Mysore School of Architecture (Recognized by Council of Architecture, New Delhi Affiliated to Visvesvaraya Technological University, Belagavi, Karnataka)
CA-01, University Layout, Lingambudi, Near Dattagalli Ring Road, Mysore 570 008.
‘DANCE IN SPACE’ A DANCE ACADEMY FOR INDIAN CLASSICAL DANCE FORMS AND ITS ALLIED DISCIPLINES.
A Thesis Project Report Submitted in partial fulfillment of the requirements for the award of the degree of Bachelor of Architecture By the Visvesvaraya Technological University - Belagavi
Submitted by BHOOMIKA U 4MA15ATO12 X semester, V YEAR, B.ARCH Submitted on: August 2020
Mysore School of Architecture ( Recognized by Council of Architecture, New Delhi Affiliated to Visvesvaraya Technological University, Belagavi, Karnataka )
CA-01, University Layout, Lingambudi, Near Dattagalli Ring Road, Mysore 570 008.
CERTIFICATE
This is to certify that the thesis topic entitled ‘DANCE IN SPACE ’ carried out by Mr./Ms. BHOOMIKA
U, USN 4MA14AT012, a bonafide student of Mysore School of
Architecture, Mysore, in partial fulfillment for the award of BACHELOR OF ARCHITECTURE of the Visvesvaraya Technological University, Belagavi, during the year 2019-2020
THESIS GUIDE
PRINCIPAL
Name Ar. RAMAKRISHNA RAO
Prof. SAPNA S
M Arch (Masters in Architecture)
M.Arch (Urban Design),
EXTERNAL EXAMINERS 1. Name: THESIS COORDINATOR Signature with Date:
Asst. Prof. Surabhi R Belavadi M.Arch (Urban Design), B.Arch
2. Name:
Signature with Date
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DANCE IN SPACE
DANCE IN SPACE A DANCE ACADEMY FOR INDIAN CLASSICAL DANCE FORMS AND ITS ALLIED DISCIPLINES.
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ABSTRACT Dance and architecture are two disciplines of creativity that share a special relationship. Both disciplines define and use space as the main medium for creative interpretation. Dance is the movement of the human body through space over time. Architecture and its spatial qualities are experienced by the human body through movement over time.
DANCE IN SPACE is about finding the relation between architecture and dance. But more importantly, it is about the exploration of the creative process. In this process of experimenting with the idea, I am not looking for answers that will apply to future design problems. It is strictly the work that is far from complete even in its making but I do believe that I have come to understand my process better.
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ACKNOWLEDGMENT My education in architecture has been the most challenging and rewarding task I have undertaken. Where I also knew this is just a start. I feel lucky to be able to design a space for my passion that is a classical dance where I have worked for the fullest in this is a project. This thesis project wouldn’t have been a success if not for my thesis guide Ar. Ramakrishna Rao sir and I would like to extend my thanks to my lecturer and mentor Ar Richard Manoharan whose abundant motivation and guidance have helped me through every step of my thesis project to make it unique. Thanks so much to all who have encouraged, supported, and inspired me. I would like to thank especially my thesis committee, Ar. Shruti Mutalikdesai and Ar Sandeep for being inspirational role models. To my family: Mom, Dad, Sheethal, and my Grandparents. I could have never done it without your encouragement and love. I would like to thank my friends, classmates, and my juniors Laxmi Sri, Vikram Damle, Mohit, Darshan, Furqaan who have been being a major help in this thesis project.
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TABLE OF CONTENTS
CHAPTER 1: THESIS PROPOSITION ..................................... 17 1.1 1.2 1.3
INTRODUCTION PROJECT NEED PROPOSAL - AIM - OBJECTIVES - METHODOLOGY - SCOPE AND LIMITATIONS
CHAPTER 2: DANCE ....................................................... 22 2.1 2.2 2.3 2.4
HISTORY EVOLUTION AND PRESERVATION TYPES OF DANCE FORMS ARCHITECTURE AND DANCE
CHAPTER 3: CASE STUDIES .............................................. 41 3.1
3.2
3.3 3.4
LITERATURE STUDY - BHARATH BHAVAN - KALAKSHETRA FOUNDATION LIVE STUDY - NRITYAGRAM - KERALA KALAMANDALAM COMPARISION STUDY REQUIREMENTS
CHAPTER 4: ACTIVITY, MOVEMENT, SPACE ......................... 55 4.1 4.2 4.3 4.4
USER STUDY ACTIVITY STUDY MOVEMENT STUDY AREA PROGRAMMING
CHAPTER 5: ARCHITECTURAL PERCEPTS ............................ 62
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CHAPTER 6: THE SITE ................................................... 68 6.1 6.2 6.3
SITE OVERVIEW SITE ZONING SITE BYE LAWS
CHAPTER 7: THE IDEA ................................................... 80 7.1
THE SCULPTURE OF VIBRATIONS
CHAPTER 8: DESIGN DEVELOPMENT .................................. 83 8.1 8.2
DESIGN APPROACH SPATIAL ORGANISATION
CHAPTER 9: DESIGN SHEETS ......................................... 97 BIBLIOGRAPHY AND REFERENCES ................................... 106
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LIST OF FIGURES Fig. 1.1 Language of the feet Fig.2 Bharata muni FIG 2.2 Nataraja or Dancing Shiva in Badami cave temple Cave 1 (6th – 7th century CE) FIG 2.3 Different dance forms in India. FIG 2.3.2 Musician plays Chenda and Maddalam (a type of drum.) FIG 2.3.3 Face painting for Kathakali. FIG 2.3.4 kathakali dance costumes. FIG 2.3.5 Female Kathakali costume. FIG 2.3.6 Mohiniattam costume. FIG 2.3.7 Face make up. FIG 2.3.8 Male and female costumes of Odissi. FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG FIG 14
2.3.9 Mughal costume for women consists of an angarkha. 2.3.10 Kuchipudi dance costume. 2.4.1 Relation between dance and architecture. 3.1 Terraced gardens. 3.2 Section of Bharath Bhavan 3.3 Plan of Bharath Bhavan 3.4 Open-air theatre 3.5 Terraced gardens 3.6 Site plan 3.7 Open-air theatre 3.8 Padma Pushkarini 3.9 Bharata Kalakshhetra auditorium 3.10 Rukmini Arangam. 3.11 Bharata Kalakshhetra auditorium 3.12 Kalamandalam campus 3.13 Kalaries 3.14 Front Elevation S 3.16 Cross-Section 3.17 Bharata Kalakshhetra auditorium 3.18 Classrooms 3.19 Admin block 3.20 Entrance sculpture 3.21 Entrance stone sculpture 3.22 Guest cottages 3.23 Classrooms 3.24 Informal seating 3.25 Stone structural elements 3.3 Graph showing the evolution of dance forms 4.1 Graph showing user study 4.2 Activity chart 4.3 User – function relationship matrix 4.4 Body postures movements
DANCE IN SPACE
LIST OF FIGURES FIG 4.5 Movement study. FIG 5 Design ideas. FIG 5.1 Meditation space UNESCO, 1995, Paris, France. FIG 5.2 State of Buddha at Makomanai Takino Cemetery, city of Sapporo. FIG 5.3 Pdams in classical dance form. FIG 5.4 Body postures FIG 5.5 Nava rasa FIG 5.6 Navagraha mandala FIG 6.1 Location of the site. FIG 6.2 Mysore City. FIG 6.3 Google map location of the site. FIG 6.4 Site Views FIG 6.5 Vidyaranyapura – Nanjangud Main Road FIG 6.6 Site Vegetation FIG 6.7 Water Body FIG 6.8 Residential layout FIG 6.9 Site context maps FIG 6.10 Site study maps FIG 6.11 RMC Market FIG 6.12 Bharati Yogadhama FIG 6.13 Sri Jwalamukhi Tripura Sundari Temple FIG 6.14 Mysore APMC Yard FIG 6.15 Mysore APMC Yard FIG 6.16 Mysore APMC Yard FIG 6.17 Survey Training Institute FIG 6.18 Main road diversion FIG 6.2.1 Zoning and site views map FIG 6.2.2 Site sensory maps FIG 7.1 Sculpture of vibrations in dance FIG 8.1 Initial site arrangement FIG 8.2 Conceptual site plan FIG 8.3 Design elements FIG 8.4 Dance studio spaces FIG 8.5 Forms of the spaces FIG 8.6 sketches of entrance block. FIG 8.7 Sketches showing less number of walls FIG 8.8 Volumes of spaces FIG 8.9 Interlocking spaces FIG 8.10 Spaces linked by common spaces. FIG 8.11 Adjacent spaces FIG 8.12 sketch showing usage of countors FIG 8.13 sketch showing building tucked into a hillside FIG 8.14 sketch showing building merged into the topography FIG 8.15 Auditorium volumetric sketch FIG 8.16 Sketch of unique forms FIG 8.17 Sketch of hostel spaces FIG 8.18 classroom sketches 15
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LIST OF FIGURES FIG 8.19 Open spaces sketches FIG 8.20 Sketches showing the experience of interior spaces FIG 8.21 spline line generated by a series of circles FIG 8.22 Final gird layout which helps in generation of spaces FIG 8.23 Plan layout shows the chakras and the wave motion generated from the grid layout FIG 8.24 Generation of final grid layout from which the spaces are formed FIG 9.1 Site Plan FIG 9.2 Master Plan FIG 9.3 Trishula block plans FIG 9.4 Sections of Trishula block FIG 9.5 Drawings of Alapadma block FIG 9.6 Drawings of Bramara block FIG 9.7 Drawings of Laangoola block FIG 9.8 Drawings of Soochi Paaka block FIG 9.9 Drawings of Mukula and park gazebo FIG 9.10 Park drawings and its details
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CHAPTER 1
CHAPTER 1
1 THESIS PROPOSITION
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CHAPTER 1
1.1 INTRODUCTION Dance for me is an art form with the hidden language which speaks on its own. It acts as a stem that helps to keep me in touch with my roots which is our ancient history and culture. It also teaches me to speak aloud without even uttering a single word which is expressions of emotions and discipline. India has various intangible cultural heritage one of which is Indian classical dance forms. These dance forms have to be preserved and have to be given importance. Dance in space is a platform to conserve the Indian classical dance forms and all the authentic activities related to the dance. DANCE IN SPACE is more of experiments of the making of space in architecture through the ideas of another creative discipline, dance. I have always been amazed by the connection architecture has with other art forms. Where each creative discipline has its way conventions and medium, it shares with all other art forms. The creative process involves the conception of ideas, the development of the ideas, the making of the product, and the emotional and intellectual experience the work evokes from the observer or user.
