A PROJECT REPORT ON
“DESIGNING A SCHOOL OF PERFORMING ARTS USING THE PRINCIPLES OF ORGANIC ARCHITECTURE” Submitted in partial fulfillment of requirement of National Institute of Technology, Raipur (C.G) For The Degree of Bachelor of Architecture (2019-2020)
Under the guidance of PROF. SACHIN KUMAR SAHU Department of Architecture NIT, Raipur
Submitted By: LISHA KUNUI Roll No. 15122031 VIII Semester, B .Arch
Department of Architecture National Institute of Technology, Raipur (C.G)
DEDICATION
TO MY PARENTS For raising me to believe that anything is possible.
CERTIFICATE
This is to certify that LISHA KUNUI has been allotted the topic “DESIGN A SCHOOL OF PERFORMING ARTS USING THE PRINCIPLES OF ORGANIC ARCHITECTURE“ for her project as partial fulfillment of the Eighth Semester Examination for Bachelor of Architecture course of National Institute of Technology, Raipur.
This is further certified that she has completed her project work in one semester under my guidance and supervision.
PROF. SACHIN KUMAR SAHU
This thesis project has been accepted
External Examiner 1: . . . . . . . . . . . . . External Examiner 2: . . . . . . . . . . . . .
Head of Department Department of Architecture NIT Raipur
ACKNOWLEDGEMENTS
I have taken efforts in this project. However, it would not have been possible without the kind support and help of many individuals. I would like to extend my sincere thanks to all of them. I acknowledge my indebtedness towards Professor SACHIN KUMAR SAHU for his contributions in the implementation of this thesis. Without his help and counsel, always generously given, the completion of this project would have been immeasurably difficult. He has been a constant support and always put my confusions above all his works. I am also highly indebted to all the other faculties of the department for their guidance and constant as well as for providing necessary information regarding the subject. I would by no means overlook any opportunity to acknowledge the efforts of my family for always understanding the real core problem of the situation and trying to help me in any possible way they can. My deepest gratitude to my father for the kind of counsel he provided when I was in the greatest need of help. Last but not the least; I would like to thank my senior Palash Chandrakar Sir, and my juniors Nidhi, Avinash and Pragati for their unconditional support, love and dedication. They kept my work running smoothly through the toughest time. And my friends Aayush and Hitesh, who accompanied me in this journey, pushed me through my hard times and helped me sail through it. This thesis would not have been possible without them.
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Contents ABSTRACT............................................................................................................................................ 1 INTRODUCTION ...................................................................................................................... 2
1. 1.1.
PROJECT OVERVIEW ......................................................................................................... 2
1.2.
AIM ......................................................................................................................................... 2
1.3.
OBJECTIVE ........................................................................................................................... 2 THEME [ORGANIC ARCHITECTURE].................................................................................. 3
2. 2.1.
CONCEPT OF ORGANIC ARCHITECTURE ...................................................................... 3
2.2.
HISTORY OF ORGANIC ARCHITECTURE ....................................................................... 9
2.3.
PRINCIPLES OF ORGANIC ARCHITECTURE................................................................ 10
2.3.1.
ESSENCE OF ORGANIC ARCHITECTURE ............................................................. 12
2.3.2.
KEY POSITIONS OF ORGANIC ARCHITECTURE ................................................ 13
PRINCIPLES OF ORGANIC ARCHITECTURE................................................................ 13
2.4. 2.4.1.
WRIGHT, FRANK LLOYD
........................................ 13
FALLING WATER .............................................................................................................. 13
a. 2.4.2.
ANTONI GAUNDI........................................................................................................... 15 CASA MILA ......................................................................................................................... 15
a. 2.4.3.
SULLIVAN, LOUIS HENRY .......................................................................................... 16
2.4.4.
JONES, E. FAY ................................................................................................................ 17 WHY ORGANIC ARCHITECTURE? ................................................................................. 18
2.5.
TOPIC [SCHOOL OF PERFORMING ARTS] ....................................................................... 19
3. 3.1.
