Architectural Thesis : Aditi Ghosh|Angika|Dance Gurukul by Aditi Ghosh

ANGIKA

PROJECT INTRODUCTION Project Name : Angika Denotes the use of gestures which play a significant role in conveyance of the emotion through the body movement.

At ANGIKA, dance would be a way of life, a matter of faith and belief which will be nurtured by the souls of its own people. Angika would provide dance trainings and degrees in different dance forms. Along with the intensive dance training, they would learn aesthetics, history of dance, philosophy, spiritual thought and dance theory. Regular workshops will be conducted in yoga, meditation, theatre, etc. These workshops inculcate an awareness of interdisciplinary approach and an understanding of the interrelatedness of all arts and physical traditions of India. The institution’s program will also be designed to support the artists and help them prepare for that day when they step off the stage and into the unknown. It will not only value their artists for what they can bring to the stage but also for what they can eventually contribute when their training days are over.

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INTRODUCTION What is Dance ? Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. The dance can be performed to serve various functions (social, competitive, ceremonial) but it also has two distinct forms : • Theatrical Dance • Social Dance

Indian Classical Dance : Indian classical dance or 'Shastriya Devesh' is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra. The number of recognised classical dances categorised into eight forms naming Bharatanatyam, Kathak, Kuchipudi, Odissi, Sattriya, Mohiniyattam, kathakali and Manipuri. These dances are traditionally regional, all of them include music and recitation in local language or Sanskrit, and they represent a unity of core ideas in a diversity of styles, costumes and expression.

Origin? Archeological evidence for early dance includes 9,000-year-old paintings in India at the Rock Shelters of Bhimbetka and Egyptian tomb paintings depicting dancing figures, dated 3300 BC. It has been proposed that before the invention of written languages, dance was an important part of the oral and performance methods of passing stories down from one generation to the next.

Lord Of Dance

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JUSTIFICATION Visual

Expression Movement

Rhythm Culture

Traditions Perfor mance

Classical Semi-classical

Cultural heritage is encoded in a variety of forms. The task of preserving heritage involves preserving the tangible and intangible resources that broadly define that heritage. A significant aspect of intangible heritage resources is performing arts which include classical dance and music.

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Why a Dance center in the eastern part of India? Lack of classical dance institute in the eastern part of India which can offer courses in all the eight forms of dance Lack of awareness and knowledge about the traditional art forms ( both dancers and public )

• • • • • • • • • •

National Institute Of Kathak Dance –Kathak Triveni Kala Sangam – Bharatanatyam, Manipuri, Odissi, Chau Shriram Bhartiya Kala Kendra – Kathak, Bharatanatyam, Odissi And Chau Jaipur Kala Kendra – Kathak Darpana Academy Of Performing Arts – Bharatanatyam Akhil Bharatiya Gandharva Mahavidyalaya Mandal – Odissi, Bharatanatyam And Kathak Nritya Gram - Odissi, Mohiniattam, Kathak, Bharatanatyam, Kuchipudi, Kathakali And Manipuri Kalakshetra – Bharatanatyam And Kathak Sridevi Nrithyalaya – Bharatanatyam Kerala Kalamandalam - Kathakali, Mohiniyattam, Kudiyattam, Thullal, Kuchipudi, Bharatanatyam, And Nangiar Koothu

Absence of an institute in India which can offers all the eight forms of classical dance in the same complex Only few institutes offer dance courses and residential facilities that too in 5-6 dance forms

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Aim : To design a Centre for the dancers to bring them together from around the globe and explore different culture and traditions together and to foster inclusive community. Objectives : • • • • •

To design a space for the dance community where people from all over the world and of all ages can come together uplift the dance culture. To create a space where dances can learn, rehearse and perform together. To promote and preserve the culture through dance. To develop a versatile physicality through various dance forms and techniques. To revive the old system of residential Dance School.

Scope : • • a. b. c. d. e.

Master planning My scope will include detail design of : Dance Studios and other related facilities Accommodation Facilities Administration Facilities Structural Design Landscaping along with recreational spaces (Social interaction spaces)

Limitations :

•

Infrastructure planning

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METHODOLOGY Choose a topic Based on your interest and need for the project

Topic justification Why is the project needed?

Determine the aim, objectives, scope and limitations

Case studies related to the topic or to the components. To understand the requirements of the spaces concerned

Extract relevant information Inference and key learning’s from all the studies

Choose an appropriate site

Proximity analysis and zoning Understanding the functional attributes and use of a space and its related components.

Design stage Drawings that will help understand the design (plans, elevations, sections, views)

References

Criteria including all the important points inferred from the case studies, connectivity, context

Conduct preliminary research Refer to books, newspaper, articles, journals, video’s etc.

Standard study for the different components to be included in the topic To understand human Anthropometry for determining the space requirements along with space standards

Site analysis and justification Why the site has been chosen for the project?

Concept development An idea, thought or notion that forms the backbone and foundation of a design project ADITI GHOSH | A92204016043 | ANGIKA | 7

LITERATURE STUDY

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Culture Culture plays an important role in the development of any nation. It represents a set of shared attitudes, values, goals and practices. Culture and creativity manifest themselves in almost all economic, social and other activities. A country as diverse as India is symbolized by the plurality of its culture. India has one of the world’s largest collections of songs, music, dance, theatre, folk traditions, performing arts, rites and rituals, paintings and writings that are known, as the ‘Intangible Cultural Heritage’ (ICH) of humanity. ‘Cultural space is a space or community which has its own culture’

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Different forms of classical dance in Indian context

Bharatnatyam

Odissi

Kuchipudi

Kathakali

Sattriya

Manipuri

Kathak

Mohiniyattam

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Origins of different forms of classical dance

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HISTORY OF DANCE Dance And Nature : In the Indian mythology dance has always been associated to nature. It is said to have originated from lord shiva, who represents the entire cosmos and performs Tandava, which symbolizes all forces of nature. The history of Indian classical dance pervades in all parts of India and extends from early civilization to present day and can be divided into four periods :

First Period : Up to 2nd century B.C The early period can be traced in the evidences found in cave paintings and carvings. It can be seen in Jain temples of Udoygiri from 1st century B.C where carvings of dancing bodies with musicians are depicted on the walls of caves.

Second Period : 2nd century B.C – 9th century B.C It was during this period when dance from just being a mode of expression became a form of offering prayers. It was during this period that there was the first articulation of self-conscious understanding of this art which helped the compilation of “Natyashastra”.

Third Period : 10th century B.C – 18th century B.C From the 13th century manuals on dance were found from every region of the country for example, ‘Ntrittaratnavali’ of Jaya Senapati from Andhra Pradesh. Many distinctive regional styles evolved, and each region ultimately evolved a distinctive vocab e.g., Kathakali, Manipuri, Odissi etc..

Fourth Period : After 18th century A.D Ban on classical dances in most places. However, after independence these lost dances were resurrected form fragments to make a neo artistic whole. For examples, Odissi dancers looked at the Odissi sculptures in the temples of Orissa and revived all the stances of the dance style.

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DESIGN CONSIDERATIONS FOR A DANCE STUDIO

Dance and Space

Dance and Stage (floor)

Dance, natural light and ventilation

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DANCE STUDIO REQUIREMENTS The National Dance Teachers Association (NDTA) states the following guidelines in terms of floor space per number of students and for specific needs: Floor area : • Number of participants taking part in activities • It would be unwise to allow more than 18 participants at one time • Three-square meter for each participant of primary school age and five square meters for those in the secondary and tertiary age range. • 10m x 9m is the minimum size, providing space for eighteen adults to take part in any dance type and providing appropriate dimensions for chorographic work without a feeling of being cramped. Vestibule : • A space of 6-12 sqm within the dance studio but separated from the dance studio floor and act as entrance via entrance of the studio. • It accommodates space for any musical instrument device, visitor space and locker space. Studio height : • The height of the studio relates to the circulation of the fresh air and to the opportunity to jump and lift. The opportunity for one dancer to stand on the shoulders of another and raise his/her arms in the air, makes a height of at least 5m ideal. Sound : • Within the space excessive reverberation from hard surfaces needs to be avoided. Partial walls curtaining has acoustics as well as aesthetic value. Interior design : • A complete wall of mirror up to the height of 2200mm. Floor surface : • A sprung floor system (absorbs shock) • Vinyl floors ADITI GHOSH | A92204016043 | ANGIKA | 14

DANCE AND ARCHITECTURE Dance involves the movement of a body in space and Architecture requires the user to move around in space and experience it.

Fundamental architectural elements at rest just like the human body

Fundamental architectural elements put into action and relation

Human body at rest

Human body put into action

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BODY AND SPACE RELATIONSHIP

Body-Space is the realm of the sovereign body in which the body establishes, defines, describes, and perceives space.

Lamentation

Strange fish

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POSTURE DEFINING SPACE The art forms of dance and architecture share a special relationship, both define three dimensional spaces. Dance defines space in time, the dancers describes a three-dimensional spaces around herself, through the different movements and postures. Architectural space is continuously structured by the human activity that takes place in it. Architecture defines space through its built form; the spatial structure informs the movement of the human body through the spaces over time. Koodiyattam and the Koothambalam :

Roof

Koodiyattam is a dance form traditionally performed in the state of Kerala, south west of India. It is performed in the Koothambalamor the temple of dance ('koothu' meaning dance and 'ambalam' meaning temple), constructed within the cloister of the Temple; more precisely within the temple compound.

Stage

Facial expressions of Koodiyattam

A square platform with a separate pyramidal roof supported by pillars in the center is the main dance pavilion which is constructed as s separate structure within the large hall of Koothambalam. This roof within roof design, helps focus on the dancer's expressions, while being illuminated by the light from an oil lamp. Seating for audience

Spaces defined by the head and hand movements

Koothambalam ADITI GHOSH | A92204016043 | ANGIKA | 17

Koothambalam

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DANCE THERAPY

Dance therapy is specialized and psychotherapeutic use of dance for the improvement of cognitive, behavioral and physical conditions. Dance therapy is based on the idea that body and mind are co-relational, that the physical state of the body can affect the emotional and mental wellbeing both positively and negatively. Indian Classical Dances and their ancient history indicate that from the very beginnings these dances are aimed at the betterment of health of dancers. In many cases they are compared with yogis as a form of physical and mental exercise.

Movement, body and space

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SPACE REQUIREMENTS Ernest & Peter Neufert Architect’s Data Time savers standards

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PERFORMING SPACE REQUIREMENTS Amphitheatre The slope recommended for the lower portion is 12 and for the upper 24 or steeper. • Tall trees must form the rear boundary of the theatre as they are very useful in absorbing the external noise and lend a nice landscape to the theatre. • The slope of the floor should be towards the stage and it should be about 12 to 15 degree to the horizontal. • The shape of the theatre should be such that most of the audience is drawn close to the stage. • The area of the theatre excluding the stage may be calculated at the rate of 0.8 to 1 sqm per person.