Fig. 1.1 Language of the feet
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CHAPTER 1
1.2 PROJECT NEED With cities being developed constantly there is a primary need for planned growth and preservation of Indian classical dance forms and its supporting prime disciplines. Nowadays different kinds of western dance forms and culture are majorly been observed in India henceforth the Indian dance forms are not given much importance. Indian classical dance forms have spread its roots throughout India. The art form has been observed from the ancient period it has not yet been listed in UNESCO’s list of intangible cultural heritage but still one of the main intangible heritage which has to be preserved. Dance in India comprises numerous styles of dance forms that are classified under Indian classical dance forms and Indian folk dances. In which South India alone has many different dance forms, Bharatanatyam, Kuchipudi, Mohiniyattam, Kathakali, Odissi are few dance forms which are practiced. Over the years, the visibility of Indian classical dance has been diminishing. One of the reasons for this is that people have stopped relating to them and are not provided with enough platforms to explore and to educate about it. On the contrary, a lot of new/western dance forms are emerging and are being seen in Bollywood as well. They are especially gaining attraction among the younger demographic. Indian classical dance forms are one of the primary connections to our ancient history and culture. It has been in the picture since the human civilizations have existed. It has been a way of communication from the ancient periods. Hence there is an extreme need of providing awareness regarding the classical dance forms and also to provide stage and platforms to recognize and encourage Indian classical dance forms. All the different classical dances
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1.3 PROPOSAL AIM: To create a campus that provides knowledge and awareness about Indian classical dance forms and to conserve the activities related to dance forms like painting, artists, musicians, etc. which intern increases the importance of the classical dance forms.
OBJECTIVE:
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To create a more transparent space and have connectivity between indoor and outdoor spaces. To understand the need, requirements, and importance of classical dance forms. To design a Centre of learning and catering knowledge about classical dance forms to diverse groups of people worldwide. To create a community space for interaction and recreation purposes. Since all the activities related to the dance are not completely done in enclosed spaces. To analyze and understand the potentials, opportunities, and values of the classical dance form which helps in designing. To create defined spaces for all the activities that are to be conserved which are seen in this discipline. To create an environment that is comfortable for an artist to perform and attracts people. And to create a cultural hub and theatre which exhibit works and performing arts.
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CHAPTER 1 METHODOLOGY: Data collection and research about Indian classical dance forms ↓ To find why the Indian classical dance forms are losing its importance ↓ Literature studies and case studies ↓ Site selection, site analysis, and study ↓ Design requirements, area statement, and analysis ↓ Concept generation ↓ Zoning, circulation and site planning ↓ Design development and structural analysis ↓ Final output SCOPE AND LIMITATIONS:
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The architectural design solution is to provide dancers and artists a platform to educate them and create a stage where they exhibit their talents. South Indian classical dance forms are the limitation since the site is somewhere in south India. In addition to the south Indian dance forms, other dance forms are also taught in workshops.
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CHAPTER 2
CHAPTER 2
2 DANCE
Fig.2 Bharata muni
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CHAPTER 2
2.1 HISTORY THE DIVINE ORIGIN: India has many scripts, literature, poems from the ancient period, in the subject of classical dance forms, Bharata muni’s NATYASHASTRA (“the text of dramaturgy”) is one of the earlier writings which helped in generating these classical dance forms. Ancient texts of Natya Shastra consist of 6,000 poems in 36 chapters describing the foundations of music, dance, and literature. The art encyclopedia, written by Bharata Muni gives details of specific limb movement and facial expressions that dance must incorporate. The book talks about how the Fifth Veda was created by Brahma deva, he then called upon Bharata Muni to practice the Natya Veda along with his 100 children. At the beginning of the Tretha Yuga, people on earth became addicted to sensual pleasure, excessive desire, greed, jealousy, and anger. The Gods and goddesses under the lead of 'Indra', pleaded the lord of the immortals ‘Brahma Deva’ (the God of Creation) to create another simple Veda for the common man which removes evil and which forms a source of knowledge, entertainment and pleasure for gods and men He took pathya, the words from the Rigveda, abhinaya, the communicating elements of the body from the Yajurveda, Geeth, the music, and chant from the Samaveda, and rasa, the vital sentiment and emotional element from the Atharvaveda to form the fifth Veda, NatyaVeda
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CHAPTER 2
2.2 EVOLUTION AND PRESERVATION ANCIENT AND MEDIEVAL PERIOD: Dance has been in the picture ever since mankind has started the formation of civilization, dance during that period was considered as an art form that helped them for communication purposes, way of recreation, as well as an identification of their community. Classical dance has been practiced professionally as well as academically from ancient times in different parts of India in different forms. The earliest historical illustration of Nataraja preaching Natyagama in its pure form originates in the Chalukyan sanctuaries of Badami and Aihole in the mid 6th century A.D.The temple dancing was institutionalized and the dancing girls were patronized by the kings and Mahajan and were often respectfully mentioned in many inscriptions of temples built in the medieval age. The dancing girls of the temples were called devadasis and the temple activity was considered as a means of dedication. Devadasis were more of a people in the dance community where the dance was treated as an art, they preserved and transferred the art from one generation to another. Temple dancing had a mission: to take art to the people and conveying a message to the public. The monotony of the life of commonness as well as the elite was equally shared on the premises of a Temple. True religion sanctified every element with a touch of beauty.
FIG 2.2 Nataraja or Dancing Shiva in Badami cave temple Cave 1 (6th – 7th century CE) 24
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CHAPTER 2 In the times of Vijayanagar entire South India and parts of Orissa came under one rule and by this time the bhakti movement had lost its essence and the temples were the place of grandeur and celebration of events, the dancing girls were more exhibitionistic in their presentation. Later when the kings started ruling the dynasties Devadasis started performing to kings and Mahajan's. When the British took over India, The British government in India to uplift the women, their emancipation in education and to protect them from social evils abolished the Devadasi system. At this period all the Indian classical dance forms disappeared. Every few people practiced these dance forms there was no importance given. Therefore there was a prime need for preservation and inherited to future generations in its purest possible forms of Indian culture and classical dance styles.