DANCE ................................................................................................................................. 20
3.1.1.
HISTORY AND TYPES OF DANCES ........................................................................... 20
3.1.2.
INDIAN CLASSICAL DANCE ....................................................................................... 21
3.1.3.
WESTERN DANCE ......................................................................................................... 21
3.1.3.1.
TAP ........................................................................................................................... 22
3.1.3.2.
BALLET ................................................................................................................... 22
3.1.3.3.
TUTTING ................................................................................................................. 23
3.1.3.4.
B-BOYING ............................................................................................................... 23
3.1.3.5.
CONTEMPORARY.................................................................................................. 24
3.1.3.6.
FREE STYLE ........................................................................................................... 24
3.1.3.7.
LATIN....................................................................................................................... 25
3.1.3.8.
SALSA ...................................................................................................................... 25
3.2.
DRAMA ................................................................................................................................ 26 iii | P a g e
HISTORY OF INDIAN DRAMA .................................................................................... 26
3.2.1.
3.2.1.1.
SANSKRIT THEATRE .......................................................................................... 27
3.2.1.2.
MODERN INDIAN DRAMA .................................................................................. 27
3.2.1.3.
MODERN URDU DRAMA OF INDIA AND PAKISTAN .................................... 28
METHODOLOGY ....................................................................................................................... 29
4.
LITERATURE STUDY............................................................................................................ 30
5. 5.1.
LITERATURE STUDY IN ORGANIC ARCHITECTURE ................................................ 30
5.1.1.
THE SHELL HOUSE –ARTECHNIC ARCHITECTS ................................................ 30
INFERENCES .............................................................................................................................. 35 5.1.2.
THE MOONLIGHT –AR.MAHESH NAIK ................................................................ 36
INFERENCES .............................................................................................................................. 43 5.2.
LITERATURE STUDY IN SCHOOL OF PERFORMING ARTS...................................... 44
KALA ACADEMY .......................................................................................................................... 44 CASE STUDY .......................................................................................................................... 48
6. 6.1.
CASE STUDY OF TRIVENI KALA SANGAM ................................................................. 48
6.2.
CASE STUDY OF NATIONAL SCHOOL OF DRAMA ................................................... 59
6.3.
CASE STUDY OF INDIRA KALA SANGEET VISWAVIDYALAY ............................... 66 COMPARATIVE ANALYSIS ................................................................................................. 73
7. 8.
SITE ANALYSIS ............................................................................................................................... 77
9.
QUESTIONARE: .............................................................................................................................. 79
9.1. 10.
PREPARATION FOR CASE STUDY ............................................................................................... 80 REFERENCES ........................................................................................................................ 106
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Table of Figures Figure 1: History of Architecture (nature) ........................................................................................... 10 Figure 2: Frank Lloyd Wright home and studio Oak Park ................................................................... 11 Figure 3: Sydney Opera House (Modernist Approach to Organic Design) ......................................... 12 Figure 4: Frank Lloyd Wright .............................................................................................................. 13 Figure 5: Frank Lloyd Wright .............................................................................................................. 13 Figure 6: The Falling Water ................................................................................................................. 14 Figure 7: Anton Gaundi ........................................................................................................................ 15 Figure 8: Casa Mila.............................................................................................................................. 16 Figure 9: Sullivan Louis Henry ............................................................................................................ 16 Figure 10: Jones, E. Fay....................................................................................................................... 17 Figure 11: Performing Arts .................................................................................................................. 20 Figure 12: Methodology ....................................................................................................................... 29 Figure 13: The Shell House .................................................................................................................. 30 Figure 14: The j -shaped profile of the 'shell house' ............................................................................ 31 Figure 15: The concrete structure creates a continuous line from building to courtyard .................... 31 Figure 16: A view of the serene forest which surrounds the home ....................................................... 31 Figure 17: The extruded conch shell form has windows on each end, providing panoramic views of the scenery which surrounds it ............................................................................................................. 32 Figure 18 Skylights allow natural light to flow the interior from above .............................................. 32 Figure 19: Sky light for day lighting ..................................................................................................... 