The proscenium shape

The apron shape

The open-thrust shape

The arena shape

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Auditorium Auditorium, the part of a public building where an audience sits, as distinct from the stage, the area on which the performance or other object of the audience’s attention is presented. In a large theatre. An auditorium includes several floor levels frequently designed as stalls, private boxes, dress circle, balcony or upper circle, and gallery. • An auditorium is a room built to enable an audience to hear and watch performances. • The floor area of the hall including, gateways (excluding the stage) should be calculated based on 0.6 to 0.9 sqm per person. • The height of the hall is determined by considerations such as ventilation, presence of balcony and the type of performance. • The average height may vary from 6m for small hall to 7.5 for large halls. Ceiling maybe flat but it is preferable to provide a slight increase in the height near the center of hall. • The volume per person required to be provided should normally range between 3.5 to 5.5 cube meter. • It is recommended that the distance of the farthest seat from the curtain line should not exceed 23 meters. • FULL STAGE: more than 100 sqm • SMALL STAGE : less than 100 sqm • Changing Room : a. Area of 0.5 sqm is required approximately per spectator. b. Exit route : 1 meter wide per 150 people c. Good view without head movement but slight eye movement of 30* d. Maximum perception angle without head movement is about 110* Line of confrontation

Lobby

Audience

Stage

Back Stage

Social spatial relationship of a performance space

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Library A building or room containing collections of books, periodicals, and sometimes films and recorded music for people to read, borrow. • Shelf aisles should not be more than 3 m long • Books should be carried in trolleys (0.92mx0.99mx0.5m) • Clear space between shelves at least 1.3m- 1.4m Adults • Levels in the shelves : 5-6 • Max. Height of the shelves : 1.8m Children • Levels in the shelves : 4 • Max. Height of the shelves : 1.2m Optimum shelving conditions for adults

Optimum shelving conditions for teenagers

Optimum shelving conditions for children

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Museum The principles and characteristics on which the planning and construction of small museums should be based on : • • •

Zoning Lighting Circulation

Standards for wall mounted display

Types of display

Different methods of admitting natural light from above : • (a) cross section • (b) to (h) cross section and view from above • (I) and (J) cross section ADITI GHOSH | A92204016043 | ANGIKA | 24

Human Anthropometry

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Bedrooms/ Hostels

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Restaurants

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Kitchens

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Parking

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CASE STUDIES

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Why ? I chose these four case studies because they are based on similar parameters such as intent, concept and nature of the complex, site area, spaces, use of cost-efficient materials etc. so that it helps me infer important points which would help me in my own design.

Jawahar Kala Kendra | Jaipur | Rajasthan

Nritya Gram | Bengaluru | Karnataka

Bharat Bhavan | Bhopal | Uttar Pradesh

Kalakshetra | Chennai | Tamil Nadu

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Intent of study : • • • • • •

To understand the concept and different architectural elements and generate ideas. To understand how different aspects of spaces are related to each other. To understand the planning strategies and material use for different spaces. To understand the proximity and relation of one space to another. To understand different design features and climate responsive features. To understand the user perspective.

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KALAKSHETRA : CHENNAI | INDIA | Secondary Case Study

Kalakshetra foundation, formerly simply Kalakshetra, is an arts and cultural academy dedicated to the preservation of traditional values in Indian art and crafts, especially in the field of Bharatanatyam dance and Gandharvaveda music. Kalakshetra means holy place of art, where kala means art and Kshetra means Holy place. Kalakshetra was established in January 1936 by Rukmini Devi Arundale and her husband George Arundale with the sole purpose of resuscitating in modern India recognition of the priceless artistic traditions of our country and of imparting to the young the true spirit of Art.

The banyan tree

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• • • • •

India | Tamil Nadu

Chennai | Kalakshetra

• a. b. c. d. e. f. g. h. i. j. k. l.

Location : Tiruvanmiyur village on the outskirts of Chennai Site Area : 99 acres (70% of the area is open space) Site Surrounding : The complex is only a few meters away from the sea on the eastern side. Theosophical society and Besant Theosophical High School on the eastern side. Climate : Chennai features a tropical wet and dry climate. Chennai lies on the thermal equator and is also coastal, which prevents extreme variation in seasonal temperature. For most of the year, the weather is hot and humid. Material used : Granite, timber, thatch roofs, Mangalore tiles, oxide floors and concrete structural elements Components : The Besant Theosophical High School The Besant Arundale Senior Secondary School A Craft Education And Research Centre The Kalamkari Natural Dye Printing And Printing Unit The Visual Arts Centre The Bharata Kalakshetra Auditorium The Rukmini Arangam Four Libraries The Rukmini Devi Museum Hostels Staff Quarters Guest Houses

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Main Campus 1 - Kalakshetra Main Gate 2 - Besant Arundale Sr. Sec. School 3 - Kalakshetra Foundation Central Office 4 - Dance and Music Cottages 5 - Rukmini Arangam 6 - Rukmini Devi College of Fine Arts Office 7 - Restrooms 8 - Padma Pushkarini 9 - Banyan Tree 10 - Instrument Cottage 11 - Vishnu Statue 12 - Tagore Hall 13 - Costume Block 14 - Bharata Kalakshetra Auditorium 15 - Visual Arts Department 16 - Ayyanar Kovil 17 - Archives Department 18 - Museum (Restricted entry) 19 - Golden Gate 20 - Car Park

Outside Main Campus 21 - Besant Theosophical Higher Secondary School 22 - Craft Education & Research Centre (Kalamkari and Weaving) / Sales Counter ADITI GHOSH | A92204016043 | ANGIKA | 35

The Kalakshetra style is noted for its angular, straight, ballet-like kinesthetics, and its avoidance of Recakas and of the uninhibited throw (Ksepa) of the limbs. It focuses on Bharatanatyam, Carnatic vocal and instrumental music, visual arts, traditional crafts and textile design. The theatre within the Kalakshetra is built according to Natya Shastra. The institute conducts research into works of several renowned Sanskrit scholars to stage dance productions, not only for Indian audiences but also for major world theatres.

The Banyan Tree

Padma Pushkarini

The Bharata Kalakshetra Auditorium

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Classrooms/ studios

Rukmini Devi Museum

Dining hall

Hostel

Shankara Menon Library

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Key learnings : PROS : • Small elements such as the ‘banyan tree’ inside the complex act as a major focal point which is used for practice and theory classes at times. It creates an enclosure and provides natural shading due to the presence of the branches and acts as a leisure and recreational space. • The different statues and kund like elements present around the practice cottages act as a focal point hence creating a sense of focus. • O.A.T and statues ( seating spaces are also there) like structures are built to act as a recreational and leisure space after practice sessions are over. • The hostel blocks are present at the rear end of the campus which gives the people staying in it a sense of security and privacy. • Elaborate and spacious dancing rooms which are naturally lit and ventilated and can accommodate 15 students at a time. • Passive design strategies have been incorporated. • Naturally, shaded walkways due to the presence of excessive trees. • Use of locally available materials make the maintenance of the space easier and economically viable. • The selection of materials and the open planning concept uproots the culture and brings a sense of togetherness with the people and the surrounding. • Presence of lush greenery help cultivate a spirit of reverence for learning and for the environment. • Creates a forest like environment establishing Gurukul system and connection to nature and planned in an organic manner creating interesting spaces and all the facilities are zoned properly. • Proper parking facilities are available and are placed right next to the entrance. • Hostel facilities are provided for students who come from abroad and for learners from all over India. • Presence of craft and research center help retain the heritage crafts, research on natural dyes, revive the lost tradition techniques, and disseminate through workshops, research documentation and publication. CONS : • The site has a waterfront, but it has not bee incorporated in the design which could have created waterfront spaces.

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NRITYA GRAM : BENGALURU | INDIA | Secondary Case Study

Nritya gram is India's first modern Gurukul (residential school) for Indian classical dances and an intentional community in the form of a dance village, set up by Odissi dancer Protima Gauri in 1990 to bring classical dance training to rural kids to popularize the classical arts of India. The residential school offers training in Indian classical dance forms, Odissi, Mohiniattam, Kathak, Bharatanatyam, Kuchipudi, Kathakali and Manipuri, eight hours a day, six days a week for seven year, following the ancient Guru-shishya tradition. Designed by Gerard da Cunha, the community is situated near Hesaraghatta Lake 30 km away from Bangalore. Today the Nritya gram Dance Ensemble has performed across India, in many countries abroad. Currently it fields and grow their own food. Protima Bedi

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• • • •

India | Bengaluru

Nritya Gram | Hessaraghatta

• • • a. b. c. d. e. f. g. h. i. j. k.

Location : Hessaraghatta on the outskirts of North Western Bengaluru, 30 Km from Bengaluru Architect : Gerard da Cunha Site Area : 10 acres Climate : Bangalore has a tropical savanna climate with distinct wet and dry seasons. Due to its high elevation, Bangalore usually enjoys a more moderate climate throughout the year, although occasional heat waves can make summer somewhat uncomfortable. Material used : Stone, mud, thatch roofs, bricks, Mangalore tiles Accessibility : Nearest bus stop is Hessaraghatta bus stop Components : Odissi Gurukul Kathak Gurukul Mohiniattam Gurukul Temple Amphitheatre Yoga center Guest cottages Dormitories Admin block Service block Open green spaces

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• • • • • 1. 2. 3.

Organic masterplan Different types of construction can be noticed for different gurukuls. To avoid disturbances gurukuls are placed separately and the O.A.T is placed at the end. Common dining and yoga center are placed at the center. Three types of roof patterns can be noticed : Flat granite roofs which can also be used as a seating deck for the spectators when crowded. Mangalore tile Thatch pitched roof

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"It is a community of dancers in a forsaken place amidst nature. A place where nothing exists, except dance. Places where you breathe, eat, sleep, dream, talk, imagine - dance. A place where all the five senses can be refined to perfection. A place where dancers drop negative qualities such as jealousy, smallmindedness, greed and malice to embrace their colleagues as sisters and support each other in their journey towards becoming dancers of merit.“ – Protima Gauri Concept :

Gerard Da Cunha wanted to reflect the vision of the founder Protima Gauri through this design. He started designing the gurukul keeping in mind the connection of nature with the built structure in order to bring a village like serene environment.

Gurukul Design : The dance classes take place in the halls attached with residences of the teachers like - the Mohiniattam gurukul, the Odissi gurukul and the kathak gurukul. The Odissi and the Mohiniattam gurukuls have closed walls from the 3 sides having small window openings and the fourth side is towards the courtyard and is kept open for natural ventilation purpose. On the other hand, kathak gurukul has semi opened arched walls. The design of each gurukul consists of four elements: 1. Guru‘s residence. 2. Male student‘s residence. 3. Female student‘s residence. 4. Practice hall. The four elements were gathered around a courtyard, which became a gathering Point, with the stairs to the roof placed here as an element to sit and watch the Activity taking place in the practice hall. The use of stone slab roofs determined the Simple rectilinear geometry of the residences.

Raymond’s Gurukul plan

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Service Block Design : The service block contains the common dining hall, kitchen and services and accommodation for the chefs. It‘s a plan in a form of a reverse ‘2‘ and has curved shape. There is a Torana (gateway) on the road between the service block and the Raymond's gurukul which leads towards the dining hall and further inside of the complex.