EVOLUTION OF DANCE FORM
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CHAPTER 2 PRESENT SCENARIO: Today, Indian classical dance has undergone a lot of changes over the centuries. Most of the contemporary dancers use formal classical Indian dance techniques and intern the classical dance forms are built upon the bit and pieces of history. Even though in the present situation certain dance forms are taught in different places in India it is on a very small scale with no proper process and formal education. But still, the classical dance forms have retained its pride and importance in the present world even though the practice of western dance forms has increased. There are new dance forms that are formed based on the classical dance forms called fusion dance forms which have gained its importance which has intern increased the importance of classical dance forms. Dance is a certain kind of performing arts which is not only should be provided with education but also with enough importance for stage performances which helps in creating awareness about the dance forms.
“EVOLUTION OF POPULATION NOT EVOLUTION OF INDIVIDUALS”.
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CHAPTER 2 PRESERVATION: Indian Classical Dance is an ancient heritage, more than 5000 years old. These dance forms have been interpreted and performed by different artists in different ways and have been associated with a rich set of body postures and gestures. Most of the performances are based on mythological stories and various depictions of other cultural practices and artifacts. Thus, these dance forms embody a correlated collection of knowledge sources that can be preserved and presented through a variety of manifestations one of which is increasing the importance of its education system. Preservation of this intangible knowledge is assisted by the availability and integrity of varied sources.
With each step He took He scattered stars in space With each movement of his outstretched arms He enveloped space and time With his long hair flying in the wind He dances in ecstasy to the delight of his devotees 27
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CHAPTER 2
2.3 TYPES OF DANCE FORMS India offers several classical dance forms, each of which can be related to each of the states in India. Each form represents the culture and ethos of a particular region or a group of people. In all the dance forms the principal element of God worship. There are eight different classical dance forms in India. The common root of all classical dance forms can be traced to Bharatha's NATYASASTRA. It is a common text for all the Indian dance forms. It contains the different kinds of postures, the mudras or hand movements each depicting a particular meaning, and about the construction of the stage, makeup, and about an orchestra. All dance forms are thus structured around the nine Rasas or emotions. Hasya (happiness), Krodha (anger), Bhibatsa (disgust), Bhaya (fear), Vera (co urage), Karuna (compassion), Adbhuta (wonder), and Shanta (serenity). The most famous classical forms are: BHARATANATYAM of Tamil Nadu, KATHAKALI and MOHINIYATTAM of Kerala, ODISSI of Orissa, KATHAK of Uttar Pradesh, KUCHIPUDI of Andhra Pradesh and MANIPURI of Manipur.
FIG 2.3 Different dance forms in India 28
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CHAPTER 2 BHARATANATYAM: Bha- Bhavam (means expression), Ra- Ragam (means music), Ta- Talam (means beat or rhythm), and Natyam (means dance) which is flourished in Tamil Nadu. Bharatnatyam was performed by certain families of Tanjore district and these inheritors were known as ‘Nattuvans’. Bharatanatyam is the oldest classical dance form , all the other seven regional forms have emerged from Bharatanatyam. Firstly, it was initiated in the Hindu temples of Tamil Nadu and eventually flourished in South India. It was performed with excellent footwork and impressive gestures and it includes Nritta, Nritya, and Natya. It is a combination of emotions, music, rhythm, and expressions. Bharatanatyam includes all the traditional aspects of Indian classical dance – postures (hand position), acting (facial expressions) , and Padma (narrative dance). In the technique of Bharatanatyam, there are 64 principles of coordination of hand, leg, face , and body operation, which executed in a dance course. In Bharatanatyam, the performer follows a movement path with rhythmic body movements called Margam.
Types of Padmas: Allarippu – It mostly includes beats (taalas) with a rhythmic dance with is a preliminary warm-up which means seeking to thank you and blessings from God and the guru. Jatiswaram – It is the second level of dance performance, adds up a part of the melody to the Alarippu. It is mostly performed with jathis without any words. Shabdam – The next stage of the performance, which adds words to the dance performance with melody and beats. Varnam – Here different characters are presented as a part of the dance. The dancer performs the complicated moves such as expressing a verse at two speeds. This is mostly to help dancers to improvise footwork, speed, rhythmically punctuated . Thillana – This part is the last part of Bharatanatyam, the climax. In this episode, along with brilliant dance songs, different shades of the beauty of women are shown.
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CHAPTER 2
Costumes and Ornaments of Bharatanatyam: The costume is mostly customized sari, which has five elements including jewelry which has bangles, rings, earrings, nose rings, anklets (ghungroos), and unique ornaments for arms and head. Men usually wear a dhoti covering the lower body and no upper garment. The men also wear ankle bells.
FIG 2.3.1 Bharathanatyam dance posture
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CHAPTER 2 KATHAKALI: Kathakali is one of the famous classical dance of Kerala. Kathakali means ‘drama of a story’ or ‘a dance drama’. It’s a combination of dance, music, and acting. Mostly performed in groups. The most supernatural and mythological aspects related to life and work of divine beings, deities, demons, and saints displayed as Kat hakali’s content. There are mainly 24 mudras or gestures in Kathakali. Kathakali costumes and makeup reflect the symbolic nua nces of Kathakali performances. The main feature of Kathakali is the various activities of facial muscles. Apart from Kathakali, no other classical dance form does not use eyebrows, eyes , and lower eyelids. In this dance form face is the major element to express feelings. Since there many different characters detailed make up has to be done to differentiate the characters. Mostly Kathakali men play the role of women, but for some time women have been involved in Kathakali. The singing style of Kathakali music has developed in a specific ma nner, whose speed is very slow. There are two leading musicians in Kathakali, in which the principal musician known as ‘Ponni’, and the other known as ‘Sinnakidi’.
FIG 2.3.2 Musician plays Chenda and Maddalam (a type of drum)
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CHAPTER 2
Face Make-Up: Kathakali dancers are also known for their detailed and unique make-up. Kings and heroes wear green make-up, villains wear green makeup with red marks on the face, wear angry or evil characters red make-up, and a flowing red beard, hunter, and other forest people wear black makeup.
FIG 2.3.3 Face painting for Kathakali
Costumes and Ornaments of Kathakali: The outfit is the most distinctive characteristic of Kathakali . The suits are creative, elaborate, colorful, and different as per the various characters like ‘Sathwika’(hero), ‘Kathi’ (villain), ‘Minukku’ (females), ‘Thatti’. Most male characters wear dark, full-sleeved jackets with colored or white bulging long skirts. Lengths of white cloth thrown over the shoulders are also there. The female characters wear their hair in a knot on the top of the forehead veiled with an ornamented scarf falling over red jackets coupled with a white sari covering the lower half of the body. The ornaments and jewelry include necklace, bracelets, bangles, unique headgear, and bunches of tiny bells strung around the ankles.
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CHAPTER 2
FIG 2.3.4 kathakali dance costumes
FIG 2.3.5 Female Kathakali costume
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CHAPTER 2 MOHINIATTAM: Mohiniattam is the classical dance style of Kerala. Mohiniattam means “Dance of the Sorceress,” which is the only dance form of Kerala, performed by female dancers. This type of dance form depict s the Lasya type that showcases grace, gentleness, and feminine form of dancing which is similar to the waves of the sea and the slopes of pond plants in coconut palm trees or the farm. This dance form is only performed by female dancers. Mohiniattam derives its name from the word ‘Mohini’, a female avatar of Lord Vishnu. Mohiniattam includes Nritta (pure solo dance), and Nritya (expressive solo dance).
The Nritta performance accentuation on beauty in motion, range, form, speed, and pattern with real movements. This is an essence, rhythmic aspect of the dance that appears early and at the end of the dance. There is no storytelling in the Nritta section. The Nritya is a dance-acting that expands to include silent expression of words through the fa ce and hand gestures as per the music.
Types of Padmas:
CHOLKETTU VARANAM THILLANA PANDATTAM KANNAKI FIG 2.3.6 Mohiniattam costume
Costumes and Ornaments of Mohiniattam: In Mohiniattam, a comfortable suit, decoration, and simple outfit held. The dancer decorated in the beautiful Kasavu sari, which is white and gold-colored in Kerala. Usually, Mohiniyattam jewelry set consists of necklaces, ‘Vanki’ (armband), ‘Oddiyanam’ (waistband), nose stud (Nath Bullaku), and ‘Jimikki’ (swinging ear ornaments).
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CHAPTER 2 ODISSI: The Odissi dance found in the Inscriptions. It is depicted in the Inscriptions of the Brahmeshwar temple, along with it is mentioned in the central chamber of the Sun temple of Konark. The Odissi dance is devoted to Lord Krishna, and its verses are taken from the play of the theatrical song Govindam, which is used to show love and devotion to God.