32 Figure 20: Interior view........................................................................................................................ 33 Figure 21: Exterior view ........................................................................................................................ 33 Figure 22: Front facade........................................................................................................................ 33 Figure 23: Site Plan .............................................................................................................................. 34 Figure 24: Floor Plan ........................................................................................................................... 35 Figure 25: Building View (outside) ...................................................................................................... 36 Figure 26: The moonlight ..................................................................................................................... 36 Figure 27: Artificial waterfall at the moonlight ................................................................................... 37 Figure 28: Brickwork in moonlight ...................................................................................................... 38 Figure 29: Building overview ............................................................................................................... 38 Figure 30: Moonlight (residential house) .............................................................................................. 38 Figure 31: Interior View (bedroom) ..................................................................................................... 39 Figure 32: Pool Side ............................................................................................................................. 39 Figure 33: Site Plan .............................................................................................................................. 40 Figure 34: Plan ..................................................................................................................................... 40 Figure 35: Bedroom Interior ................................................................................................................ 41 v|Page
Figure 36: Plan ..................................................................................................................................... 41 Figure 37: Air circulation through openings ........................................................................................ 42 Figure 38: Opening............................................................................................................................... 42 Figure 39: Elevation ............................................................................................................................. 43 Figure 40: Shell roof ............................................................................................................................. 43 Figure 41: Kala Academy, Goa ............................................................................................................ 44 Figure 42: Section................................................................................................................................. 45 Figure 43: Ground Floor Plan ............................................................................................................. 46 Figure 44: Floor Plan ........................................................................................................................... 46 Figure 45: Plan ..................................................................................................................................... 47 Figure 46: Triveni Kala Sangam, New Delhi ....................................................................................... 48 Figure 47: Site Location ....................................................................................................................... 49 Figure 48: Site Analysis ........................................................................................................................ 50 Figure 49: Ground Floor Plan ............................................................................................................. 51 Figure 50: First and Second Floor Plan .............................................................................................. 54 Figure 51: Auditorium Plan.................................................................................................................. 55 Figure 52: Changing Room Level Plan ................................................................................................ 55 Figure 53: Sectional plan ..................................................................................................................... 56 Figure 54: Section (Phase 1) ................................................................................................................ 56 Figure 55: Section (Phase 2) .................................................................................................................. 56 Figure 56: Design Elements ................................................................................................................. 57 Figure 57: National School of Drama, New Delhi ............................................................................... 59 Figure 58: Location and Surrounding Vicinity ....................................................................................... 60 Figure 59: Site plan .............................................................................................................................. 61 Figure 60: User Movement ................................................................................................................... 62 Figure 61: Services ............................................................................................................................... 62 Figure 62: Costume Department Plan .................................................................................................. 63 Figure 63: Costume Department .......................................................................................................... 63 Figure 64: Sound and Photography Department.................................................................................. 64 Figure 65: Sound and Photography Department Photos ..................................................................... 64 Figure 66: Library ................................................................................................................................ 65 Figure 67: Indira Kala Sangeet Viswavidyalaya .................................................................................. 66 Figure 68: Outer Facade ...................................................................................................................... 66 Figure 69: Site Location ....................................................................................................................... 67 Figure 70: Campus 1 (Zoning) ............................................................................................................. 68 Figure 71: Campus 2 (Zoning) ............................................................................................................. 69 Figure 72 Site location .......................................................................................................................... 70 Figure 73: Department of Dance .......................................................................................................... 71 Figure 74: Dance Hall .......................................................................................................................... 72 Figure 75Site Location ........................................................................................................................... 77 Figure 76 Site Analysis........................................................................................................................... 78
