height 3m
V
I
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68
DANCE THEATRE GODREJ SEATING CAPACITY
• 185 seats
STAGE
• Floor Timber flooring on MS slotted angle frame;
• 0.65m from auditorium level
• Wing-to-wing 9m (w) x 5.6m (d) height: 2.34 m
WING SPACE
• Stage- right 3.55m (w) x 6.7m (l) height: 2.34m
• Stage-left 2.2m (w) x 6.7m (l) height: 2.34m OUTER AREA OF THE THEATRE
• Cross-over space 14.9m (l) x 1.1m (w) height: 2.34m
• Proscenium opening 9.55m (w) x 2.40m (h)
• House curtain Maroon velour; motorized travel
MISCELLANEOUS SPACES
• Foyer( non-A/C)
• Area-158 sq.m
STAGE OF THE THEATRE AND FIXTURES
• Sunken Garden 232 sq.m
STAGE
• Floor timber flooring on concrete slab;
• 0.8m (h) from auditorium level.
• Size with side wings and 6.66m (w) x
• 5.47m (d) x back concertina flat 3.96m (h)
• Downstage 3.08m (h) upstage
WING SPACE
• Stage-right 1.1m (w) x 6m (l) x 3.08m (h)
• Stage-left 1.0m (w) x 6m (l) x 3.08m (h)
• Cross-over space 8.7m (l) x 0.6m (w) x 3.08m (h)
• Proscenium opening 5.85m (w) x 3.96m (h)
• House curtain Maroon velour; motorized travel
DRESSING ROOMS
• Ground floor 1; 8.5 sq.m
• First floor 1; 15.8 sq.m
MISCELLANEOUS SPACE
• Foyer (air-conditioned)
• Size 13.3m (l) x 5.6m (w) x 6m (h)
• Area 74.5 sq.m
VIEW OF LITTLE THEATRE
OUTER AREA OF JBT OUTER AREA OF TATA THEATRE WAY TO THE BASEMENT PARKING
USE Can host any event Indian music , dance Ideal both for traditional
from staged Indian epic and other art forms. folk and performance
and classical concert to type presentation
westerns dance
SEATING 1190 1010 300
INTRODUCTION:
Triveni kala sangam was founded in 1952 by Smt. Sundhari Sridharni, as an academy of dance,
music and painting with the aim of reintroducing traditional forms of expression into Indian
life.
Each of the functional units of the complex its, theatre, classroom, studios and galleries is
individually articulated in the building massing
LOCATION:
Triveni kala sangam is located on 205, Tansen Marg, New Delhi.
It is the cultural core of the city with similar buildings like Sri RamCentre for Arts,
Rabindra Bhawan and Sangeet Bharati located close by.
ACCESS:
Access to the site is form the Tansen Marg, the road that leads to the Bengali Market.
There is not much heavy traffic on this road.
PHASE I- houses the music and dance studios, an O.A.T, a library, café, exhibition galleries and the administrative areas.
PHASE II-comprise of an auditorium for 200 people, painting and sculpture workshops and residential apartments
The building layout is influenced by 2 major factors-
Large no of functions to be handled on a small site
A high degree of flexibility required for various functions. The building has been perfectly designed in a relatively small site of one acre
following individual articulation of functional units in the building massing.
On entering the lobby the principle areas of interest like art galleries, auditorium, OAT etc is visible at once.
The two heavy massed blocks rise up to 4 storeys and are a response to tight program within a tight site.
EXHIBITION GALLERY:
• It is located right next to the main entrance.
• The gallery is curved in plan and is supported on a beam-column
structure.
• The displays are hung on the walls
• A special framework of wood is attached on the roof, which has
spotlight on it.
PARKING:
There is no parking space in Triveni Kala Sangam. Vehicles have to parked
main road and parking space is also not sufficient
LANDSCAPING:
• The whole complex is well landscaped.
• Three well landscaped lawns in front of the building is contrasting with its
external features.