Types of Padmas:
MAHARI VARANAM GOTIPUA THILLANA SHABDAM FIG 2.3.7 Face make up
Costumes and Ornaments of Odissi: Odissi dancers wear a stitched dress or a traditional Sambalpuri Saree to perform. Men usually wear a dhoti covering the lower body and no upper garment. The men also wear ankle bells . Tikka (forehead ornament), Allaka (headpiece on which the tikka hangs), Earrings (mostly peacock s haped) with Jhumka (pendant), bangles, Necklace are main jewelry and ornaments.
FIG 2.3.8 Male and female costumes of odissi 35
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CHAPTER 2 KATHAK: Kathak means ‘Katha’ meaning a dance that describes a story. Kathak is a very ritual and pure Indian classical dance style, in which full attention to rhythm. The dance form gains its importance in the parts of Uttar Pradesh. Most classical Kathak dances depict the love stories of Radha-Krishna and the spring of their life.
Repertoire: Kathak dance is mainly done in three parts which are an invocation, ‘Nritta’, ‘Nritya’. In the inauguration part, the dancer honors Hindu Gods and Goddesses, their master and musicians, In the case of Muslim groups, the dancer gives a salami or a salute. The nritta part includes sequences of footwork. Whereas in nritya the dancers reveal a story, messages. Today, there are mainly three families or household s of Kathak which are Lucknow family, Jaipur family, Banaras family.
Costumes and Ornaments of Kathak: The Hindu female dancer comprises of a long pleated ‘Kurta’ (Shirt) worn over Pyjamas or a sari dressed in a unique fashion compl emented with traditional jewelry which is kept very simple and elegant. The costume for Muslim female dancers includes a skirt along with a tight-fitting trouser called Churidar or pajama and a long coat to cover the upper body and hands. A scarf covering the head compliments the whole attire which completed with light jewelry. The male dancer wears either ‘Dhoti’ (Loincloth) and ‘Kurta’ (Shirt) or a long shirt over a pajama or a Kurta -Churidar. Men may also wear an Angarkha.
FIG 2.3.9 Mughal costume for women consists of an angarkha. 36
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CHAPTER 2 KUCHIPUDI: Kuchipudi is an indigenous dance style of Andhra Pradesh. Traditionally, the role of women is also being played by men, in which the character of Satyabhama is the most prestigious. The repertoire is similar to that of Bharatanatyam The most popular form of Kuchipudi dance is Matka (pot) dance, in which a dancer fills the pot with water & keeps it on her head and hops by placing her feet on a brass plate. She dances on the entire stage while keeping control on the brass plate, and during this whole movement, a drop of water does not fall from his pot to earth to surprise the audience. With dance, an adjunct song in Carnatic music plays a supporting role in dance with songs such as Mridangam, Violin, Bansuri, and Tambura , etc. and helps in furthering the storyline.
Types of Padmas:
ALLARIPPU JATHISWARAM VARANAM THILLANA SHABDAM
FIG 2.3.10 Kuchipudi dance costume
Costumes and Ornaments of Kuchipudi: The costumes are mostly similar to that of Bharatnatyam. An essential feature of this dance is in its different type s of decoration, and its female characters wear many ornaments like Rakudi (head ornament), Chandra Vanki (arm ornament), Adda Bhasa and Kasina Sara (neck ornament) and a long braid fitted with flowers and decorations.
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CHAPTER 2 MANIPURI: Manipuri dance was born in the state of Manipur in the north-eastern part of India. This dance form is mostly performed by women. The play and songs, recited during the dance performance center around the love and glees between Radha and Krishna, in the presence of other Gopis. Dancers of this dance keep their feet on the ground with tenderness and softness. Whereas the other dance forms have firm footsteps on the ground. There is a local story behind this concept is that when God created the earth, it was like a body. Seven Lanwarah danced on this newly created hemisphere, softly pressed it to make it stable and smooth with its feet. The themes used for the dance are of Vishnu Purana, Bhagwat Purana, and Geet Govind. The key features of this dance style are balance and strength. In this dance, the body moves slowly, with sheer magnificence and breathless movement flowing to the fingers.
FIG 2.3.11 Manipuri dance form
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CHAPTER 2 Costumes and Ornaments of Manipuri: The women wear a tight-fitting conical cap of black velvet or other material, trimmed with a border of synthetic pearls, under a thin white veil. The choli or tight-fitting bodice is usually of velvet with tight sleeves trimmed with gold embroidery. The ghagra or flounced skirt is a striking color, yellow, red , or green and usually of silk with a wide borde r at the bottom of the dress consisting of the design of sequins. The male dancer wears a dhoti with embroidered bands across his chest, ending in flaps that fall over both hips. In the Ras-Leela, Krishna gorgeously attired in a pleated dhoti of gold or yellow silk; the chest is covered with glittering necklaces while wristlets and armlets adorn the arms.
FIG 2.3.12 Manipuri dance costume
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CHAPTER 2
2.4 ARCHITECTURE AND DANCE: Dance and architecture are two disciplines of creativity that share a special relationship. Both disciplines define and use space as the main medium for creative interpretation. Dance is the movement of the human body through space over time. Architecture and its spatial qualities are experienced by the human body through movement over time. Space created for and by the people as the common linkage between dance and architecture. By employing spatial concepts as perceived in dance to inform the design of architectural space. I can address the creative process of design through the interchange of ideas from two artistic disciplines. This thesis intends to find an architectural solution for the dance academy to come up with a space that informs the users of dance and allows dance to inform the definition of the architectural space.
FIG 2.4.1 Relation between dance and architecture
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CHAPTER 3
3 CASE STUDIES
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3.1 LITERATURE STUDY BHARATH BHAVAN BHOPAL: Bharath Bhavan is an autonomous multi-arts center and museum set up to create interactive proximity between the verbal, visual, and performing arts. It is located in the heart of Bhopal city, Madhya Pradesh facing the upper lake. ARCHITECTURE: Charles Correa found the possibilities of a series of terraced gardens, which would be seen building which slopes down towards the lake. The visitors enter at the highest level and walk down to a pedestrian path, flanked by a pattern of the courtyard, to reach the various parts of the complex. SITE AREA: 9968sq m
FIG 3.1 Terraced gardens
• The site is gently sloping plateau overlooking the lake such that contours are used in the design. • Natural contours have been used to create a series of sunken courts and terrace gardens around which are cultural facilities. The view of the lake is visible from all the terraces. • Free flow circulation was provided to avoid accumulation at a certain point. • The inside of the Bharath Bhavan is medley of courtyards, split-level exhibition spaces, galleries, and performance rooms. • An outdoor museum, libraries of poetry and music, and a museum find a place here as well and designed in such a manner that they draw natural light from three conical skylights. • No such pattern or way defined to keep people moving in a certain pattern. • Open to sky courtyards were provided to keep people involved in the outer part of the building.
FIG 3.2 Section of Bharath Bhavan 42
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FIG 3.3 Plan of Bharath Bhavan
BUILDING MATERIALS:
Red sandstone was used on the outer façade of the building. The internal finish is of marble, granite, and sandstone. Flemish bond brick masonry. R.C.C. shells were used in the auditorium. Ashlar stone masonry was used on the outer façade. Coffered slabs were made to avoid the columns. Slopes were made for easy passage for handicapped. Retaining walls were made to avoid the landslide.
FIG 3.4 Open-air theatre
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FIG 3.5 Terraced gardens
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CHAPTER 3 KALAKSHETRA: Kalakshetra was established, in 1936, by the words of Rukmini Devi Arundale who was a pioneer in the field of Bharata Natyam in Pandanallur style, The institute aims at training students in the fields of music and various fine arts. LOCATION: The institution is located in Tirvanmiyur, in southern Chennai. It is located away from the main roads and major traffic areas. It is spread over a 100 acres with the institute of fine arts coverings about 80 acres of the site. The closest approach to the campus is a direct road from the bus stand.
FIG 3.6 Site plan
COMPONENTS: Kalakshetra foundation comprises of Kalakshetra, The Beasant theosophical high school, the Besant Arundale senior secondary school, A craft education and research center including the weaving department, the Kalamkari natural dye printing and painting unit, the visual arts center, The Bharath Kalakshetra auditorium, the Rukmini Arangam, four libraries, the Rukmini Devi museum, hostels, staff quarters, and guest houses.