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List of Tables Table 1: Types of Performing Arts ........................................................................................................ 19 Table 2: Standards ................................................................................................................................ 50 Table 3: Area Statement........................................................................................................................ 51 Table 4: Pros and Cons ........................................................................................................................ 58 Table 5: Pros and Cons ........................................................................................................................ 65 Table 6: Pros and Cons ........................................................................................................................ 72 Table 7: Comparative Analysis ............................................................................................................. 73 Table 8: Comparative Analysis ............................................................................................................. 74 Table 9: Comparative Analysis ............................................................................................................. 75 Table 10: Comparative Analysis ........................................................................................................... 76
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ABSTRACT ―Organic architecture is a philosophy of architecture which promotes harmony between human habitation and the natural world.‖ You may be familiar with the term 'organic' from the produce aisle of your grocery store. When it comes to architecture, however, 'organic' means something very different. Organic architecture refers to designing and building structures and spaces that are balanced with their natural surroundings and tailored to the function they serve for their inhabitants. Organically designed structures seem to meld with the landscape or rise from it as if the surrounding spaces gave birth to them. Integrating performing arts into educational experiences can help students learn other subjects, such as science, as well as help them develop various non-arts-based skills. As children grow, engaging them in performance arts can help them meet developmental milestones, including those for motor skills and psychosocial skills. For example, teachers can integrate performing arts and the discussion thereof into their classrooms to honor student self-expression. Bilingual youth can benefit from this type of arts integration because it offers them modes of communication that can respond more easily to their culture and language than text-based or test-based learning. Regardless of the language used, teachers have found that using performing arts in the classroom, such as improvisational drama, can help students process and prepare for non-arts-based life situations, including bullying. The main aim of the project is to Design A School of Performing Arts considering the main principles of Organic Architecture which will gradually help to lessen the gap between nature and architecture of the space. The space designed provides an interactive environment and platform to the students. The school will also serve the requirement of art gallery auditorium of the area which will help in promotion and learning of the art form in complying organic architecture refers to designing and building structures and spaces that are balanced with their natural surroundings and tailored to the function they serve for their inhabitants. Organically designed structures seem to meld with the landscape or rise from it as if the surrounding spaces gave birth to them.
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1. INTRODUCTION Education in the performing arts is a key part of many primary and secondary education curricula and is also available as a specialization at the tertiary level. The performing arts, which include, but are not limited to dance, music and theatre, are key elements of culture and engage participants at a number of levels. The end point for performing arts education varies: some educators integrate arts into school classrooms to support other curricula while simultaneously building students' art skills, and some focus on performing arts as an academic discipline in itself. ―Organic architecture strives to unify space, to blend interiors and exteriors, and create a harmonic built environment not separate or dominant from nature but as a unified whole.‖[F.L.WRIGHT] Organic architecture. Term used in so many ways it is virtually meaningless. Organic suggests organization formed as if by some natural process, so organic architecture may mean governed in its evolution by natural factors rather than by an imposed predetermined plan. F. L. Wright, taking his cue from Sullivan, who insisted form and function should be one, suggested that the relationship of parts to the whole, and the special relationship of parts, whole, and site, whereby a sense of natural growth was given, constituted organic architecture.
1.1.
PROJECT OVERVIEW
The underlying sections deals with each facet of this project in details. Firstly, the basic of ORGANIC ARCHITECTURE. Then principles and applications techniques have been mined, supported by literature study and case study. Conclusions were developed. Then an intensive study of school of performing arts were carried out, its requirements fueled by literature and case studies. Then site and climate analysis of the main site is studied with the purpose of studying the site topography, existing features, site accesses so that site zoning can be done. The form evolution of building zoning was executed taking proper measures with respect to the user movement, climatology and functions and services. The conclusions derived were applied in the design without hampering its function.
1.2.
AIM
To design a SCHOOL OF PERFORMING ARTS using the principle of ORGANIC ARCHITECTURE as theme.
1.3.
OBJECTIVE
a) To lessen the gap between nature and architecture of the space. b) To design spaces which will provide an interactive environment and platform to students c) To develop a performing arts school providing the required areas and infrastructure to be able to display and promote and learn the art form.