Service block plan

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Mangalore tile roof

Yoga center and temple

Kathak dance hall Kathak dance hall

Thatched roof

Guest cottages

Flat rough granite slab

Amphitheatre

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Entrance to nritya gram

The simple stone and mud pathways

Hostels

The window frame made of cut stones with wooden shutters

In-built seating spaces

Sufficient daylight flows through the arched opening

A resident for artists

Stone arches

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Key learnings : PROS : • Use of locally available materials makes the project cost friendly. • The use of materials give a sense of rural touch by blending nature with the built environment. • Vegetables and fruits are organically grown here making the campus eco-friendly and they are also creating food forest using permaculture principles. • They also practice Vermi-composting, waste-management and alternative energy use aiming to become totally self-reliant. • The presence of temple around the practice cottages act as a focal point hence creating a sense of focus. • All the gurukuls, cottages are naturally lit and ventilated. • Open planning concept and built-in vernacular architectural style. • Good amount of open green spaces and trees. • Interaction of outdoor and indoor spaces. • Naturally, shaded walkways due to the presence of excessive trees. • Accessible granite flat roofs to accommodate spectators when crowd increases. CONS : • Semi-public spaces like the yoga center and the gurukuls are placed near to the entrance which Causes a hindrance to the privacy, could have been placed further away. • Guest accommodation is placed in the center of the site, probably the center position could have been related to more gurukul activities and the accommodation could have been placed at one end.

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BHARAT BHAVAN : BHOPAL | INDIA | Primary Case Study

Established in 1982, Bharat Bhavan Bhopal is an architecture monument designed by Ar. Charles Correa. One of the most unique national institutes in India, Bharat Bhavan is a center for performing and visual arts. The design of the complex is a product of Correa’s mission to establish a modern architectural style specific to India and distinct from European Modernism. Drawing on the plentiful source material provided by the rich architectural heritage of his home country, at Bharat Bhavan Correa produced a building for the modern era which manages to also remain firmly rooted in the vernacular traditions of India’s past.

Bharat Bhavan Terrace

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• • • •

India | Madhya Pradesh

Bharat Bhavan | Bhopal

• 1. 2. 3. 4. • a. b. c. d. e. f. g. h. i. j. k. l. m.

Location : Bhopal | Madhya Pradesh | India Architect : Charles Correa Site Area : 2.75 acres Climate : Bhopal has a humid subtropical climate, with cool, dry winters, a hot summer and a humid monsoon season. Material used : Red sandstone was used on the outer façade of the building. Flemish bond brick masonry. R.C.C. shells were used in the auditorium. Ashlar stone masonry was used on the outer façade. Components : Permanent museum Green room Open air amphitheater Indoor theatre Restaurant Auditorium Store Workshop Special exhibition area Office Library Workshop studio Services (toilet, ticket counter)

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• • • • •

Charles Correa used a Grid pattern for designing Bharat Bhavan Bhopal in such a way that it creates a different level of movement throughout the site. “A journey through courtyard” is achieved in Bharat Bhavan. Charles Correa designed this building in such a way that it reflects Bhopal’s own organizational layout. The courtyard provides light and ventilation to the sunken covered spaces in Bharat Bhavan. The amphitheater where open-air performance takes place is designed in such a way that it overlooks the lake view.

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Concrete shells diverge inwards to increase the luminous intensity of the space below

The profound hierarchy in the organization of spaces, is what allows for the transition courtyards to develop an informality and openness which gives this space its character, as a platform for sharing and building up.

Circulation :

Entrance directs the visitors through open sky courtyards

The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. Structure : • • • • • • • • •

Site of the Bharat bhavan is located on the small plateau region. Retaining walls were made to avoid the landslide. Coffered slabs were made to avoid the columns. Outer façade stone walls were 380 mm wide. Slopes were made for easy passage for handicapped. Flower beds were made on the roofs of the buildings. Visitor enter at the highest level and walk down to a Pedestrian spine flanked by a pattern of courtyards. Each of the part of the building is distinct yet flows easily into one another. Inner walls were 340 mm wide plastered on both sides. ADITI GHOSH | A92204016043 | ANGIKA | 50

Landscaping :

• •

The landscape of the Bhavan is the built form itself that gently terminates at the lakefront forming into an amphitheater with the cityscape itself for a backdrop reflecting in the shimmering water of the lake. Roofs of all the buildings were covered through grass making the view beautiful as well as keeping the building cooler. Open to sky courtyards were made to manage crowd.

Anhad : Anhad is a Library Of Classical & Folk Music of India. Vagarth : Vagarth consists of Indian poetry, library, and archive.

Roopankar

Rang Mandal

Terrace landscape

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The outdoor spaces at Bharat bhavan are physical manifestations of the concept of “empty space,” a recurring theme both in India's visual culture and its philosophy. The courtyards provide a contemplative void, enhanced by the placing of sculptures in their center. These act a meditative focal point for the viewer. Bharat bhavan Bhopal covers a variety of art forms including tribal art, a library of Indian poetry, gallery of contemporary art, workshop of sculpture.

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Key learnings : • • • • • • • • • • • •

The natural contour of the site has been used to create a series of courtyards and terrace gardens around which different types of facilities designed. The transition of spaces from one to another is interesting as there is an element of curiosity at every level. Concept of courtyards reflects the idea of correa’s maze or puzzle planning in Bharat bhavan Bhopal. A journey through open to sky courtyard and semi-open spaces creates a type of experience that reflects the idea of correa’s Jawahar kala Kendra. Bharat bhavan Bhopal is designed in such a way that from the entrance you directly enter to terrace garden and with the help of a staircase and ramp you can circulate the entire site. When you enter the site, you can't feel it as a building or structure, because of its idea of courtyards. Sense of direction can be felt. Datum due to different levels can be experienced. Repetition of form, square arranged in different ways. Free flow circulation in the premises avoids accumulation at certain points. Terrace garden overlooking to the open space and courtyard creates a visual experience in the site. The steps in the courtyards also act as a seating/ relaxing space when visitors are tired.

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JAWAHAR KALA KENDRA : JAIPUR | INDIA | Primary Case Study

Jawahar Kala Kendra is an arts and crafts center located in the city of Jaipur. The center is important not because of the nomenclature but it’s close association with the city of Jaipur itself. The center was launched by the state government to provide space to the cultural and spiritual values of India and display the rich craft heritage. The center is dedicated to the late prime minister of India Jawaharlal Nehru.

Jawahar Kala Kendra

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• • • • • 1. 2. 3. 4. •

India | Rajasthan

Jawahar Kala Kendra | Jaipur

a. b. c. d. e. f. g. h.

Location : Jaipur | Rajasthan | India Architect : Charles Correa Site Area : 9.5 acres Climate : Jaipur has a monsoon-influenced hot semi-arid climate with long, extremely hot summers and short, mild to warm winters. Material used : Red and yellow sandstone Terracotta Marble Red-rubble Components : The center has been made in eight blocks housing Venus : Art-Drama/ Theatre Jupiter : Knowledge : Library (meditation) Ascending node (Rahu) : Devourer/ Restorer-Documentation Saturn : Knowledge-Museum II Descending Node (Ketu) : Anger-Museum I Mercury : Education-Lok Kala Kendra Moon : Heart-Cafeteria Mars : Power-Administration

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Ketu

Budh

Chandra The center is an analogue of the original city pIan of Jaipur drawn up by the Maharaja Jai Singh the Second, in the mid-17th century

Shani

Mangal

The central square, as specified in the Vedic shastras, is avoid, representing that nothing which is everything. The flooring pattern in this square is a diagram of the lotus representing the sun.

Rahu

Guru

Shukra

Concept : The plan of Jaipur city based on the nine square Yantra in which one square is displaced and two central squares combined. The squares are defined by 8m high wall, symbolic of the fortification wall along the Jaipur old city. One of the squares is pivoted to recall the original city plan and to create the entrance. Each square was linked to the planet as per the characteristics of the planet and its astrological values and the functionality of the square. This ‘Navgrah’ concept with its energy values their favorable color, quality and the favorable functionality to each planet with square kept in mind while designing and allocation of spaces. Partly open courtyards and the traditional design elements of Rajasthan have been incorporated in the complex.

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• •

Major active spaces

Grid iron planning Since, the climate is hot and semi-arid, the architect has dealt with this by creating a courtyard so that it draws in air from all the sides. Administration Museum/ gallery

Spatial Organization : In terms of spatial organization, vertical zoning has been done taking private spaces to higher ground and having cultural activities at lower levels.

A’

Learning spaces Recreational spaces – more active spaces

Plan : Jawahar Kala Kendra, not to scale Art galleries Alankar museum

Section AA’, not to scale

Madhyavarthi

Entrance plaza

The hierarchy of spaces is well defined and is based on the program it occupies ADITI GHOSH | A92204016043 | ANGIKA | 57

Partially opened roof treated with pergolas

Small punctures

Central Courtyard

Response to Climate : • • • • •

Small punctures on wall for ventilation. Light shafts have step profiles with marble capping. Light shafts at corner of each unit. Central courtyard bring in light and air. The second most significant feature which was adopted in this square was the spectacular play with the light and the shadow. As the square was partially open to sky and the side had the full height glazing in it, the partial open roof was treated with the architectural feature pergolas. The cut out was designed in such a way that the corridor will always remain in shade and has the pond in corner which would reduce the effect of the harsh sun to the library. ADITI GHOSH | A92204016043 | ANGIKA | 58

Madhyavarti

Jawahar kala Kendra has three performing areas : •

Madhyavarti – an open air theatre designed after a traditional Rajasthan stepwell where steps are used for sittings. • A regular closed theatre namely Rangayan for modern theatre and black box . • Krishnayan where intimate performances take place.

The Centre is frequently occupied with artists and arts loving people. Many exhibitions and performances by local artists are displayed at the Centre. The annual festivals of classical dance and music are held in the Centre. The Centre hosts many workshops of dance and music.

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Key learnings : PROS: • The buildings in a contemporary metaphorical replication of the basic plan of the city of Jaipur, based on the Vaastu purusha mandala. • The architect in his attempt to create a brand image for the historical city, has tried to get the essence of the existing form but superficially. • The place has an amazing interplay of light , shadow and colors, evoking emotions in the user and invite him/her to move further. • The spaces flow as a narrative and changes the moods of the user. • The open-air theatre is only good to look at, it is enclosed by the high walls which create acoustic and ventilation problems at the time of crowd. • The high walls with no fenestration in the façade makes the building enclosed and is does not open to the city, however, within the building the activities are disintegrated but combine to a heterogeneous mixture of various cultural activities happening individually. • Since, the climate is hot and semi-arid, the architect has dealt with this by creating a courtyard so that it draws in air from all the sides. • In terms of spatial organization, vertical zoning has been done taking private spaces to higher ground and having cultural activities at lower levels. CONS: • The built structure is surrounded by high walls symbolizing fortification to add to the concept of built forms mostly seen in the area, but again it creates a visual disconnection to the site surroundings.

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CASE STUDY ANALYSIS

Parameters

Kalakshetra

Nritya Gram

Bharat Bhavan

Jawahar Kala Kendra

Location

Chennai | Tamil Nadu

Bengaluru | Karnataka

Bhopal | Uttar Pradesh

Jaipur | Rajasthan

Site Context

It has a sea front view on the eastern side and is distant from the city and has a uniform topography with a lot of greenery present around.