FIG 3.7 Open-air theatre
FIG 3.8 Padma Pushkarini
Padma Pushkarini: An amphitheater constructed around a lily pond was opened on 29 November 2010. It has granite pavilions and steps. Thiruvanmiyur was once home to several natural ponds that helped to maintain the groundwater level in the area. The pond at Padma Pushkarini is Kalakshetra’s effort to preserve natural resources. The amphitheater is named after Padmasini, a caretaker at the hostel four decades ago. She was like a mother to the students and big support to Rukmini Devi. 44
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CHAPTER 3 Bharata Kalakshetra Auditorium: Rukmini Devi’s idea to build a beautiful Indian theatre with a spiritual ambiance, incorporating advanced sound and lighting technology, became a reality when it was completed in 1982, in time for the golden jubilee celebrations of Kalakshetra. The influence of this theatre is taken from the Koothambalam in Kalamandalam, which is located in Kerala. The theatre is designed with the concept of Natyashastra by Ar. Appukkuttan Nair. Situated centrally in the plot it is also in direct access from an external road on the north. The auditorium can seat 750-800 people. There are 428 chairs in the octagonal well of the theatre, 168 chairs on the peripheral veranda, and 104 in the galleries. Dressing rooms are located behind the stage on the rear side.
FIG 3.10 Rukmini Arangam FIG 3.9 Bharata Kalakshhetra auditorium
Rukmini Arrange: Originally built as an open-air theatre designed by Ar. Kiffin Peterson. The theatre served as an assembly hall and as a performance stage for many years until it was destroyed during a cyclone. Ar. Laurie Baker was invited to evolve the space into a proper theatre. Over the years the materials changed more modern materials have been used to build it by keeping the traditional Indian theatre in mind. The open-air space of dimensions 70’ x 80’ can accommodate 300 - 350 people. Dressing rooms are available, on either side of the stage, each measuring 10’ x 12’. The stage is made out of black oxide which is suitable for effective lighting. The theatre is equipped with lighting and sound systems. The theatre was built to suit Indian ambiance and the culture of traditional dance drama.
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CHAPTER 3 INFERENCES: Buildings especially the academic sector has to be properly buffered from eternal noises. Circulation to be properly planned in case of a spread layout. Linear spaces can be made livelier by street furniture, artwork, etc. Provision with parking lots with shelter. Libraries to be located in calm areas. Optimum no. of students in a dance class is 10. Providing interaction spaces for meditation is important for the art institute. Staff and students can be accommodated at more proximity to have a more personal relationship. Recreational facilities and small-time eateries to be provided. Building material should respond to the local climate. The theatre has to be designed based on standards for the art form, the strength of the audience is also decided based on visual parameters. The students and faculty should reside nearby. The structure should speak of a certain style and character.
FIG 3.11 Bharata Kalakshhetra auditorium
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3.2 CASE STUDY KERALA KALAMANDALAM: Founded in 1930, Kalamandalam is a place where classical dance forms of Kerala are given importance and taught along with other South Indian dance forms. And other activities related to the dance form like Carnatic music, Dance music, certain Musical Instruments are taught, Kathakali face painting courses are also provided. LOCATION: Site is located in Cheruthuruthy village, 30 KMS from Thrissur FIG 3.12 Kalamandalam campus
SITE AREA: 35 acres COMPONENTS:
Kalaries: Dance classrooms are called kalaries, there are around 9 kalaries for all the dance forms. Hostels: As Kerala Kalamandalam is the residential center of learning, all the students admitted for the regular courses have to stay in the hostels concerned. These hostel blocks are built in a vernacular building style of Kerala using bricks and have hipped roofing. Library: It is located just next to the Admin block which makes it easier to access for both students and faculty, with a collection of over 50,000 books on theater, music, dance, Indian history, etc.
FIG 3.13 Kalaries
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CHAPTER 3 Kothambalam: Meaning temple, and it is also built with the concept and elements of the temple. Theatre is a closed hall for staging traditional forms in Kerala. A square platform with a separate pyramidal roof supported by pillars in the center called Natyamandapam is constructed as a separate structure within the large hall of Koothambalam. The floor hall is divided into two halves and one part is for performance and the other half for seating audience. The structure is rectangular in plan with a hipped roof of 45 degrees. The stage and backstage extend up to half the length of the space and therefore the auditorium can be considered to be only 11m deep x 16.75m wide. The unique feature of the Koothambalam from the modern perspective is its method of enclosing space from the sides. Instead of walls, it has a slanted and curved plane of trellis-work, which always lets the breeze into the performance space.
FFIG 3.14 Front Elevation
FIG 3.16 Cross-Section
FIG 3.17 Bharata Kalakshhetra auditorium
FIG 3.17 Bharata Kalakshhetra auditorium 48
FIG 3.18 Classrooms
FIG 3.19 Admin block
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CHAPTER 3 INFERENCE: The campus has to spread out evenly with the hostels placed at two either sides. The campus has to have the public accessible zones closer to the entrance. It should be located in a setting that will a minimum external disturbance. The campus has to have more intermediate designed spaces. The campus should have sufficient parking for visitors. The entrance of the campus has to be emphasized.
FIG 3.17 Bharata Kalakshhetra auditorium
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CHAPTER 3 NRITYAGRAM: Nrityagram was founded in 1990 by Odissi dancer Protima Gauri, who converted ten acres of farmland into a setting for the study, practice, and the teaching of Odissi dance. At Nrityagram, dance is a way of life. Reminiscent of ancient ashrams where gurus imparted not only technique but also a philosophy of being, this is a creative space where dancers, musicians, and choreographers live together, sharing their skills, and developing their art. To enrich their practice, dancers are also taught yoga and martial arts along with Sanskrit and classical literature
LOCATION: Hessaraghatta village, outskirts of northwestern Bangalore, 30 KMS from Bangalore SITE AREA: 10 acres COMPONENTS:
FIG 3.20 Entrance sculpture
Gurukul is a place of holistic living. It comprises the Odissi gurukul, a temple, yoga center, amphitheater, admin block, service block, guest cottages, dormitories, and various gardens.
FIG 3.21 Entrance stone sculpture
FIG 3.22 Guest cottages
MATERIALS USED: All external walls are mud-plastered. Stones blocks are used for a few classrooms and other buildings. Guest cottages were built using bricks with mud plastering in both exteriors and interiors, the roof is made is of thatch. Three types of roof pattern are used: Flat rough granite slabs, Mangalore tile roofing, Thatch roofing
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FIG 3.23 Classrooms
ARCHITECTURE: Ar Gerard Da Cunha built the spaces. The buildings are built of mud and stone blocks giving the feel of a village. Open areas have a large green cover. The architect believes that “The state of architecture should be that which does not decide everything in advance within the artificial and isolated context of the drawing board and office, but it should evolve naturally on-site”. Thus approach would combine the roles of the architect and builder, actual construction starting with only a general notion of the overall organization of the building and its materials and methods of construction. The one for vehicular movement is made of mud and runs through the center of the Campus like a spine. The other pathway is paved with irregular stone to give a sense of the rough look. INFERENCE: The site located away from the city should have primary resources for its sustenance. The use of locally available materials makes it easy for construction due to various parameters. Activities in the site along the pathways can make the spaces more interactive. Prayer spaces and spaces for meditation are of utmost importance. A more prominent and permanent recreational space is required. The amphitheater has to be located close to direct access.
FIG 3.24 Informal seating 51
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FIG 3.25 Stone structural elements
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3.3 COMPARITIVE STUDY
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FIG 3.3 Graph showing the evolution of dance forms
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CHAPTER 4
4 MOVEMENT, ACTIVITY, SPACE
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CHAPTER 4 The ‘DANCE IN SPACE’ is a community where all the artistes of different dance forms are provided with a common roof to preserve and inherit the Indian classical dances forms. The major purpose is to provide education and the importance of these dance forms which will help them to create their know culture. The environment created is of a single unified community than an institutional campus.
4.1 USER STUDY USER GROUP STUDY: Primary Users: Students , Teachers. Secondary Users: Admin staff, Working staff, Visitors. Tertiary Users: Public, Guests.
POPULATION COUNT: STAGENT POPULATION (RESIDENCE) - 97 OFFICE BLOCK - 2 STAFF - 10 STUDENTS - 15+15+15+15+15 =75 RESIDENCE – 10 OFFICE - RECEPTION: 1 -3 OFFICE ROOM: 5-7 LOUNGE/WAITING AREA 10-15
FLOATING POPULATION (DAY - EVENING) – 71 STAFF: 5-10 STUDENTS: 10 - 20 WORKERS AND COOKS: 20 WORKING STAFF: 10-15 VISITORS: 50-70 SECURITY: 1
VISTING POPULATION - 120 WORKSHOP VISITORS: 25-30 VISITING LECTURES: 8-10 GUESTS: 5-10
FIG 4.1 Graph showing user study 56
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4.2 ACTIVITY STUDY The spaces are made for different types of users and their different activities which have to be taken into consideration and design the interior and exterior spaces accordingly. The most important factor in prioritizing the users and so there is different levels of arrangement and privacy for a different user group.