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2. THEME [ORGANIC ARCHITECTURE] ORGANIC ARCHITECTURE: Organic Architecture is not a style of imitation, but rather, a reinterpretation of Nature's principles to build forms more natural than nature itself. Wright used this to describe his philosophy of architecture as an extension of the teachings of his mentor, Louis Sullivan. He also changed the phrase ‗form follows function‘ to ‗form and function are one‘ claiming Nature as the ultimate model. As born and inspired from Nature, Organic Architecture involves a certain respect for natural materials, for instance, wood must look like wood; structures should blend into their surroundings, meaning a house should be of the hill and not on it. Moreover, according to this concept, an honest portrayal of the function of a building is a must, which means a bank should look like a bank, not like a Greek temple. Just like Nature grows every minute of every hour of every day, 365 days a year, Organic Architecture emphasizes on the growth of every design, from the inside out. Considering a seed, that grows from the inside and reaches out to its surroundings, a building should also mirror the beauty and complexity of Nature, which is unlike what most architects have been doing today, designing their buildings as a shell and forcing their way inside. Speaking of Organic Architecture, there are a few principles that its followers swear by: a. Good design understands that for anything to be truly and purely beautiful, it should possess SIMPLICITY and REPOSE, and not fall prey to changing trends and fashion. b. It must maintain its own course and the arrangement of the design should be such that taking away even one miniscule part would destroy the whole entity. c. Good design should respond to every UNIQUE circumstance. Having said this, it creates the probability of having as many design forms as there are individuals. d. A building should GROW from the inside out just as Nature grows, surrounded by the forces that surround it. e. The nature of the MATERIALS should be expressed as inherent to their quality, throughout the building. A certain amount of INTEGRITY and HONESTY is required from our buildings, as we do from people. Currently rating a little low on this ground, false or fake materials and techniques are only carrying us towards false architecture and hollow creativity.
2.1.
CONCEPT OF ORGANIC ARCHITECTURE 1. ORGANIC ARCHITECTURE 1INTRODUCTION Organic architecture is a Philosophy of architecture which promotes harmony between human habitation and the natural world through design approaches so sympathetic and well integrated with its site, that buildings, furnishings, and surroundings become part of a unified, interrelated composition. Organic architecture is more of a way of living than a tangible thing. It involves respecting the properties of surrounding natural materials, understanding the function of the building, and making them work together with the building site in a harmonious way. One famous example is of Wright rejecting the idea of making a bank look like a Greek temple. 2. ORGANIC ARCHITECTURE 2 Frank lloyd wright incorporated the term "organic" into his architectural philosophy in about 1908. Although the word ‗organic‘ in common usage refers to something which has the characteristics of animals or plants, frank lloyd wright‘s organic architecture takes on a new meaning. It is not a style of imitation, 3|Page
because he did not claim to be building forms which were representative of nature. Instead, organic architecture is a reinterpretation of nature‘s principles as they had been filtered through the intelligent minds of men and women who could then build forms which are more natural than nature itself. ORGANIC ARCHITECTURE ; a. Promotes harmony between man-made structure and the nature b. It is achieved by integrating the buildings and surroundings. c. Main objective is to cause no harm to the nature through our design d. Every structure is unique & unrepeatable. e. Organic architecture began its great modern journey in U.S.A f. Inspired by the proverb ―Form follows function‖ - Architect Louis Sullivan g. Outward appearances resemble inner purposes― h. Organic architecture not only addresses environmental concerns but also expresses individuality INTRODUCTION 3. ORGANIC ARCHITECTURE 3ORIGINS OF ORGANIC ARCHITECTURE • Organic architecture emerged in different countries at the beginning of the 20th century. The externalization of form in the neo-styles fired many architects of that period to create a new style of architecture. • The concept of organic architecture was born from different styles such as art Nouveau, Functionalism, and Constructivism. The pioneers of this direction drew inspiration from principles derived from living nature. Antoni Gaudí (1852-1926) was one of the first architects to express himself in sculptural form. These forms were often based on the forces at play in the construction. During the last phase of his life he developed a natural geometry of double curved surfaces that he applied in the church of the Sagrada Familia. Louis Sullivan (1856-1924) He was one of the first to introduce the concept of ‗organic architecture‘. After closely studying nature, he concluded that form always follows function and made this principle the guideline for his architectural designs. Moreover, he brought his geometrical building masses to life by means of a rich, organic ornamentation Rudolf Steiner (1861-1925) Introduced in architecture the principle of ‗metamorphosis‘ that he Derived from Goethe. This enabled him to express development Processes that are inherent to nature, culture and the human consciousness. By contemplating these forms an awareness for interrelations and the ability to think in processes can be developed Frank Lloyd Wright (1869-1959) Broadened both the content and the language of organic architecture in many directions. He expanded the concept ‗organic‘ to denote the relation between the building and its environment, the continuity of internal and external space and the use of building materials in accordance with their own nature. 4. ORGANIC ARCHITECTURE 4 CHARACTERSTIC FEATURES a. Simplicity -Organic architecture is simple because its scheme and design are clear. b. Nature-The creative possibilities of form, color, pattern, texture, proportion and rhythm are all demonstrated in nature. Organic architecture does not imitate nature but is concerned with natural materials, the site, and the people who will occupy the buildings. c. Building and Site-The two have a very special relationship in organic architecture. The building grows out of the landscape as naturally as any plant; its relationship to the site is so unique that it would be out of place elsewhere. d. Proportion and Scale- The human body should be the measure of a building and its furnishings. Ornament- These are an integral part of the building: they are not added on, stuck in or unduly exposed. Sculpture and painting have to become elements of the total design. As much furniture as possible should be built-in. Shelter- A building should convey a sense of protection against the elements. Its inhabitants should never lack privacy or feel exposed and unprotected. Tranquility- Space- Quiet, serene, tranquil space is a fitting environment for 4|Page
human growth. It is achieved by simple architectural masses that reflect the uncluttered spaces within. Mechanical Systems and Furnishings- These are used simply in a way that enhances their innate character and optimizes their individual color, texture, and strength Uses of curves as signature: To differentiate organic architecture from the other branches of architecture that also plays on the interpretation of nature. 5. ORGANIC ARCHITECTURE 5 Technology integration: technical system is required to connect human need and natural capability. Local craft and human resources: needs professional on particular place. Design process and integration: It must have inception of project via owner, community, city planner… cultural and historic connection: making sense of place by creating connection between the people and environment. Although these are not all of the principles of organic architecture, they outline the general philosophy. Organic design aims to include them, but not even Frank Lloyd Wright achieved them totally in each of his buildings. As Wright himself wrote, ―The complete goal of the ideal of organic architecture is never reached. Nor need be. What worthwhile ideal is ever reached? CHARACTERSTIC FEATURES Materials-Not all organic architecture has it, but when used, it is developed as an integral part of the material, not applied. Examples are patterns cast in concrete or carved in stone, leaded glass panels, and tile or glass mosaics. Inter linkage of exterior and interior spaces- we don‘t see ourselves in a totally different and new environment when we step into an organic building because of the linkage with the exterior. 