The whole environment of the complex is calm and peaceful.
the ground floor with the AC, green rooms, art room, stores etc, below.
It is a proscenium theatre with the actors and audience in separate spaces.
The side walls have teakwood paneling, whereas the rear walls, stairwells and railings have sound absorbing treatment of teakwood states over fiber glass
wood insulation.
The ceiling is coffered in expose concrete with a few acoustical panels, placed randomly.
The control room is located behind the audience seating. It includes both south and light control.
The lights for the stages are
• concealed in the depth of the coffers and are not visible to the audience.
• The seats are placed over precast slabs, combining the built in AC ducts. This leads to unusually
high ranking of seats for a hall of this size.
• As the AC is fed through ducts below the seats, it causes chill at the audience feet.
• For exclusion of external noise, ducts are treated heavily internally with sound absorbing lining
and externally with plaster.
OAT:
•The OAT is located between the
teaching corridor and art gallery.
•It has a capacity of 350-400
people.
Charles Correa the architect found here the possibilities of a series of terraced gardens,
which would be seen cascading down to the lake. The visitors enter at the highest level and
walk down a pedestrian spine, flanked by a pattern of courtyards, to reach the various parts
of the complex. Each curve and space defines itself. Each of the part of the building is
distinct yet flows easily one another, linked by meandering paths. The total effect is one of
the surprise and pleasure. There is always a moment when the eye can rest and the mind
contemplates.
Court of Antarang :
Onone enters this court either fromthe circulationaxisfromthecourtoffountain.The overbridge is the main gate for the
entrance tothis court. The court leads to GRAPHIC AREA, PERMANENT GALLERY &ANTARANG.The court
performs as an extension and a out space,passage, room for the visitor waiting to gain entry in the
permanent museum.
ROOPANKAR is the only museum of its kind in India which houses contemporary folk and
tribal art together with urban art. Roopankar has two fully equipped workshop for printmaking
and ceramics. There are about 6000 tribal and folk art objects and nearly 2,500 urban art work in
the collection of Roopankar museum.
RANGMANDAL is a professional repertory which has at its disposal a fully equipped indoor auditorium, Antarang, an open air threatre
Bahirang, with a spectacular location on the lake, and a studio theater Abhirang. It owns an impressive theater library and data bank.
VAGARTH is the centre of Indian Poetry. It aims to collect and preserve the ancient and contemporary poetry in Indian languages, whether in
the spoken, written or in the printed form.
Vagarth's library consists of more then 13,000 books. These include book of poetry in Indian languages, English translations of poetry in
foreign languages, works on poetics, literary criticism and culture. Rare manuscripts of some renowned, Indian poets, hundreds of audio and
video recordings of reading in Bhart Bhavan by significant Indian poets are also collected in Vagarth's archives.
ANAHAD is the center for classical, folk and tribal music. Anahad, aspires to preserve the tradition and promote its immense contemporary
creativity in all its glory and diversity.
The chief activity of Anhad is organizing performances of classical and folk music and dance. It organizes several series of music concerts.
Anhad possess an archival collection of about 2000 hours of audio and video recordings, books on music and dance and over a 100 long
playing records of foreign music to aid reference and research..
NIRALA SRIJANPEETH is the chair for creative writing instituted in Bharat Bhavan by the government of Madhya Pradesh, the
incumbents have been writers of repute including Nirmal Verma, Dilip Chitre, Krishan Sobati, Kedarnath singh, Krishna Baldev Vaid,
Kamalesh, Ramanath Tripathi, Vinod Kumar Shukla, Ramesh Chandra Shaha and Manzoor Ehtesham.
ASHRAM has hosted artists and writers of national eminence, Mallikarjun Mansur, Bhavesh Sanyal, Namver Singh, Nirmal verma,
Zia
Mohiuddin Dager and Ambadas have lived in residence at Bharat Bhavan's Ashram.
ANALYSIS
Plus Points :
(a) Material Economy.