ACTIVITY CHART: The activity chart provides information about how each activity is interlinked with another. There may be primary or secondary connections that have to be considering while design development.
FIG 4.2 Activity chart 57
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CHAPTER 4 USER - FUNCTION RELATIONSHIP MATRIX
FIG 4.3 User – function relationship matrix
SPATIAL TYPOLOGY:
SPACES DEFINED BASED ON NUMBER OF USERS 58
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4.3 MOTION STUDY ANTHOPOMETRY: Movements are mostly 360 degree. Many of the moves are repetitive and continuous in nature. All dance forms has a common disciplinary movements.
FIG 4.4 User – body postures movements
STAGNANT MOVEMENT • Movements are direct and repeated in which few are categorized as ‘artistic body movement’, popularly known as Dance- a performing art form consisting of purposefully selected human body movement. • Body language is instinctively interacted by us all to a limited degree, but the subject is potentially immensely complex, and perhaps infinity so, given that the human body is said to be capable of producing 7,00,000 different movements. • There are two classifications of specific traditional Mudras: Samyukta and Asamyukta- are used in Indian classical dance. Though other body parts also involved in dance, therefore, hand-finger gestures and eyes for expression are considered the prominent parts of the dancer’s vocabulary. Each of these different movements contributes to the rhythmic and visual complexity of the dance. 59
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CHAPTER 4 Movement manifests the experience of spatial qualities in architecture
FIG 4.5 Movement study
All the movements in the dance forms have an axis, invisible focal point. The circular movement of hands, legs, eyes, and body movement are common all dance forms. Dance movements are inspired mostly from nature which is around the environment. While the feet are executing the basic step sequence, the arms, hands, and head are also performing intricate movements. The arms are always supported at the elbow, the mudras, convey different meanings according to the position of the fingers and the way the palms are cupped or splayed. 60
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4.4 AREA PROGRAMMING
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CHAPTER 5
5 ARCHITECTURAL PERCEPTS
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5.1 CONCEPT DEVELOPMENT
FIG 5 Design ideas
SPIRITUALITY OF THE SPACES:
9 IMPORTANT POINTS ON MINIMALISM BY TADAO ANDO CONNECTIVITY WITH NATURE: “You can live in harmony, close contact with nature helps to brighten up the user mood. THE VOID: “If you give people nothingness, they can ponder what can be achieved from that nothingness”. SIMPLICITY: “The essence of Minimalism is simplicity, but simplicity without depth is merely cheap. It is not enough.” EMOTIONS: “Create spaces that move people. So, it is somebody sitting on that lawn, just going around and feeling happy which creates memories. SILENCE: “I don’t believe architecture has to speak too much. It should remain silent and let nature in the guise of sunlight and wind. 63
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CHAPTER 5 THE LOGIC: “To create architecture is to express characteristic aspects of the real world such as nature, history, tradition, and society, in a spatial structure, based on clear, transparent logic.” LIGHT: It is an important controlling factor. Which gives the space depth. SPIRITUALITY: “To achieve simplicity, and to achieve depth in the spaces. Architecture must be a space where you feel spiritually empowered.” THE RUINS: “What remains is not the total design, but the clarity of thought, the naked structure the spirit of the thing.”
FIG 5.1 Meditation space UNESCO, 1995, Paris, France.
FIG 5.2 State of Buddha at Makomanai Takino Cemetery, city of Sapporo.
PADAMAS: All the architectural elements in the design are moving around the numbers 3, 4, 5, 7, 9 which are the numbers that are used in the dance forms for there performances.
FIG 5.3 Pdams in classical dance form 64
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CHAPTER 5 BODY POSTURES (Geometry): Dance Is a human behavior inherent in all of us.
FIG 5.4 Body postures 65
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CHAPTER 5 NAVA RASA:
RASA MEANS “EMOTION” AND BHAVA MEANS“STATE OF MIND”. • Facial expressions are representation of the person’s mood. All the classical dance forms have the same theory of nine expressions. • Architectural spaces can also give an impact of how the user group feels when they are within the spaces and that is studied through FEEL OF SPACE.
FIG 5.5 Nava rasa
RELATION WITH COLORS IN ARCHITECTURE AND USERS EMOTIONS • So the colors of a building or room profoundly influence how the people using it feel. • Physiologically, study after study has shown that blue light slows the production of melatonin, keeping people more alert or awake even at night. Psychologically, people associate certain colors with certain feelings due to cultural symbols and lived experiences – for example, they might perceive the color red as menacing or frightening because of its connection to blood. •Altogether, the way a room is colored can have complex effects on how its users feel, while a façade can be perceived in dramatically different ways depending on how it is colored. 66
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CHAPTER 5 9 ASPECTS OF DESIGN STRUCTURING: -
MOVEMENT ZIG ZAG PATTERN A VISIBLE OR INVISIBLE AXIS GEOMETRY NATURE SPIRITUALITY MATERIALS VOID THE USER
NAVAGRAHA MANDALA
DERIVATION FROM NAVAGRAHA MANDLA FIG 5.6 Navagraha mandala
• 9 being the sacred number has an important history with nature: • The movement should have a theory behind it. • All the dance forms movement’s have a visible or invisible axis and the focal point which is taken consideration while designing. •The building is the sculpture for humans, and hence the geometry comes into picture which gives an identity to the building. • Connecting nature to seen and unseen spaces of architecture brings out the positive emotions and feel of the space. • Spirituality being the primary element in the design that provides life to the structure and architectural design. • Materials also play an important role in representing certain typology or the message to the users. • The spaces with nothingness. • All the above study is from the users and creates a comfortable environment for primary users and secondary users. 67
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CHAPTER 6
CHAPTER 6
6 THE SITE
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FIG 6.1 Location of the site.
Mysore is one of the historic cities in India. The history of Mysore can be traced back to the times of Mahabharata, which is also a cultural and prime heritage city and it exhibits both tangible and intangible elements. The city is known as the ‘cultural capital’ of Karnataka. It was the capital of Wodeyar Kings who ruled the Mysore Kingdom for many centuries and contributed significantly to make the city a cultural center including art, poetry, and music. The city is a known city of palaces and the museums, art galleries, and the festivities that take place during the period of Dasara which attracts a worldwide audience. The city has grown in different ways but still holds its roots back to its culture. HISTORY: Classical dance, particularly Bharatanatyam, has been practiced professionally as well as academically from ancient times in Karnataka. The Chalukyan sculptures at Badami and Aihole proclaim that the sculptors of Karnataka had a good knowledge of the Natyashastra in the 5th century itself. The Vijayanagar Empire boosted up all arts during its golden ages. After the fall of the Vijayanagar Empire, the art of dance was nurtured by the devadasis or temple dancers. Later on, state of Mysore became of all art forms under the WodeyarDynasty. Bharatanatyam in Karnataka reached its peak during this period. During Krishnaraja Wodeyar's reign (1811-1868) a distinct style began to emerge which is now known as `Mysore Style'. Hence, the indigenous tradition of dance took in the other traditions, to arrive at a continuous stream of dance art in Karnataka. 69
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CHAPTER 6 EVOLUTION AND PRESERVATION OF DANCE FORM: Mysore palace court has been a major contribution to the evolution and preservation of Indian classical dance forms. Even today importance for these classical dance forms is given during festivals, majorly during Dasara which takes place for a long period in Mysore. Sadly, there is very little or no Institution in Mysore which teaches and encourages all classical dance forms. So, it necessary to given a platform where these authentic and traditional classical dance forms of South India are preserved and if possible restored to its full glory and also have to be passed on in the right way.
FIG 6.2 Mysore City.