Located on the outskirts of North Western part of Bengaluru secluded from the hustle bustle of the city and has a uniform topography and a lot of greenery.

It has a lake front view on the north western side and is distant from the main city. Because of the presence of the lake, the topography of the site is slanting towards the lake.

Stands out because of absence of such buildings in the vicinity. Has a uniform topography and blends well with the buildings because of the use of local materials.

Climate

Tropical wet and dry climate

Tropical savanna climate with distinct wet and dry climate

Humid sub-tropical climate

Hot semi-arid climate

Area

99 acres

10 acres

2.75 acres

9.5 acres

Intent

To revive back the artistic traditions of our country and to impart knowledge to the young of the true spirit of art.

To bring classical dance training to rural kids to popularize the classical arts and culture of India

To revive back the lost culture of India in the modern era

To revive the cultural and spiritual values of India and display the rich craft heritage.

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CASE STUDY ANALYSIS Parameters

Kalakshetra

Nritya Gram

Bharat Bhavan

Jawahar Kala Kendra

Planning

Organic Planning

Grid Iron Pattern

Spaces

Dance studios, dance schools, craft studios, auditoriums, O.A.T, staff and student quarters, dining spaces, library and museum

Dance studios, staff and student's quarters, guest cottages, O.A.T, dining spaces, yoga pavilion and temple

Museums, O.A.T, restaurant, auditorium, library and workshop studios and recreational spaces

Museums, O.A.T, library, cafeteria, recreational spaces

Material Palette

Granite, timber, thatch roofs, Mangalore tiles, oxide floors and concrete structural elements

Stone, mud, thatch roofs, bricks, Mangalore tiles

Brick, red sand-stone, R.C.C shells

Red sandstone, terracotta, marble, red-rubble

Architectural expression

Creates a forest like environment establishing Gurukul system and connection to nature and planned in an organic manner creating interesting spaces and all the facilities are zoned properly. Spaces are kept away from each other so that each space can get its own importance, i.e., no overlapping of functions and forms

Open planning concept and builtin vernacular architectural style because of the use of locally available materials gives the space a rustic village like look. Spaces are kept away from each other so that each space can get its own importance, i.e., no overlapping of functions and forms

Concept of courtyards reflects the idea of correa’s maze or puzzle planning in Bharat bhavan Bhopal. The transition of spaces from one to another is interesting as there is an element of curiosity at every level.

The buildings in a contemporary metaphorical replication of the basic plan of the city of Jaipur, based on the Vaastu purusha mandala. Within the building the activities are disintegrated but combine to a heterogeneous mixture of various cultural activities happening individually.

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Literature Study • •

• • •

DESIGN TAKEAWAYS

•

Understanding the basic dimensions and forms for various components which I intent to include, for comfortable user experience. Understanding human Anthropometry for determining the space requirements. Understanding the requirements for different age-group user. Understanding the functional attributes and use of a space and its related components. Understanding the proximity of secondary spaces with respect to its primary space. Understanding the scale of a space with respect to its accommodation capacity.

Case Study •

Site for the intended project should be secluded from the hustle and bustle of the city.

•

Essential amenities for comfortable user experience.

•

Proper parking and circulation strategies can help not only to improve over all quality of space but create a safe environment for the pedestrian as well.

•

Social interaction spaces are important for growth of community.

•

Adding small elements to create a focal point hence creating a sense of focus.

•

Self sufficient, can grow its own fruits and vegetables.

•

Social space should be created by incorporating more landscaping and relaxing spaces.

•

Incorporation of barrier free design.

•

The aim to create continuity with the surrounding environment - local materials should be selected and adapted to the climatic conditions of the place, thus ensuring good durability over time.

•

Should be inclusive and there should be a sense of security.

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SITE SELECTION & JUSTIFICATION

Climate of Kolkata : • • • • •

Kolkata is 16m above sea level. Kolkata has a tropical wet and dry climate. The annual mean temperature is 26.8 °c Monthly mean temperatures range from 15 °C to 30 °C Summers are hot and humid and winter tends to last for only 2 months. Site selection criteria : • • • •

Location : Kolkata Secluded from the hustle and bustle of the city, on the outskirts. Well connected with the public transit system. Presence of waterbody and abundance of greenery. ADITI GHOSH | A92204016043 | ANGIKA | 65

LOCATION The site is in the outskirts of Newtown because it is away from the hustle and bustle of the city and has dedicated green around, so even in the near future no building will come up which might interfere with the institution

INDIA

WEST BENGAL | INDIA

KOLKATA | WEST BENGAL

NEWTOWN | KOLKATA

SITE 1

SITE PATHARGHATA | NEWTOWN SITE 2

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SITE 1 Area : 18 acre

• • • • •

Newtown land-use map, 2014

SITE 2 Area : 15.5 acre

The sites are located in the outskirts of Newtown near Hudarait bus stop and is secluded from the hustle and bustle of the city, hence making it pleasant. (all the sites in the case studies are away from the hustle and bustle of the city) Both the sites are placed on an Institutional land according to HIDCO land use map, thus making it an appropriate site for a dance institute. Site 1 has abundance of greenery. It is located in between dedicated green areas and open spaces. But site 2 does not have this advantage. Low density built around the site at a distant; hence the site will not receive any obstruction regarding sunlight and wind. Both the sites are well connected with the city level transit nodes. ADITI GHOSH | A92204016043 | ANGIKA | 67

SITE ACCESSIBILITY

Both the sites are accessible from all the sides by primary roads Airport

16m

20m Chinar park

Hooghly River

Akanksha more

30m

Eco park

30m Salt-lake

Jatragachi flyover

Eco space roundabout

5.5m

Biswa Bangla gate Tata Medical More

Site 2

Site 1

4.5m

Hatisala Bus stop

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LAUHATI MORE

SITE 1

HUDARAIT BUS STOP

SITE 1

Water Body

SITE 2 SHAPOORJI COMPLEX

SITE 2 PAKAPOLE SOBJI BAZAAR

GABTOLA BAZAAR

HATISALA BUS STOP

Major-arterial road Sub-arterial road ADITI GHOSH | A92204016043 | ANGIKA | 68

SITE CONTEXT • Location : Patharghata | Newtown | Kolkata | West Bengal | India • Area : • Site 1 – 20 acres • Site 2 – 15.5 acres • Major arterial road : SRMC Road which connects the site to Rajarhat Main Road along with Kazi Nazrul Islam Avenue Road. • Transportation : • Airport : Netaji Subhash Chandra Bose Airport, 17.6 km, N-W • Bus stop : Hudarait Bus Stop, 800m, N-W • Railway : Dum Dum Station, 19.8 km, N-W • Metro : Dum Dum Metro, 19.8 km, N-W • Upcoming metro station : 9 km (jatragachi metro station near police phari), N-W

Netaji Subhash Chandra Bose international Airport

Chinar park Akanksha more

Vedic village

Eco park Mother’s wax museum Amity university Westin

Salt-lake city

Major nodes

Aliah university

Biswa Bangla gate `

DPS Megacity Eco-space roundabout Hudarait water treatment plant

Tata medical Centre

Hudarait bus stop Site 1 Site 2

Shapoorji complex Techno city police station

Hatisala more

Airport Nearest police station Nearest bus stop Landmarks Major arterial road

Sub-arterial road ADITI GHOSH | A92204016043 | ANGIKA | 70

Selected site : 20 Acre

Hudarait water treatment plant Proposed Site

Shapoorji complex

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Road leading to the site

Site

Hudarait water tank

Natural features on the site : • No existing trees on the site. • The type of soil is clayey alluvial soil. • Plain topography. • The abundance of trees near the waterbody will cool the air around them. • The wind pattern near large bodies of water is generated by the heat gain, heat loss, and heat storage variations between land and water. Water will have more stable temperatures. The wind is usually moving toward the land during the day when the land is heating up faster than the water and when the water is absorbing solar heat. At night, the direction is reversed, with the breezes flowing from the land, as it cools, to the water, as it radiates stored heat to the night sky.

ADITI GHOSH | A92204016043 | ANGIKA | 67 71

SUMMER SHADOW ANALYSIS

7 A.M

8 A.M

9 A.M

10 A.M

11 A.M

12 A.M

1 P.M

2 P.M

3 P.M

4 P.M

5 P.M

6 P.M

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WINTER SHADOW ANALYSIS

7 A.M

8 A.M

9 A.M

10 A.M

11 A.M

1 P.M

2 P.M

3 P.M

4 P.M

5 P.M

12 A.M

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INFERENCE •

• •

• • •

•

The site receives shade throughout the day from Northwest to Northeast, so all the outdoor related activities could be placed on the following side and not on the southern part of the site. The open spaces shall be fragmented to small courts to reduce heat gain. The blocks should be placed on the southeast and southwest side to receive maximum sunlight throughout the day which would in turn reduce the intake of artificial lighting during the day and should also have a faced treatment to cut of the direct southern sunlight. Since there is absence of any built forms around the site, the site doesn’t receive any shadow. High built density on the southeast and southwest part of the site, since it receives maximum sunlight. Low density built on the northwest and northeast part of the site, since it receives maximum shade and not high density built as it would make the buildings much cooler in winters. Prevalent wind direction - southwest

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NEWTOWN KOLKATA DEVELOPMENT AUTHORITY (NKDA) - BYELAWS

•

Total Site Area – 72845 m2

•

Type Of Building – Assembly

•

F.A.R – 2.75

•

Max. Ground Coverage – 40% Of The Total Plot Area

29138 m2

• Min. Open Spaces : a) Front – 2m b) Side 1 – 1.20m c) Side 2 – 3m d) Rear – 4m •

Green Open Space – 8% Of The Total Plot Area

5827.6 m2

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Area Programming Reference :

•

Practice Halls – Based on movements of all the dance postures

•

Performance Stages – Based on user and standards

•

Museum, Library, Admin, Hostel, Parking – Standards

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Classical Dance & Architectural Principles

Body postures

Movement Geometric patterns Space

• Balance and harmony - visual equilibrium distributed asymmetrically • Repetition & rhythm – created by repetition of elements throughout creating a sense of cohesion in the place • Symmetry – created by use of same mudras • Asymmetry – created by use of different mudras & leg postures • Visual hierarchy – spatial layout • Emphasis – creating one or more centers of interest • Direction – utilizing movement to create the visual illusion of displacement

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Bharatanatyam

Movement study

Area Programming Anthropometry

Thillana

Allarippu

Shabdam

Thillana

Allarippu

Jathiswaram

Mahari

Varanam

Thillana

Varanam

Thillana

Cholkettu

Chakkars

Chaals

Hastaks

Kuchipudi

Movement Study Spatial Layout Area Requirements

Movement Study In Dance

Still

•

Facial & Eye Expressions

Odissi

•

Movement Study In Dance

Unidirectional

•

Body Postures

•

Twin Directional

•

Hand Gestures

•

Free Flowing

•

Spirituality

•

Radial Motion

•

Rhythm & Pattern

Movement in dance is repetitive and continuity is seen, and all the dance forms have common disciplinary movements. Mostly all the movements are multi directional and all the dance forms are aligned in an axis and focal point. Rotational and revolutionary movements are seen in all the dance forms

Kathak

• • •

•

Mohiniyattam

Visual hierarchy

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User Analysis

Administration & management : 20 Working staff : 25-30 Visitors : 50

No. of students per dance studio : 15*8 = 120 No. of students per age group : 15*3 = 45 Total no. of students : 360 No. of teachers per studio : 2*8 = 16

Total no. of users – 500 approx.