Extensive use of local material like BASODASTONE & ALANGA for
masonry and external wall.These have a lowrejection factor of 33%.
(b) Space Economy.The positioning of columns on a square grid of
9.2 x 9.2 mtr. gives a .large column free space.
(c)Energy
Economy.
Horizontal spread receives maximum solargains of 80% of the roof is
covered with lawn and savesextensive use ofartificial energy.
Negative Points :
(c)Maintenance.High cost of maintenance of the terrace gardenisalackingfactor.40%ofthe annual repair bill goes for thispurpose 40% is spent on
water proofing of roof, skylights, onwalls, floors, stair and expansion joints.
(d) Restricted Future Expansion.
With covering entire horizontalspace available if the- need arrive for expansion there is no space leftfor this purpose. Existing exhibition area
cannot be expanded due tomaximum horizontal coverage.
koothambalam
The performing area Waiting area/ karnatic music room
The theatre consists of a main entrance infront
of which a flat pole, used to announce a Administration-
performance. -staff 25
-The raised stone entry steps of flanked by -Total strength 700 students
hand carved stone panels - 3 ladies hostel
-- designed according traditional kerala - 1 boys hostel
lion
motifs Kalari class room
-- capacity of 600 people -Used for learning various art forms
-stone column with hand carved stone dance
poses, bassed on classical posture Library
-green room and toilet facilites .
-wooden stage
Small shop
Chandigarh
Chandigarh is a city and union territory in
India that serves as the capital of two states,
Punjab and Haryana . The name
Chandigarh translates as Fort of
"The Chandi". The name is from an
derived
ancient temple called Mandir,
devoted
Chandi to the Hindu goddess Chandi, in the
city. It is also referred to as The City
Beautiful due to its beautiful surroundings,
central grid of gardens, each to dedicated to
different species of flora.
Planning of Chandigarh
Le Corbusier replaced the native Indian town plan with a rectangular grid
based on the metaphor of a human body but totally divorced from ideas
about complex, vibrant Indian cities. He placed the Capitol Complex at
the top resembling the head, the intellectual base, reflecting Nehru's
conviction that government should rule a city as the head rules the body.
The industrial and educational belts on either side of the city symbolized
the limbs. The city center with commercial buildings, shopping, and
offices represented the heart.
The most positive aspect of the sectors is that they provide a safety area
for children, they can play, walk to school, and to shopping areas, usually
without crossing a street.
All this was based on his designs for the "Radiant City" - the ideal city of
an omnipotent Western machine-age civilization promising a decongested
city center, filled with sun, space, and greenery.
Geographical location:
Location: 30.74°N 76.79°E
Chandigarh is located near the foothills of the Shivalik range of
the Himalayas in northwest India. It and shares its borders with
the states of Haryana in the east and Punjab in the north, west
and south.
Area : 114km2
The surrounding districts are of Mohali, Patiala and Roopnagar
in Punjab and Panchkula and Ambala in Haryana. The
boundary of the state of Himachal Pradesh is also minutes away
from its north border.
Chandigarh is well connected by road by NH 22 (Ambala - Kalka - Shimla - Kinnaur) and NH 21 (Chandigarh - Leh), and has both a railway
station and theInternational Airport.
The Chandigarh Metro Rail project is underway but recently, due to reduce cost, it is planned to partially replace metro projects by tram and
monorail.
Environment
Most of Chandigarh is covered by dense Banyan and Eucalyptus plantations. Asoka, Cassia, Mulberry and other trees flourish in the forested eco
system. The city has forests surrounding it which sustain many animal and plant species. Deers, Sambars, Barking Deers, Parrots, Woodpeckers and
Peacocks inhabit the protected forests. Sukhna Lake hosts a variety of ducks and geese, and attracts migratory birds from parts of Siberia and Japan
in the winter season.
A parrot sanctuary located in the city is home to a variety of bird species.