SCOPE AND STAGE FOR PERFORMANCES: On the other hand, the classical dance form is one such discipline where the art form is not just taught and learned, It should be given the recognition and stage where the artists are identified because an artist is incomplete without the appreciation and recognition of a true audience. During Dasara, various cultural and religious programs highlighting dance, music, and culture of the state of Karnataka are performed. GEOGRAPHICAL LOCATION: Mysore is such a place where these kinds of traditional art forms are provided with a stage. Moreover, the geographical location of Mysore is very convenient and close to other states which attract more people from other places. Mysore can be accessed by Kanakapura road and Mysore - Bangalore road. Bangalore is 153.7 KM away from the site. Mangalore is 255 KM away from Mysore, which is accessed by Mangalore Mysore highway. Coimbatore is 197 KM away from Mysore, which is accessed by Nanjangud - Chamarajanagara road. Calicut is 206 KM away from Mysore, accessed by Mananthavadi Road. 70
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CHAPTER 6 6.1 SITE OVERVIEW: SITE AT CITY LEVEL: SITE LANDUSE: The site comes under public and semi-public use given by the Mysore Urban Development Authority, which is suitable for the classical dance academy. SITE LOCATION: • Site is suitated in 6km east of Mysore. • Site is located just next to the ring road of Mysore. • It is situated at the foot hills of chamundhi hills. • The site is 6 km away from Mysore bus station. • Easily accessiblebut away from the CPD area of Mysore.
FIG 6.3 Google map location of the site.
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CHAPTER 6 SITE STUDY: Design planning includes three main factors which are intern linked. It includes building, users, and context. Each of their elements depends on the way the other elements are like. The Building includes all the interior and exterior physical manifestations of design.
ACCESSIBILITY TO SITE: • Mysuru bus stand is 6 KM away from the site • Sufficient amount of buses goes to the site. Mysore airport is 10 Km away from the site which also provides taxi stand. • Availability of private autos are less and very less auto stands are seen and no taxi stands nearby. • The site is accessed by a mud road leading by Vidyaranyapura - Nanjangud road which is 40 meters wide main road. SITE SELECTION CRITERIA: • Environment is away from the noisy city which helps dancers and artists to increase their creativity and still is easily accessible to everyone. • Expansion of the site in the future is taken into account since the area is allotted for public and semi-public use. • Emphasis on the privacy of dancers, which gives them a comfortable environment. • Views from the site are inspiring which brings artists out of the people. • Water body near the site gives major advantages like cooling up the site, provides views to the site, acts as a buffer to one of the edges of the site. • Public transportation is available since it is located on the foothills of Chamundi hills and close to Survey Training Institute. SITE CONTEXT: • Currently the site is empty, The site has four edge conditions. The front edge faces the Vidyaranyapura - Nanjangud main road which is around 35 to 45 meters. The site context has more empty spaces. • The two other sides of the site are bare land which is allotted to residential building. • The rare edge of the site in the foothills of the Chamundi hills with a lane of vegetation which acts as a buffer zone between the site and foothills. 72
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CHAPTER 6 SITE PICTURES:
FIG 6.4 Site Views
FIG 6.5 Vidyaranyapura - Nanjangud Main Road
FIG 6.7 Water Body
FIG 6.6 Site Vegetation
FIG 6.8 Residential layout
NEIGHBORHOOD CONTEXT: • Site is located at the foothills of Chamundi hills which is close to Hadjana village. • Site is surrounded by trees, very less vegetation is seen inside the site. The site towards the Chamundi hills has a buffer line of vegetation. • Opposite to the site has Sri Jwalamukhi Tripura Sundari Temple which has enough transportation facilities provided by buses. Mysore Airport is 10km away from the site which has a taxi stand and bus stop. • There is a tea stall at the corner of the road connecting to the main road which also has tender coconut. 73
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FIG 6.9 Site context maps 74
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FIG 6.10 Site study maps
MYSORE RAINFALL: Mysore district receives an average rainfall of 776.7 mm. There are 53 rainy days in the district on an average about 50% of the annual rainfall occurs during the southwest monsoon period. The pre-monsoon rainfall is more consistent than the post-monsoon rainfall. 75
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FIG 6.11 RMC Market
FIG 6.13 Sri Jwalamukhi Tripura Sundari Temple
FIG 6.15 Mysore APMC Yard
FIG 6.17 Survey Training Institute 76
FIG 6.12 Bharati Yogadhama
FIG 6.14 Mysore APMC Yard
FIG 6.16 Mysore APMC Yard
FIG 6.18 Main road diversion
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CHAPTER 6 6.2 SITE ZONING: SITE EXPERIENCE: The setting of the surrounding makes us feel close to nature. The ambience is peaceful and calm settles over the ears and the mind. Vehicular movement is restricted to a main road only the peripheries. Site has a an interesting backdrop of chamundhi hills and a lane of vegetation. The site is surrounded by coconut tress providing insulation and aovid noises coming from surrounding area.Lake is known for its best views of sun set which can SPATIAL TYPOLOGY:
be experienced by any part of the site.
TYPES OF SPACES OF USED BY PRIMARY AND SECONDARY USERS AS MENTIONED IN USER STUDY.
FIG 6.2.1 Zoning and site views map 77
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CHAPTER 6 SITE SENSORY:
FIG 6.2.2 Site sensory maps
A- Major view of the site from the main road. B- From the residential layout on the side edge of the site. C- From the pedestrian view on another site. D- Site view from bare land on the rare side of the site . INFERENCE: • Openings towards the Southern side and have enough shade. • Rainfall has to considered and have proper drain patterns. • Avoid building configuration that traps water. • Positive water runoff management to the creek. • To create a buffer zone at the entrance of the site to bring in privacy. • Since the site is at foothills of Chamundi the rainwater flow has to be taken into consideration and provide proper drainage system. • Site has very little vegetation which might heat the land. Hence, the site has the desired landscaping. 78
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CHAPTER 6 6.3 BYE LAWS: MYSORE BYE LAWS: LAND USE CATEGORY-
Zone A – Intensely Developed Zone B – Moderately Developed Zone C – Sparsely Developed • The site falls under ZONE B (Moderately developed area). It is allotted for the Public and Semi-Public category (P & SP). SETBACKS• Front and rear set back shall depend on the depth of the site. • Right and left edge of the site depends on the width of the site. HEIGHT RESTRICTIONS ON SITE• Plot size over 4000 sq m, a minimum setback of 5.0 m on all sides. 11.5 m - 5 m setback, 15 m - 6 m setback, 18 m - 7 m set back MAXIMUM GROUND COVERAGE• 50% of the total site area is the total building footprint. • 2.75 FAR with 0.25 additional FAR for the site above 4000 sqm.
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CHAPTER 7
CHAPTER 7
7 THE IDEA
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CHAPTER 7 7.1 THE SCULPTURE OF VIBRATIONS RELATION WITH DANCE AND ARCHITECTURE:
DANCE
ARCHITECTURE
The first reaction to this whole world of wave phenomena is one of astonishment, its features excite the wonder of both the scientific investigator and the artist.
The spaces will be free-flowing with mathematical limitations. Spaces are limited by spatial organization and composition of spaces. SCARED GEOMETRY is a mathematical blueprint for universal life. CIRCLE being the basic geometrical shape of sacred geometry. Wave movement is a symbol of a free-flow movement. FREE FLOW ELEMENTS NATURE: WAVE MOTION WIND FLOW WATER MOVEMENT
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IN ARCHITECTURE: CORRIDOR PATHWAYS ROOFING STAIRWAYS RAMP
IN MATERIALS: FABRIC WOOD BAMBOO BRICK CONCRETE
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CHAPTER 7
FIG 7.1 Sculpture of vibrations in dance
“FREE FLOW MOVEMENT REPRESENTS AN ENDLESS CONTINUITY OF CYCLIC ENERGY” “MOVEMENT THROUGH SPACE IS INDEED THE ESSENCE OF DANCE”
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CHAPTER 8
CHAPTER 8
8 DESIGN DEVELOPMENT
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CHAPTER 8 8.1 DESIGN APPROACH Functionality
Safety
Comfort
Interesting
The spaces can be considered under buildings, landscaping, and entrance. Based on on-site views and infrastructure, the placement of the spaces is done. The site is along the roadside.
TYPE 1 Buildings kept in the end to provide privacy. 2 Vegetation in the front edge of the site to act as a buffer from main road. 3 Entrance which leads to buildings. 4 A rhythm of appearance and disappearance is seen in the site. 5 View from road – vegetation with buildings Hill view in the background.
TYPE 2FIG 8.1 Initial site arrangement
1. ENTRANCE THROUGH PUBLIC BUILDINGS– ACCESSIBIITY 2. RHYTHM - BUILDINGS LANDSCAPING BUILDINGS VEGETATION ON HILLS FIG 8.1 Initial site arrangement
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CHAPTER 8 TYPE 3 -
1 Buildings at the end of the site- PRIVACY 2 Vegetation acts as buffer between spaces. 3 Entrance through vegetation EXPERIENCE. 4 Main buildings are not seen from entrance – a sense of SURPISE.