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AREA PROGRAMMING

•

DANCE STUDIOS : 220 SQ.M*8 – 1760 SQ.M

•

STUDENT QUARTERS : 2340 SQ.M

•

STAFF QUARTERS : 2340 SQ.M

•

GUEST COTTAGES : 160 SQ.M*6 – 960 SQ.M

•

DINING HALL : 700 SQ.M

•

CAFETERIA : 1120 SQ.M

•

HOUSEKEEPING’S QUARTER : 390 SQ.M

•

HEALTHCARE CENTRE : 250 SQ.M

•

AUDITORIUM : 2750 SQ.M

•

OPEN AIR THEATRE : 585 SQ.M

•

LIBRARY : 1100 SQ.M

•

MUSEUM : 1165 SQ.M

•

ADMINISTRATION : 500 SQ.M

•

RECREATIONAL SPACES : 3500 SQ.M

•

SERVICES : 500 SQ.M

•

COMMON TOILET : 30 SQ.M*5 – 150 SQ.M

Reference : •

Practice Halls – Based on movements of all the dance postures

GROUND COVERAGE : 15%

•

Performance Stages – Based on user and standards

F.A.R : 0.27

•

Museum, Library, Admin, Hostel, Parking – Standards

BUILT UP AREA : 20110 SQ.M

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ARCHITECTURE PROGRAMMING

Education Discipline

Emotions

Classical Dance Academy

Culture

Unity

Training

Awareness Employment

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ARCHITECTURE PROGRAMMING Programming User Study User Activities Spaces Requirements Designing

User activities

User study analysis

Performance – Public & Private

Primary Users – Students And Teachers

Dance Practice – Students

Secondary Users – Admin Staff, Working Staff & Visitors

Learning – Library & Workshop (Students & Visitors)

Tertiary Users – Guests & Public

Recognition – Museum & Stage Resting Area – Students, Staff & Visitors Interaction – Green Open Spaces

User activity and spaces required Primary Users – Performance, Practice & Learning, Resting Secondary Users – Interaction, Exhibiting & Workshop, Resting Tertiary Users – Rest, Interaction, Spaces

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SPACES DERIVED Spaces

• • • • • • • •

Semi-Public Spaces

Public Space

Private Spaces

Dance Practice Studios Recording studio Demonstration rooms Staff Quarters (Male And Female) Students Quarters/Hostels (Male And Female) Service Block Guest Cottages Dining facilities

• • • •

• • • • • • •

Administration/ Reception Block Open Air Theatre Museum Of Dance Library Yoga pavilion Cafeteria Auditoriums

Entrance Foyer Parking Public Open Spaces ADITI GHOSH | A92204016043 | ANGIKA | 83

Dance is all about fluidity and nature too. Thus, merging the two aspects and creating a transparency between nature and dance. Encouraging the enjoyment of light and the externally framed views of landscape; wide hallways allowing the skylights help to make the most of the daylight, wide shaded walkways are a few initial conceptual ideas.

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DESIGN CONCEPT ANALYSIS

Circular shapes to mimic nature with the ecosystem and to have a free flow of movement pattern

Green areas in between blocks to act as natural sound barrier and to help in natural cross ventilation

Dividing public and private areas to retain the privacy and placing them at the end

Restricting the vehicular movement at the entrance for better pedestrian circulation

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Student quarter

A strong central axis has been formed which houses all the major points of interest in the site

Dance studio

DEDICATED GREEN

Guest cottages

Cafeteria

Staff quarter

Dance studio

Guest cottages

Dining

Housekeeping and healthcare

O.A.T Library Services Organic farming

Auditorium

Museum

DEDICATED GREEN

ZONING ON SITE Sun path and wind direction

Public spaces Semi- Public spaces Private spaces Focal

Admin

Visitor parking

Staff parking

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ZONING ON SITE With respect to hierarchy of spaces

The hierarchy of spaces is based on the program it occupies. Horizontal zoning has been done, by taking private activities to the rear side of the site and having public related activities in the front.

Semi- Public spaces

Private spaces

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ANGIKA ADITI GHOSH | A92204016043 | ANGIKA | 88

UNDERGROUND S.T.P

SITE PLAN AT ROOF LEVEL

STAFF QUARTER

SCALE – 1:500 BANYAN TREE (FOCUS)

STUDENT QUARTER

YOGA AND MEDITATION SPACE DANCE STUDIO

DANCE STUDIO

GUEST COTTAGE

HOUSEKEEPING QUARTER BLOCK HEALTHCARE BLOCK

GAZEBOS

VERMI-COMPOST PIT

CAFETERIA

DINING HALL

OPEN AIR THEATRE

LIBRARY BLOCK

PLAZA AND SIT-OUTS AT GROUND LVL

ELECTRICAL AND PLUMBING SERVICES

GAZEBOS TOILET BLOCK

ORGANIC FARMING

SUNKEN CENTRAL PLAZA AT -1200LVL

MUSEUM BLOCK

AUDITORIUM BLOCK GAZEBO

TOILET BLOCK

PLAZA AT -600 LVL

PLAZA AT -1200LVL PLAZA AT +1200LVL KIOSKS AND GAZEBOS TOILET BLOCK ADMINISTRATION BLOCK

PLAZA AT GROUND LVL PLAZA AT -1200LVL PLAZA AT GROUND LVL TOILET BLOCK

SERVICE PARKING

KIOSKS AND GAZEBOS

FOYER SPACE STAFF PARKING

VISITOR PARKING

SECURITY ROOM

40M WIDE ROAD

VISITOR VEHICULAR ENTRY&EXIT

PEDESTRIAN ENTRY&EXIT

STAFF VEHICULAR ENTRY&EXIT

SERVICE ENTRY&EXIT

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ADITI GHOSH | A92204016043 | ANGIKA | 90

DESIGN PRINCIPLES SCALE – 1:500

BANYAN TREE (FOCAL)

•

REPITITION OF FORM – Circular shapes have been used and overlapped to bring in the rhythm in design.

•

RYTHYM – Use of arched corridors and exteriors to give a sense of rhythm.

•

BALANCE – A strong visual balance is drawn in terms of facade symmetry and planning.

•

AXIS – A strong axis is created along the site which incorporates all the major activity spaces.

OPEN AIR THEATRE

CENTRAL COURTYARD

AXIS

ENTRANCE FOYER

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CIRCULATION PLAN

Dancer’s circulation

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CIRCULATION PLAN

Vehicular circulation Pedestrian circulation Service circulation

ADITI GHOSH | A92204016043 | ANGIKA | 93

CIRCULATION PLAN

Fire tender route

ADITI GHOSH | A92204016043 | ANGIKA | 94

DESIGN IDEAS • • • • • • •

Curved walls to enclose more volume at lower material cost than straight walls. Curved walls allow free flow of wind without causing any hindrance. Arch structures used since they inherently possess the ability to eliminate tensile stresses in encompassing an open space, owing to their shape. Arches have a tremendous amount of structural strength and can span a large open space without supporting structures. Brick jali walls or perforated brick architecture. This allows the free flow of natural air into the interiors thus efficiently regulating the temperature. During the day, the perforations create intricate patterns of light and shadows. Small water bodies around the site has been incorporated which help in microclimatic control through evaporative cooling. All the buildings are associated with adjoining recreational spaces. In-built seating has been incorporated.

ADITI GHOSH | A92204016043 | ANGIKA | 95

LANDSCAPING MATERIAL PALETTE

Permeable pavers (grass-stone)

Sandstone paver blocks

Dense vegetation Mild vegetation Water bodies Sandstone pavement Sandstone pavement Bio-Asphalt for driveway

ADITI GHOSH | A92204016043 | ANGIKA | 96

MATERIAL PALETTE

BRICK WALLS WITH BRICK STIFFINERS : WALLS • • • • •

• • • • •

Brick is low maintenance It is weatherproof It is sustainable It can be carbon neutral Bricks offer thermal properties, i.e., during summer bricks keep the interior cool while during winter’s the wall store the heat and radiate the heat back inside. Reusable and Recyclable Highly fire resistant Economical (Raw material is easily available) Hard and durable Compressive strength is good enough for ordinary construction

CONCRETE SLABS AND FLOORS • • • • • • •

Durable Energy efficient Damp resistant Cost of maintenance is low Fire resistant Economical Sustainable

TRANSPARENT WOOD : WINDOW PANELS • • • • • • • • • • •

Low density compared to glass High optical transmittance Low thermal conductivity Outstanding toughness Used for load-bearing windows It is biodegradable and environmentally friendly as regular wood. Transparent wood has all the strength of opaque lumber. It does not shatter on impact and is stronger than glass. It is better when at light distribution and eliminates glare. It helps keep a building at more consistent temperature and make it easier to reach higher energy efficiency. This is because wood has low thermal conductivity. Another advantage of transparent wood over glass for structural applications is that the ductility and work to fracture are higher.

ADITI GHOSH | A92204016043 | ANGIKA | 97

MATERIAL PALETTE Wooden flooring

Shock dampening pads

stringers

SPRUNG FLOOR : DANCE STUDIOS

• •

Floor design is an incredibly important aspect of dance studio installation as an unmodified hard concrete floor could cause serious injuries and long-term complaints for dancers using the space. The top layer of a sprung floor system (absorbs shock) is a performance surface. This can be either a natural material such as solid wood, engineered wood or rubber, or it can be a synthetic surface such as vinyl, linoleum, or polyurethane.

ADITI GHOSH | A92204016043 | ANGIKA | 98

DANCE STUDIOS ADITI GHOSH | A92204016043 | ANGIKA | 99

INSPIRATION The form of a leaf has been chosen for the roof, to blend the studio with nature. Dance studios require higher volume; hence this form helps in doing so. The thought behind the leaf structure was that when the wind blows, it makes the leaves dance in its own way, the movement of the leaves is not rigid, it is free flowing which shows the presence of rhythm in nature. In a similar manner, when a dancer dances, he or she engages themselves with this free-flowing movement which also depicts rhythm. Hence, there couldn’t be any better way to mimic this free flow of movement which relates dance and nature in a very beautiful way.