Economy
The government is a major employer in Chandigarh with three governments having their base here. A significant percentage of Chandigarh’s population
therefore consists of people who are either working for one of these governments or have retired from government service. For this reason, Chandigarh
is often called a “Pensioner's Paradise”. There are about 15 medium to large industries including two in the Public sector. In addition Chandigarh has
over 2500 units registered under small scale sector. The important industries are paper manufacturing, basic metals and alloys and machinery. Other
industries are relating to food products, sanitary ware, auto parts, machine tools, pharmaceuticals and electrical appliances. Yet, with a per capita
income of Rs. 99,262, Chandigarh is the richest city in India. Chandigarh's gross state domestic product for 2004 is estimated at $2.2 billion in current
prices.
Three major trade promotion organizations have their offices in Chandigarh. These are: Federation of Indian Chambers of Commerce & Industry,
(FICCI) the PHD Chamber of Commerce and Industry (PHDCCI) and the Confederation of Indian Industry (CII) which has its regional headquarters at
Sector 31, Chandigarh.
Chandigarh IT Park (also known as Chandigarh Technology Park) is the city's attempt to break into the IT world. Chandigarh's infrastructure, proximity
to Delhi, Punjab, Haryana and Himachal Pradesh, and the IT talent pool attracts IT businesses looking for office space in the area. Major Indian firms
and multinational corporations to the like of Quark, Infosys, Dell, IBM, Tech Mahindra have set up base in the city and its suburbs. According to a 2007
survey, Chandigarh is ranked ninth in the top 50 cities identified globally as "emerging outsourcing and IT services destinations".
industrial
public/semi
public and
Soil type: recreation
al
transportati
on
The soil texture varies from sand to sandy loam with 10-40% gravel. The
dominant soil are loamy skeletal typic ustorthents.
Seismic Map:
Delhi, Chandigarh and many parts of Haryana lie in Zone IV and
thus they are extremely vulnerable to earthquakes. Most
earthquakes in this region are shallow though a few earthquake of
intermediate depth have been recorded in Haryana. The alluvial
cover of the Indo-Gangetic plain makes even distant earthquake felt
here quite strongly.
Climate Humid subtropical climate, very hot summers, mild winters, unreliable rainfall.
Humidity Mean relative humidity for an average year is recorded as 49.2% and on a monthly basis it ranges from 25% in
April & May to 73% in August.
Wind Winds are generally light and blow from northeast to southeast direction with exception of easterly to
southeasterly winds that blow on some days during the summer.
Soil The soil texture varies from sand to sandy loam with 10-40% gravel. The dominant soil are loamy skeletal typic
ustorthents.
Tectonic actitvity Chandigarh and many parts of Haryana lie in Zone IV and thus they are extremely vulnerable to earthquakes
•
Discussion
room
Dressing
a r t s
Thesis 2012 room
Requirements area in sq m
-Production TOTAL AREA:14,726
•Stage manager 15 CIRCULATION:30%
•Stage workshop 100
•Scene store 100 GRAND TOTAL: 19,144
•Costume workshop 40 EXPECTED NO. OF PPL ON AN AVERAGE 500/Day
•Store 20 ON THE DAY OF PERFORMANCE: 1000 ppl
-Monitoring 145
-performance 810
-auditorium 120
0
LEARNING AREA 786
CATERING 130 (20Ppl/day)
RESIDENCE 120(10PPL)
LANDSCAPE AREA 60
SERVICE 1680
S FIRST 40
AID 400
MUSIC
THEATER
Openings
Openings in walls are classified in three categories:
9‘large’, between 40 and 80% of the north and south walls. These need not be fully glazed, but should be protected from the sun, sky glare and rain,
preferably by horizontal overhangs 10 ‘very small’, less than 20% of the wall 11 ‘medium’, between 20 and 40% of the wall area. Openings in the east
wall may be desirable where the cold season is long in west walls openings are acceptable in moderate or cold climates, but under no circumstances in
the tropics
There are two broad categories of walls.