FIG 8.1 Initial site arrangement
CONCEPTUAL SITE PLAN:
Privacy
Degree of exposure and enclosure
Vegetation FIG 8.2 Conceptual site plan 85
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Privacy Based on functional typology. Closer and easier to access but different blocks. The block has to remain close to the infrastructure. Degree of exposure and enclosure Based on building typology and its function the spaces are spilled. User typology Privacy Safety concerns Visual connectivity
So, the buildings are split into three blocks with different plinth levels. But accessibility is kept easier. Spatial arrangements and the distance between each block are based on the spatial typology and the character of spaces. DESIGN ELEMENTS THAT NEED TO BE CONSIDERED ARE:
Concept - Circular shapes to mimic nature with the eco system and connectivity.
Separation - Dividing public and private areas with an architectural element of connection. - Vegetation and open spaces being the connection.
Centre point – - Public plaza acts as the center point and gateway to the building. FIG 8.3 Design elements 86
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CHAPTER 8 Green area - Abundant green area integration. - Green patch which also helps in natural cross ventilation. - It also helps to provide cool wind.
Vehicular circulation- Sensible vehicle circulation and parking. - Vehicular movements are restricted at the entrance of the site. Solids and voids - Alternative solid and void areas. - Both vertical and horizontal spaces have voids with built spaces. FIG 8.3 Design elements
8.2
SPATIAL ORGANISATION
SPATIAL TYPOLOGY:
FIG 8.4 Dance studio spaces
-Dance studio spaces require higher volumes this can be achieved by a hipped roof. - Heights of spaces help in hanging equipment. 87
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FIG 8.5 Forms of the spaces
- Spaces are organic and have circular forms that help in natural ventilation. Wind movement is flown inside the spaces. - The basic element of the design is to flow with nature and merge along with the vegetation. - All the semi-open space and open spaces should follow the form. - Hip roofed spaces help the horizontal expansion of spaces. - Higher floors reduce the connectivity with the spaces and human interactions. - The expansion of the spaces has to be horizontal and has to follow the forms.
FIG 8.6 sketches of entrance block.
- The spaces should have connectivity with open and built spaces. - Spaces have openness, Fewer walls, and more openings.
FIG 8.7 Sketches showing less number of walls 88
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FIG 8.8 Volumes of spaces
QUALITIES OF ARCHITECTURAL SPACES: - Two spaces interlock, each retains its identity and definition as a space. - But the resulting configuration of the two interlocking spaces is subjected to a number of interpretations. - The interlocking portion can merge with one of the spaces and become an integral part of its volume. FIG 8.9 Interlocking spaces
- Two spaces that are separated by distance can be linked or related to each other by a thrid, intermediate space. - The intermediate space can differ in form and orientation from the two spaces to express its function. - The intermediate space is large enough it becomes the dominant, and be capable of organizing a number of spaces itself. FIG 8.10 Spaces linked by common spaces.
FIG 8.11 Adjacent spaces 89
- The degree of visual and spatial continuity that occurs between two adjacent spaces depends on the nature of the plane that both separates and binds them together. - Spaces defined with a row of arch that allows a high degree of visual and spatial continuity between the two spaces. - Spaces are merely implied with a change in level or contrast in surface material or texture.
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CHAPTER 8 Factor to be considered while designing on hillside -To break the building into multiple volumes. -Step building massingwith terrian.
FIG 8.12 sketch showing usage of countors
-Building site graded such that it appears to emerge from the slope -Materials and finishes blend with landscape -Buliding tucked into hillside. -Driveway slope blends with the natural Topography./ FIG 8.13 sketch showing building tucked into a hillside
-Building tucked into hillside -location of building minimize grading -Preserves natural drainage courses. -Retains trees integraiting them into them design.
FIG 8.13 sketch showing building tucked into a hillside
FIG 8.14 sketch showing building merged into the topography
-Protect native vegetation on hillsides and ridgelines -To retain the hill view from below. 90
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CHAPTER 8 VOLUMETRIC STUDY:
FIG 8.15 Auditorium volumetric sketch
To break the regularity of the institutional spaces by bringing nature into the built spaces and to provide enough privacy to dancers. Different types of studios are provided for a group of people or an individual.
FIG 8.16 Sketch of unique forms
FIG 8.17 Sketch of hostel spaces
-Since the students are staying for 3 – 4 yrs, the hostel spaces are designed as different cottages. -Space is assigned for dance practice inside the units. 5 students per cottages
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FIG 8.18 classroom sketches
-Classrooms are isolated from the academic block to provide enough privacy. -Isolated classroom studios act as private practice halls. -Studios in an academic block are classrooms and music studios for workshops.
FIG 8.19 Open spaces sketches FIG 8.19 Open spaces sketches
PLAN LAYOUT: - Dance is an art which involves different emotions and body movement so, the seaters have to placed closer to the stage. All the details of the movement of eyes and hands should to captured hence the buffer between stage and seaters. 92
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FIG 8.20 Sketches showing the experience of interior spaces
- Different types of openings are provided each typology of buildings. - Most of the blocks have a fewer number of walls and more openings. - Arches lead to the buildings and it acts as the entrance. Practice halls are entered from all sides. - Jalis is also used as an opening to create light patterns. - Which helps the spaces with enough natural lighting and ventilation.
FIG 8.20 Sketches showing the experience of interior spaces
SPATIAL ARRANGEMENT TYPES : - The spaces are determined based on the movement axis. -All the spaces are centric and courtyard. - Spaces are developed are developed from axis.
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FIG 8.21 spline line generated by a series of circles
- A simple curved from each section of composite circles by a fixed radius. - The spline line represents the path and circles are spaces. - The spaces are determined based on the movement axis and are used as a grid layout. EXPERIMENTS : PRIMARYGRID SECONDARY GRID TERTIARTY GRID LINE
SQUARE LAYOUT CIRCLE LAYOUT WAVE MOVEMENT
- All the spaces are different from each other in shape and experience. But the spaces are combined with other parameters like proportions. - Spaces extend from central important space.
FIG 8.22 Final gird layout which helps in generation of spaces
Graphic wave layout generated by circles 94
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FIG 8.23 Plan layout shows the chakras and the wave motion generated from the grid layout
FINDING THE MAJOR JUNCTIONS OR POINTS
GRAPHICAL WAVE GENERATED POINT AND CIRCLE
FINALISING THE GRAPHIC WAVE LAYOUT TO CREATE BUILDING FORM
FIG 8.24 Generation of final grid layout from which the spaces are formed
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FIG 9.1 Site Plan
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FIG 9.2 Master Plan
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FIG 9.2 Trishula block plans
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FIG 9.4 Sections of Trishula block
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FIG 9.5 Drawings of Alapadma block
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FIG 9.6 Drawings of Bramara block
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FIG 9.7 Drawings of Laangoola block
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FIG 9.8 Drawings of Soochi Paaka block
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FIG 9.9 Drawings of Mukula and park gazebo 104
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FIG 9.10 Park drawings and its details
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Bibliography and references 1 Creative arts in India - ficci ficci.in/spdocument/20820/Creative-arts-in-India_LR.PDF 2 Body and Space: Videos That Explore Cities and Architecture Through ...https://www.archdaily.com/.../body-and-space-videos-that-explore-citiesand-architect... 3 THE ROLE OF INDIAN CLASSICAL DANCE IN EDUCATION 4 Green school Bali and usage of bamboo https://www.greenschool.org/ 5
http://www.nrithyanjali.com/ Nrithyagram official website Kerala kalamandalam official website http://www.kalamandalam.org/
7 Sharma Springs / IBUKU https://www.archdaily.com/641170/sharmasprings8 The Green Village / IBUKU https://www.archdaily.com/296667/the-greenvillage-pt-bambu 9
Konkan bamboo and cane development center.
10 SQUARES AS A BASIC DESIGN EXERCISE -A CRITIQUE by Vijayalaxmi Jeyasingh 11 A blending of Traditional and Modern Technologies Through Science 12 Mysore Nanjangud Local Planning Area 13 JAWAHAR KALA KENDRA by Charles Correa Project by Rishabh Sharma 14 CYMATICS THE SCULPTURE OF VIBRATIONS by Dr. Hans Jenny Photos J. Christiaan Stuten Hans Peter Widme
15 Spirituality in Place: Building Connections Between Architecture, Design, and Spiritual Experience by Robert Birch1, Brian R. Sinclair
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