ADITI GHOSH | A92204016043 | ANGIKA | 100

DANCE STUDIO – TYPICAL PLAN SCALE – 1:150 FLOOR AREA – 220 SQ.M

B LEAF STRUCTURED ROOF ABOVE

CHANGING ROOM Lvl+300

COMMON TOILET Lvl+200

COLUMN @300radi

A’

SPACE OCCUPIED BY EACH STUDENT

STUDIO SPACE Lvl+300

SPACE OCCUPIED BY MUSICIAN

FLOOR PLAN LVL+300

B’ ADITI GHOSH | A92204016043 | ANGIKA | 101

DANCE STUDIO NOT TO SCALE

LVL+7000 LVL+6800

LVL+3800 LINTEL LVL+2400 PLINTH LVL+300

FRONT ELEVATION

LVL+-0

LVL+7000

LVL+3800

PLINTH LVL+300 LVL+-0

SIDE ELEVATION

ADITI GHOSH | A92204016043 | ANGIKA | 102

DANCE STUDIO NOT TO SCALE LVL+7000

STUDIO SPACE

LINTEL LVL+2400 PLINTH LVL+300 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’

LVL+7000

LVL+5800

THESE SLITS WILL BE PLACED AT DIFFERENT HEIGHTS FOR DIFFERENT DANCE STUDIOS SO THAT THE SOUND COMING OUT FROM ONE STUDIO WHEN ACTIVE DOES NOT CAUSE DISTURBANCE TO OTHER STUDIOS

STUDIO SPACE

CHANGING ROOM

LVL+3500 CUTOUT LVL+2800 (12.5x0.7)M

PLINTH LVL+300 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION BB’

ADITI GHOSH | A92204016043 | ANGIKA | 103

DANCE STUDIO | STRUCTURE

Different dance postures of different dance forms for respective dance studios will be engraved in these columns

MATERIALS : • • • •

WALLS – Brick walls with brick stiffeners ROOF – RCC slab with high SRI value WINDOW PANELS – Transparent wood FLOORING – Sprung flooring

STRUCTURAL FEATURES : • Load bearing brick walls with brick stiffeners • Leaf structured roof is supported on column@300radi.

ADITI GHOSH | A92204016043 | ANGIKA | 104

DANCE STUDIO | VIEWS

View Of The Yoga And Meditation Space Around The Dance Studios

ADITI GHOSH | A92204016043 | ANGIKA | 105

DANCE STUDIO | VIEWS

Interior View Of The Dance Studio

ADITI GHOSH | A92204016043 | ANGIKA | 106

View Of The Dance Studio

ADITI GHOSH | A92204016043 | ANGIKA | 107

Front View Of The Dance Studio

ADITI GHOSH | A92204016043 | ANGIKA | 108

Aerial View Of The Dance Studio

ADITI GHOSH | A92204016043 | ANGIKA | 109

ADMIN BLOCK ADITI GHOSH | A92204016043 | ANGIKA | 110

ADMINISTRATION BLOCK SCALE – 1:250 FLOOR AREA – 500 SQ.M

B 2M WIDE BALCONY DN STAGE Lvl+4450

SEMINAR HALL

RECEPTION Lvl+4150

MALE TOILET Lvl+4050

A’

2M WIDE BALCONY

FIRST FLOOR PLAN LVL+4150

PANTRY FEMALE TOILET Lvl+4050 Lvl+4050

B’

B TOWARDS THE PLAZA

KIOSKS

GAZEBO

GAZEBO TOWARDS THE EXIT

GROUND FLOOR PLAN LVL+-0

2200MM WIDE OPENING

A’

B’

ADITI GHOSH | A92204016043 | ANGIKA | 111

ADMINISTRATION BLOCK

LVL+11500

NOT TO SCALE

LVL+8150

PARAPET LVL+5350 LVL+4150

LVL+-0

SOUTHEAST ELEVATION

LVL+11500 LVL+8150 LVL+5350 LVL+4150 LVL+-0

SOUTH ELEVATION ADITI GHOSH | A92204016043 | ANGIKA | 112

ADMINISTRATION BLOCK NOT TO SCALE LVL+11500

TOILET BALCONY

LVL+8150

RECEPTION

PARAPET LVL+5350 LVL+4150

BALCONY

LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’

PANTRY LVL+4050

BALCONY

FEMAE TOILET LVL+4050

MALE TOILET LVL+4050

LVL+11500 SEMINAR HALL/MEETING ROOM

LVL+8150

RECEPTION/HELP DESK 2400

STAGE

LVL+5350 LVL+4150 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION BB’ ADITI GHOSH | A92204016043 | ANGIKA | 113

ADMINISTRATION BLOCK | ISOMETRIC & STRUCTURE TERRACOTTA TILES

RAFTERS AND PURLINS

CEILING JOISTS

STAGE

FEMALE TOILET LVL+4050 MALE TOILET LVL+4050

SEMINAR HALL/ MEETNG ROOM

BALCONY PANTRY LVL+4050

EXPLODED ISOMETRIC

BRICK WALL CONSTRUCTED WITH BRICK STIFFENERS

ADITI GHOSH | A92204016043 | ANGIKA | 114

ADMINISTRATION BLOCK | STRUCTURE

MATERIALS : SUPERSTRUCTURE

DPC

MASONRY (PLINTH)

• • • • •

WALLS – Brick walls with brick stiffeners SLAB – RCC slab ROOF – Terracotta tiles supported on wooden truss WINDOW SLITS FLOORING – Concrete flooring

STRUCTURAL FEATURES : DEPTH OF EXCAVATION

FOOTING

FOUNDATION

• Load bearing brick walls with brick stiffeners • Wooden truss supporting terracotta tiles above • Arches supporting the wall above since they inherently possess the ability to eliminate tensile stresses in encompassing an open space, owing to their shape.

ADITI GHOSH | A92204016043 | ANGIKA | 115

ADMINISTRATION BLOCK

View Of The Foyer

Aerial View Of The Admin Block

AUDITORIUM BLOCK ADITI GHOSH | A92204016043 | ANGIKA | 117

AUDITORIUM BLOCK SCALE – 1:300 FLOOR AREA – 2750 SQ.M

COMMON CHANGING ROOMS UP

CORRIDOR Lvl+2400

MALE TOILET Lvl+2300 FEMALE TOILET Lvl+2300

EQUIPMENT STORAGE ROOM V.I.P ROOM

SPACE FOR PROJECTOR Lvl+7200

ENTRANCE CORRIDOR Lvl+600

FLOOR PLAN LVL+600

ADITI GHOSH | A92204016043 | ANGIKA | 118

AUDITORIUM BLOCK | STRUCTURE

DPC

DEPTH OF EXCAVATION

SUPERSTRUCTURE

MATERIALS :

MASONRY (PLINTH)

• • • 1. 2.

FOOTING

WALLS – Brick walls with brick stiffeners ROOF & SLAB – RCC slab with high SRI value FLOORING : Concrete flooring with carpet for seating areas Stage – Hardwood flooring

STRUCTURAL FEATURES : • Load bearing brick walls with brick stiffeners

FOUNDATION

ADITI GHOSH | A92204016043 | ANGIKA | 119

AUDITORIUM BLOCK NOT TO SCALE DIFFERENT DANCE FORM ILLUSTRATION ON THE WALL

LVL+11100

LVL+1600 LVL+600 LVL+-0

SOUTH ELEVATION

CORRIDOR

SPACE FOR PROJECTOR

LVL+11100 AUDITORIUM SEATING

STAGE

LVL+8650 LVL+7650

2100

LVL+6400

EQUIPMENT STORAGE ROOM

LVL+3400 LVL+2400

LVL+1600 LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’ ADITI GHOSH | A92204016043 | ANGIKA | 120

Aerial View Of The Auditorium Block

ADITI GHOSH | A92204016043 | ANGIKA | 121

LIBRARY &MUSEUM BLOCK ADITI GHOSH | A92204016043 | ANGIKA | 122

LIBRARY AND MUSEUM BLOCK SCALE – 1:250 FLOOR AREA, LIBRARY – 800 SQ.M FLOOR AREA, MUSEUM – 800 SQ.M

RAMP GOING TO @+4100lvl

SIT-OUT SPACE

MALE TOILET Lvl+500 FEMALE TOILET Lvl+500

WALL MOUNTED EXHIBITS ALONG THE WAY RAMP GOING TO @+7600lvl

DISPLAY CASES Lvl+600

INBUILT SEATING

COURTYARD WORKSHOP SPACE Lvl+450

HELP DESK

COURTYARD

Lvl+150 WAITING AREA

LIBRARIAN’S ROOM

STORAGE & SERVER ROOM REGISTRAR’S OFFICE

STORAGE & SERVER ROOM

INFORMATION CENTRE

TOWARDS DANCE STUDIOS

PLAZA Lvl+600

LIBRARY BLOCK

MUSEUM BLOCK

TOWARDS PLAZA/ ADMIN

UP UP

GROUND FLOOR PLAN LVL+600

ADITI GHOSH | A92204016043 | ANGIKA | 123

LIBRARY BLOCK SCALE – 1:250 FLOOR AREA, LIBRARY – 300 SQ.M

B’

MEZZANINE LEVEL LIBRARY SPACE

COURTYARD BELOW

A’

B LIBRARY FIRST FLOOR PLAN LVL+4100

ADITI GHOSH | A92204016043 | ANGIKA | 124

LIBRARY BLOCK | ISOMETRIC SKYLIGHT (POLYCARBONATE SHEET)

ROOF (RCC SLAB WITH SRI VALUE)

MEZZANINE LEVEL LBRARY SPACE

COURTYARD LIBRARY SPACE WITH INBUILT SEATING

STORAGE & SERVER ROOM

TRANSPARENT WOOD USED FOR ARCHED WINDOWS

LIBRARIAN’S OFFICE GROUND FLOOR LIBRARY SPACE

ENTRANCE

EXPLODED ISOMETRIC

ADITI GHOSH | A92204016043 | ANGIKA | 125

MUSEUM BLOCK SCALE – 1:250 FLOOR AREA, MUSEUM – 150 SQ.M + 215 SQ.M WALL MOUNTED EXHIBITS ALONG THE WAY RAMP GOING UP TO @+7600lvl

WALL MOUNTED EXHIBITS ALONG THE WAY RAMP GOING DN TO @+600lvl

KISOK AUDIO VISUAL PRESENTATION/ WORKSHOP Lvl+4100

COURTYARD BELOW

Lvl+7600

MUSEUM FIRST FLOOR PLAN LVL+4100

CAFETERIA

MUSEUM SECOND FLOOR PLAN LVL+7600

ADITI GHOSH | A92204016043 | ANGIKA | 126

MUSEUM BLOCK | ISOMETRIC

ROOF

CAFETERIA

AUDIO VISUAL PRESENTATION/ WORKSHOP SPACE

WALL MOUNTED EXHIBITS ALONG THE WAY UP

COURTYARD USED FOR WORSHOP/ OUTDOOR EXHIBITION

TRANSPARENT WOOD FOR WINDOWS

ENTRANCE

EXPLODED ISOMETRIC ADITI GHOSH | A92204016043 | ANGIKA | 127

LIBRARY AND MUSEUM BLOCK | STRUCTURE

SUPERSTRUCTURE

DPC

MASONRY (PLINTH)

MATERIALS : • • • • •

WALLS – Brick walls with brick stiffeners ROOF & SLAB – RCC slab with high SRI value WINDOW PANELS – Transparent wood SKYLIGHT – Polycarbonate sheets FLOORING – Concrete flooring with epoxy coatings

STRUCTURAL FEATURES : DEPTH OF EXCAVATION

FOOTING

FOUNDATION

• Load bearing brick walls with brick stiffeners • Arches supporting the wall above since they inherently possess the ability to eliminate tensile stresses in encompassing an open space, owing to their shape.