6. ORGANIC ARCHITECTURE 6FRANK LLOYD WRIGHT (1869-1959) • Frank Lloyd Wright was an American architect, interior designer, writer, educator, and philosopher. • , Wright was recognized in 1991 by the American Institute of Architects as ―the greatest American architect of all time‖ • He was born in Richland Center, Wisconsin, on June 8, 1867, and died in Phoenix, Arizona, on April 9, 1959, at the age of 91 . When he was nine, his mother gave him a set of Froebel blocks, a children's learning toy. Through the blocks, Wright learned to use geometry to create flat designs on paper and to build designs with blocks. As he got older, he started to see geometric shapes in everything around him. 7. ORGANIC ARCHITECTURE 7 He started his formal education in 1885 at the University of Wisconsin School for Engineering. In 1887 he stopped his education without taking a degree and moved to Chicago, where he was consecutively a part of two architectural firms. In 1893 he started his own architectural practice. Wright designed more than 1,000 projects, which resulted in more than 500 completed works. Wright's "organic architecture― was a radical departure from the traditional architecture of his day, which was dominated by European styles that dated back hundreds of years or even millennia. While most of his designs were single-family homes, his varied output also includes houses of worship, skyscrapers, resorts, museums, government offices, gas stations, bridges, and other masterpieces showing the diversity of Frank Lloyd Wright's talent. Notice Wright‘s design, its different from the building to the right which is built approximately the same time as wright‘s bank FRANK LLOYD WRIGHT (1869-1959) 8. ORGANIC ARCHITECTURE 8BASIC PRINCIPLES OF WRIGHTS DESIGN Besides the common principles used by many Architects, Wright had his own signature principles that made him unique from other architects who practice organic architecture. These are : -Organic Colors -Simple Geometric Shapes -Integration of Building with Natural Surroundings -Strong Horizontal Lines -Hidden Entries 9. ORGANIC ARCHITECTURE 9 which of these basic principles do you see in the Arthur Hartley House in Oak Park, Illinois built in 1902? Organic Colors? Simple Geometric 5|Page
Shapes? Integration with Natural Surroundings? Hidden Entry Way? Strong Horizontal Lines? BASIC PRINCIPLES OF WRIGHTS DESIGN 10. ORGANIC ARCHITECTURE 10 TALISIEN HOUSE. Spring green Wisconsin and Scottsdale Arizona TALISIEN HOUSE. Spring green Wisconsin TALISIEN HOUSE Scottsdale Arizona 11. ORGANIC ARCHITECTURE 11 TALISIEN HOUSE. Spring green Frank Lloyd Wright and his wife started the Taliesin Fellowship. Taliesin was Wright's home and school from 1937 until his death in 1959 at the age of 91. Twenty-three apprentices came to live and work on wright‘s farm in Spring Green .They learned drafting, construction methods, and other crafts, as well as overseeing the construction of Wright‘s projects. Each Fall after harvest ,the apprentices would then load up trucks and station wagons with food, drawings, and other necessities and caravan across the plains to Scottsdale arizona, the site of Taliesin West 12. ORGANIC ARCHITECTURE 12 TALISIEN HOUSE Scottsdale Arizona Taliesin west was built in Frank's formulated style of prairie style. During the construction of Taliesin West, the house and studio were merely a series of ―sleeping boxes‖ that were clustered around a central terrace for Wright and his apprentices Wright felt very strongly about the connection to the desert. F.L.W said, ―Arizona needs its own architecture‖. That is why he used Surface patterned after such abstraction in the patterns of rattlesnake, Gila monster, and Chameleon. The structure's walls are made of local desert rocks, stacked within wood forms, filled with concrete. The rich red hue from the redwood timber roof along with the earthy, sandy hues from the concrete and the stone façade creates a close natural relationship between the house and landscape 13. ORGANIC ARCHITECTURE 12 TALISIEN HOUSE Scottsdale Arizona Taliesin west was built in Frank's formulated style of prairie style. During the construction of Taliesin West, the house and studio were merely a series of ―sleeping boxes‖ that were clustered around a central terrace for Wright and his apprentices Wright felt very strongly about the connection to the desert. F.L.W said, ―Arizona needs its own architecture‖. That is why he used Surface patterned after such abstraction in the patterns of rattlesnake, Gila monster, and Chameleon. The structure's walls are made of local desert rocks, stacked within wood forms, filled with concrete. The rich red hue from the redwood timber roof along with the earthy, sandy hues from the concrete and the stone façade creates a close natural relationship between the house and landscape 14. ORGANIC ARCHITECTURE 13PRAIRIE HOUSES Prairie is a treeless grass-covered plain found in the United States and Canada, ->Observing these plains Frank formulated the prairie style which is characterized by : i. strong horizontal lines ii. large windows iii. Took into account the surrounding geography iv. Open plan rooms • But unlike the usonian houses which are cheap and affordable the prairie houses are built for the wealthy. These houses are built mainly with brick and concrete. But when it comes to usonian houses their primary building material is wood which is easy to build with and cheap in the USA. But this doesn‘t mean that brick is not also used in usonian houses. Typically, this houses consisted of broad open spaces instead of strictly defined rooms, and deliberately blurred the distinction between interior space and the surrounding terrain. Wright acclaimed "the new reality that is space instead of matter" and, about architectural interiors, said that the "reality of a building is not the container but the space within." 6|Page