ADITI GHOSH | A92204016043 | ANGIKA | 128

View Of The Library

ADITI GHOSH | A92204016043 | ANGIKA | 129

View Of The Museum

ADITI GHOSH | A92204016043 | ANGIKA | 130

View Of The Museum And Library

ADITI GHOSH | A92204016043 | ANGIKA | 131

LIBRARY BLOCK NOT TO SCALE

LVL+7600

LVL+4100 LINTEL LVL+2400 LVL+1600 LVL+600

LVL+-0

NORTHWEST ELEVATION

ADITI GHOSH | A92204016043 | ANGIKA | 132

LIBRARY BLOCK NOT TO SCALE

STORAGE/ SERVER ROOM

LIBRARIAN’S OFFICE COURTYARD

MEZZANINE LEVEL LIBRARY SPACE LVL+7600

LVL+5300 LVL+4100 GROUND FLOOR LEVEL LIBRARY SPACE

LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’

MEZZANINE LEVEL LIBRARY SPACE

COURTYARD

LVL+7600

WATERBODY

LVL+5300 LVL+4100

LIBRARIAN’S OFFICE

INBUILT SIT-OUT SPACES LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION BB’

ADITI GHOSH | A92204016043 | ANGIKA | 133

LIBRARY BLOCK | VIEWS

Interior View Of The Library

ADITI GHOSH | A92204016043 | ANGIKA | 134

MUSEUM BLOCK NOT TO SCALE

LVL+11100

LVL+7600

LVL+4100

LVL+1600 LVL+600 LVL+-0

NORTHWEST ELEVATION

ADITI GHOSH | A92204016043 | ANGIKA | 135

MUSEUM BLOCK NOT TO SCALE

LVL+11100

CAFETERIA

LVL+7600

SPACE FOR AUDIO VISUAL PRESENTATIONS/ WORKSHOPS/MOBILE PERFORMANCES

STORAGE & SERVER ROOM

LVL+4100

REGISTRAR’S OFFICE

LVL+600 LVL+-0

PERSPECTIVE SECTION AA’

LVL+11100 WALL MOUNTED EXHIBITS ON THE WAY

CAFETERIA

AUDIO VISUAL PRESENTATIONS/ WORSKHOPS

COURTYARD SPACE FOR WORKSHOPS/ OUTDOOR EXHIBITION/ MOBILE PERFORMANCES

LVL+7600

LVL+4100

REGISTRAR’S OFFICE

LVL+600 LVL+-0

PERSPECTIVE SECTION BB’

ADITI GHOSH | A92204016043 | ANGIKA | 136

MUSEUM BLOCK | VIEWS

Interior View Of The Museum

ADITI GHOSH | A92204016043 | ANGIKA | 137

CAFETERIA BLOCK ADITI GHOSH | A92204016043 | ANGIKA | 138

CAFETERIA BLOCK TOWARDS DANCE STUDIOS

SCALE – 1:250 FLOOR AREA – 1120 SQ.M

ENTRANCE CORRIDOR KITCHEN

SERVING TABLE

PREPARATION AREA WASHING AREA COOKING AREA

INDOOR CAFETERIA

STORAGE BREAKOUT ZONE/ SERVER ROOM

OUTDOOR CAFETERIA

MALE TOILET Lvl+1100 FEMALE TOILET Lvl+1100 LOADING & UNLOADING AREA

FLOOR PLAN LVL+1200

TOWARDS AUDITORIUM

ADITI GHOSH | A92204016043 | ANGIKA | 139

CAFETERIA BLOCK NOT TO SCALE LIFT

ROOFTOP CAFETERIA

ARCH WALL ENVELOPING TO CUT THE DIRECT OUTDOOR CAFETERIA GLARE LVL+7200 LVL+5900 LVL+4700 LVL+2200 LVL+-0

NORTHWEST ELEVATION

OUTDOOR CAFETERIA

ARCH WALL ENVELOPING TO CUT THE DIRECT GLARE

ROOFTOP CAFETERIA

LIFT

OPEN TO SKY STAIRS LVL+7200 LVL+5900 LVL+4700

LVL+2200 LVL+-0

NORTHEAST ELEVATION ADITI GHOSH | A92204016043 | ANGIKA | 140

CAFETERIA BLOCK NOT TO SCALE

OUTDOOR CAFETERIA

ARCH WALL ENVELOPING TO CUT THE DIRECT GLARE

SKYLIGHT (POLYCARBONATE SHEETS)

ROOFTOP CAFETERIA

LIFT

LVL+7200 LVL+5900 LVL+4700 KITCHEN SERVING TABLE

LVL+2200 LVL+1200 LVL+-0

PERSPECTIVE SECTION AA’

ADITI GHOSH | A92204016043 | ANGIKA | 141

CAFETERIA BLOCK ARCH ENVELOPING HELPING IN CUTTING OFF THE DIRECT GLARE SKYLIGHT (POLYCARBONATE SHEETS)

TRANSPARENT WOOD PANELS

MATERIALS : • • • • •

WALLS – Brick walls with brick stiffeners ROOF & SLAB – RCC slab with high SRI value WINDOW PANELS – Transparent wood SKYLIGHT – Polycarbonate sheets FLOORING – Concrete flooring

STRUCTURAL FEATURES : • Load bearing brick walls with brick stiffeners • Brick columns

ENTRANCE

CORRIDOR SPACE OUTDOOR CAFETERIA

ISOMETRIC VIEW

ADITI GHOSH | A92204016043 | ANGIKA | 142

CAFETERIA BLOCK | VIEWS

View Of The Cafeteria

Interior View Of The Cafeteria

ADITI GHOSH | A92204016043 | ANGIKA | 143

STUDENT &STAFF QUARTER ADITI GHOSH | A92204016043 | ANGIKA | 144

STUDENT AND STAFF QUARTER

A’

SCALE – 1:250 FLOOR AREA – 1345.5 SQ.M

SERVING TABLE

LOADING & UNLOADING AREA

DINING SPACE

Lvl+600

COMMON TOILET

KITCHEN

B’

PREPARATION AREA STORAGE WASHING AREA

3750MM WIDE OPENING

COOKING AREA

3700MM WIDE CORRIDOR

GATHERING/ PRACTICE SPACE

TOWARDS DANCE STUDIOS

HOUSEKEEPING/ SERVER ROOM STAIRCASE AND LIFT LOBBY

GROUND FLOOR PLAN LVL+600

A TOWARDS COTTAGES

ADITI GHOSH | A92204016043 | ANGIKA | 145

A’ DN

ROOM ROOM

ROOM

BRICK JALI WINDOW

B’ Lvl+3600

ROOM

3700MM WIDE CORRIDOR

ROOM

ROOM ROOM

WASHBASINS FOR 2 USERS AT A TIME LVL+3500

LVL+3500

CUPBOARD

CUPBOARD W.C

ROOM SH.C

SH.C

PANTRY

W.C

A FIRST FLOOR PLAN, LVL+3600 SCALE – 1:250 FLOOR AREA – 995 SQ.M

TYPICAL ROOM LAYOUT SCALE – 1:75 ADITI GHOSH | A92204016043 | ANGIKA | 146

STUDENT AND STAFF QUARTER NOT TO SCALE

CORRIDOR

STAIRCASE & LIFT LOBBY

LVL+10600

LVL+7600 BALCONY

ROOM

PARAPET LVL+4700 LVL+4100

LVL+600 LVL+-0

NORTHWEST ELEVATION

ADITI GHOSH | A92204016043 | ANGIKA | 147

STUDENT AND STAFF QUARTER NOT TO SCALE

LVL+10600

ROOM

LVL+7600 PARAPET LVL+4700 LVL+4100

CORRIDOR LVL+600 LVL+-0

SOUTHWEST ELEVATION

ADITI GHOSH | A92204016043 | ANGIKA | 148

STUDENT AND STAFF QUARTER NOT TO SCALE

STAIRCASE LOBBY

LVL+10600

ROOM

LVL+7600 BALCONY

PARAPET LVL+4700 LVL+4100

SERVER ROOM

CORRIDOR LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’

ADITI GHOSH | A92204016043 | ANGIKA | 149

STUDENT AND STAFF QUARTER NOT TO SCALE

LVL+10600

BALCONY

TOILET

ROOM ROOM

TOILET

ROOM ROOM

TOILET

ROOM ROOM

TOILET TOILET

ROOM

LVL+7600

LVL+4100

DINING SPACE

KITCHEN

STORAGE LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION BB’

ADITI GHOSH | A92204016043 | ANGIKA | 150

STUDENT AND STAFF QUARTER

TERACOTTA MANGALORE TILES

ARCH

ROOMS BALCONY

DINING SPACE COMMON AREA

PERFORATED WALLS

KITCHEN

ISOMETRIC VIEW

ADITI GHOSH | A92204016043 | ANGIKA | 151

STUDENT AND STAFF QUARTER | STRUCTURE

MATERIALS : SUPERSTRUCTURE

DPC

MASONRY (PLINTH)

• • • • •

WALLS – Brick walls with brick stiffeners SLAB – RCC slab ROOF – Terracotta Mangalore tiles supported on wooden truss WINDOW PANELS – Transparent wood FLOORING – Concrete flooring

STRUCTURAL FEATURES : DEPTH OF EXCAVATION

FOOTING

FOUNDATION

• Load bearing walls • Wooden truss and ceiling joists supporting terracotta tiles above • Arches supporting the wall above since they inherently possess the ability to eliminate tensile stresses in encompassing an open space, owing to their shape.

ADITI GHOSH | A92204016043 | ANGIKA | 152

Interior View Of The Student & Staff Quarter

View Of The Common Area

View Of The Student & Staff Quarter ADITI GHOSH | A92204016043 | ANGIKA | 153

Rear View Of The Student Quarter

Front View Of The Staff Quarter

Aerial View Of The Student Quarter ADITI GHOSH | A92204016043 | ANGIKA | 154

GUEST COTTAGE ADITI GHOSH | A92204016043 | ANGIKA | 155

GUEST COTTAGE SCALE – 1:75 FLOOR AREA – 160 SQ.M

TOILET BALCONY

BEDROOM

KITCHENETTE

DINING CUM LIVING SPACE

Lvl+300

FLOOR PLAN LVL+300

ADITI GHOSH | A92204016043 | ANGIKA | 156

GUEST COTTAGE | ISOMETRIC TERRACOTTA TILES SUPPORTED ON WOODEN FRAMING

SKYLIGHT (POLYCARBONATE SHEETS)

TOILET LVL+200 DINING CUM LIVING SPACE BALCONY

TRANSPARENT WOOD

KITCHENETTE BEDROOM BRICK LOAD BEARING WALLS WITH BRICK STIFFENERS

EXPLODED ISOMETRIC

ADITI GHOSH | A92204016043 | ANGIKA | 157

GUEST COTTAGE | STRUCTURE

SUPERSTRUCTURE

DPC

DEPTH OF EXCAVATION

MASONRY (PLINTH)

MATERIALS : • • • • •

WALLS – Brick walls with brick stiffeners ROOF – Terracotta Mangalore tiles SKYLIGHT – Polycarbonate sheets WINDOW PANELS – Transparent wood FLOORING – Concrete flooring

STRUCTURAL FEATURES : FOOTING

FOUNDATION

• Load bearing walls with brick stiffeners • Wooden truss supporting terracotta tiles above

ADITI GHOSH | A92204016043 | ANGIKA | 158

Front View Of The Guest Cottage

Rear View Of The Guest Cottage

Aerial View Of The Guest Cottage

View From The Guest Cottage ADITI GHOSH | A92204016043 | ANGIKA | 159

View Of The Guest Cottages

ADITI GHOSH | A92204016043 | ANGIKA | 160

DINING, STAFF& HEALTHCARE BLOCK ADITI GHOSH | A92204016043 | ANGIKA | 161

DINING, HOUSEKEEPING AND HEALTHCARE BLOCK SCALE – 1:250 FLOOR AREA , DINING – 700 SQ.M FLOOR AREA , HOUSEKEEPING QUARTER – 390 SQ.M FLOOR AREA , HEALTHCARE – 250 SQ.M

TOWARDS DANCE STUDIOS

WET & DRY STORAGE

DORM

WASHING AREA

DORM

B’

2650MM WIDE CORRIDOR

Lvl+600

PREPARATION AREA

DORM

COOKING AREA

DOCTOR’S CHAMBER

DINING SPACE Lvl+600

COMMON TOILET

CHECKUP ROOM NURSE ROOM FEMALE INFIRMARY MALE INFIRMARY INFIRMARY STORAGE STORAGE FOR ORGANIC VEGETABLES FROM FARMING

GROUND FLOOR PLAN LVL+600 ADITI GHOSH | A92204016043 | ANGIKA | 162

HOUSEKEEPING QUARTER BLOCK SCALE – 1:75

W.C SH.C

WASHBASINS FOR 2 USERS AT A TIME

TYPICAL DORM LAYOUT

ADITI GHOSH | A92204016043 | ANGIKA | 163

HOUSEKEEPING QUARTER BLOCK AND HEALTHCARE BLOCK | ISOMETRIC TERRACOTTA TILES SUPPORTED ON WOODEN FRAMING

DOCTOR’S CHAMBER

WOODEN COLUMNS SUPPORTING THE OVERHANG CEILING JOISTS

CHECK-UP ROOM NURSE’S ROOM MALE INFIRMARY FEMALE INFIRMARY RAFTERS AND PURLINS

DORMS

STORAGE FOR ORGANIC VEGETABLES FROM FARMING

CEILING JOISTS

EXPLODED ISOMETRIC

ADITI GHOSH | A92204016043 | ANGIKA | 164

DINING, HOUSEKEEPING AND HEALTHCARE BLOCK | STRUCTURE

MATERIALS : SUPERSTRUCTURE

DPC

MASONRY (PLINTH)

• • • • •

WALLS – Brick walls with brick stiffeners SLAB – RCC slab ROOF – Terracotta Mangalore tiles supported on wooden truss WINDOW PANELS – Transparent wood FLOORING – Concrete flooring

STRUCTURAL FEATURES : DEPTH OF EXCAVATION

FOOTING

FOUNDATION

• Load bearing walls • Wooden truss supporting terracotta tiles above • Arches supporting the wall above since they inherently possess the ability to eliminate tensile stresses in encompassing an open space, owing to their shape.

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DINING BLOCK NOT TO SCALE

LVL+4600

DINING SPACE

SERVING TABLE

LVL+600 LVL+-0

WEST ELEVATION

LVL+4600 KITCHEN

STORAGE

DINING SPACE LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION AA’ ADITI GHOSH | A92204016043 | ANGIKA | 166

DINING BLOCK | VIEWS

Aerial View Of The Dining Block

Front View Of The Dining Block

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HOUSEKEEPING’S QUARTER BLOCK NOT TO SCALE

LVL+6600

LINTEL LVL+2700 LVL+600 LVL+-0

SOUTH ELEVATION

LVL+6600

DORM

TOILET Lvl+500

TOILET

DORM

TOILET

DORM LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION BB’

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HOUSEKEEPING’S QUARTER BLOCK | VIEWS

View Of The Housekeeping’s Quarter Block

View Of The Corridor

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HEALTHCARE BLOCK NOT TO SCALE

LVL+6600

TOILET DOCTOR’S Lvl+500 CHAMBER

CHECK- TOILET TOILET UP ROOM

NURSE’S ROOM

FEMALE INFIRMARY

TOILET

MALE INFIRMARY

INFIRMARY STORAGE

STORAGE

LINTEL LVL+2700 LVL+600 LVL+-0

PERSPECTIVE SECTIONAL ELEVATION CC’

LVL+6600

LINTEL LVL+2700 LVL+600

LVL+-0

NORTHWEST ELEVATION

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View Of The Healthcare Block

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View Of The Dining, Housekeeping’s Quarter And Healthcare Block

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OPEN AIR THEATRE ADITI GHOSH | A92204016043 | ANGIKA | 173

OPEN AIR THEATRE SCALE – 1:150 FLOOR AREA – 585 SQ.M

STAGE Lvl+450

PLAN LVL+150

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OPEN AIR THEATRE | VIEWS

View Of The Open Air Theatre

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COMMON TOILET BLOCK SCALE – 1:100 FLOOR AREA – 30 SQ.M

MALE TOILET Lvl+150

FEMALE TOILET Lvl+150

WASH BASIN

FLOOR PLAN LVL+150

ISOMETRIC VIEW

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VIEW OF THE PLAZA

View Of The Entrance To The Site

View Of The Visitor Car Parking

View Of The Foyer Area

View Of The Plaza ADITI GHOSH | A92204016043 | ANGIKA | 177

VIEW OF THE PLAZA

View From The Gazebo

View Of Gazebo And Kiosks

View Of The Plaza From The Auditorium Block ADITI GHOSH | A92204016043 | ANGIKA | 178

VIEW OF THE PLAZA

View Of The Plaza

View Of The Plaza From The First Floor Of Admin Block

View Of Gazebo And Kiosks

View Of The Leisure Space Infront Of The Admin Block ADITI GHOSH | A92204016043 | ANGIKA | 179

VIEW OF THE PLAZA

View Of The Plaza At +1200lvl

View Of The Sunken Plaza At -1200lvl

View Of Plaza Beside The Admin

View Of The Sunken Plaza Beside The Auditorium ADITI GHOSH | A92204016043 | ANGIKA | 180

VIEW OF THE CENTRAL SUNKEN PLAZA

View Of The Plaza At +1200lvl

View Of The Sunken Central Plaza At -1200lvl

Aerial View Of The Sunken Central Plaza

View Of The Sunken Plaza ADITI GHOSH | A92204016043 | ANGIKA | 181

VIEW OF THE PLAZA BESIDE THE O.A.T

View Of The Plaza

Arches Blocking The Direct Sunlight At The Plaza

View Of Plaza Sit-outs Near The O.A.T

View Of The Plaza ADITI GHOSH | A92204016043 | ANGIKA | 182

A E R I A L V I E W O F

T H E P L A Z A ADITI GHOSH | A92204016043 | ANGIKA | 183

View Of The Leisure Space Behind The Museum And Library

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PROPOSED SERVICES UNDERGROUND WATER & FIRE TANK WATER DEMAND

• • • •

Resident – 135LPCD, 14.85 CUM Floating population – 45LPCD, 3CUM 10% leakage 5% fire

SEWAGE TREATMENT PLANT LVL -3300 ( Treated water can be used for landscaping and toilet flushing purpose )

TOTAL WATER DEMAND – 20 CUM WATER SUPPLY 1. 2. 3. 4. 5. 6.

Municipality Underground water tank Pump room Water treatment plant Overhead water tank Individual units

ELECTRICAL SUPPLY 1. 2. 3.

Transformer Isolator panel room Individual units (main distribution board)

VERMI-COMPOST PITS

DIESEL GENERATORS TRANSFORMERS & DG FIRE PUMP WATER TREATMENT PLANT OVERHEAD WATER TANK PUMP ROOM

UNDERGROUND WATER & FIRE TANK

WASTEWATER MANAGEMENT SEWAGE TREATMENT PLANT

Process of removing contaminants from wastewater through physical, chemical and biological means and reusing the water for landscaping and other purposes. ORGANIC WASTE MANAGEMENT

ORGANIC FARMING ( Vegetables and fruits will organically be grown here making the campus eco-friendly and they are also creating food forest using permaculture principles )

VERMI COMPOSTING

Vermicompost is the product of the decomposition process using earthworms, to create a mixture of decomposing vegetable or food waste, bedding materials, and vermicast. The residue left after the process is used as manure for plants.

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PROPOSED SERVICES

RAINWATER HARVESTING SURFACE RUNOFF HARVESTING

Surface runoff will be caught and used for recharging aquifers by adopting appropriate methods. This water will be reused for landscaping and sprinklers 1. 2. 3. 4.

Storm water is collected due to rain in the water bodies Rainwater harvesting tanks Injection wells so that aquifers gets recharged Distribution

Gutters running along the site

Rainwater catchments

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SUSTAINABLE FEATURES HEAT ISLAND EFFECT - NON-ROOF It has been planned to use high SRI material like light grey color concrete paver block at the driveway and light grey color grass pavers at the parking areas to reduce the effect of heat islands on the non-roof areas. HEAT ISLAND EFFECT – ROOF It has been planned to cover more than 50% of the net exposed roof area with high reflective materials which are Tiles or Paints with more that 70% SRI value to reduce the Heat Island Effect on the Roof Area.

DESIGN FOR DIFFERENTLY ABLED Accessible entrances & ramps, Accessible toilet for the differently abled peoples Preferred parking space has been provided.

RAINWATER HARVESTING Rainwater catchments have been provided to collect the storm runoff and rainwater. WASTEWATER TREATMENT AND REUSE

Wastewater will be treated and reused as flushing water to reduce the usage of Raw water. STP will be planned in the design of the project as per the requirement. DISTRIBUTED POWER GENERATION For power backup, the DGs will be installed. The DGs will run on Biofuel as well as Diesel. ADITI GHOSH | A92204016043 | ANGIKA | 187

SUSTAINABLE FEATURES ENERGY PERFORMANCE

• Brick walls • Tiles/Paint with high SRI value at roof levels • Transparent wood for the windows Above points will be implemented with lesser U-Value to reduce the total heat gain inside the building, which will further help to reduce the electrical consumption by HVAC System. ORGANIC WASTE MANAGEMENT Vermi composting will be practiced which will use organic waste to convert into compost which will in turn be used as a manure for farming. DAY LIGHTING & MICROCLIMATE 75% of the regularly occupied spaces will have enhanced daylight. Less walls and more openings have been proposed to incorporate this feature. Small water bodies around the site has been incorporated which help in microclimatic control through evaporative cooling. CROSS VENTILATION Most of the habitable spaces will have cross ventilation. More openings have been proposed to incorporate this feature. Brick jaliwalls, a perforated brick screen which utilizes natural air movement to cool the homes interior and create intricate patterns of light and shadow. LOCAL MATERIALS All the construction materials will be local materials, to reduce the overall cost of construction. ADITI GHOSH | A92204016043 | ANGIKA | 188

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