15. ORGANIC ARCHITECTURE 14USONIAN HOUSES In 1936, when the united states was in the depth of an economic depression, F.L.Wright developed a series of homes he called usonian. Usonian refers to houses of the USA, because previously built houses were based on neoclassic style of Greek Architecture and FL wright aimed to completely change this style into a brand new American architecture which has no connections with the past. Usonian house project was started in the same year his falling water landed him on the cover of Time, magazine. These designs reflected his desire to craft a uniquely American style, as well as his interest in creating well- designed homes that an average American could afford. The client for wrights usonian houses were distinctly middle class in contrast to clients of prairie houses which were very wealthy. And even though usonian architecture grew out of wright‘s earlier praire style, they are cost controlled so as to achieve affordability. 16. ORGANIC ARCHITECTURE 15 - No formal living area( no distinction or closed wall) Radiant heating system( with pipes full of hot steam running through the foundation to heat up the house from the ground up) - Materials like brick and wood were left unpainted - Open floor plan - Incorporation of the living area with the kitchen - A strong visual Connection between the indoor and the outdoor - Strong horizontal lines - No garage no basement and no attic - Natural lighting with celestory windows - No or little ornamentation - Low roofs CHARACTERISTICS OF USONIAN HOUSES 17. ORGANIC ARCHITECTURE 16 BROADACRE CITY Broadacre city was an urban development concept proposed by fl. Wright throughout most of his lifetime. He presented 18. ORGANIC ARCHITECTURE 17 PICTURES OF BROADACRE CITY the idea in his book The disappearing city in 1932. A few years later he unveiled a very detailed 3.7m by 3,7m scale model representing a hypothetical 10km2 community. The model was crafted by the students of Taliesin Most of the building models in the concept were completely new designs while others were refinement of old ones. In the plan ach family is given one acre (4000m2) plot which they can have private gardens and swimming pools, There is a train station and a few office and apartment buildings. But the apartment dwellers are expected to be a small minority All important transportation is done by automobiles, although there are boat 19. ORGANIC ARCHITECTURE 18TYPICAL EXAMPLES THE SOLOMON R. GUGGENHEIM MUSEUM The Solomon R. Guggenheim Museum was one of Wright‘s most noticeable creation, Guggenheim museum has its origins in the Taliesin west where he perfected his design for, 16 years (1943–1959). In return Guggenheim Museum is considered as Wright‘s masterpiece followed next to Falling water. The building rises as a warm big spiral. Its interior is similar to the inside of a seashell. Its unique central geometry was meant to allow visitors to easily experience Guggenheim's collection of nonobjective geometric paintings by taking an elevator to the top level and then viewing artworks by walking down the slowly descending, central spiral ramp. Unfortunately, when the museum was completed, a number of important details of Wright's design were ignored, including his desire for the interior to be painted off-white. Furthermore, the Museum currently designs exhibits to be viewed by walking up the curved walkway rather than walking down from the top level 20. ORGANIC ARCHITECTURE 19TYPICAL EXAMPLES. Robie House (1908-1910) Robie house was influenced by the flat, expansive prairie landscape of the American Midwest. Therefore being built in Wright‘s formulated prairie style. The Robie House creates a clever arrangement of public and private spaces. The client insisted on the idea of "seeing his neighbors without being seen" F.L.W Wright approached this request with an enormous cantilever over the porch Every rooms in the house are defined while still 7|Page
flowing into one another unlike usonian houses which are not well defined(no defined living room) Windows used were ―light screens‖ which were composed of pieces of clear and colored glass, usually with representations of nature windows were also stretched on French doors along the entire south wall on the main level, opening up to a balcony. 21. ORGANIC ARCHITECTURE 20TYPICAL EXAMPLES FALLINGWATER(19361938); case study ►Falling water, is a house designed by Frank Lloyd Wright in 1935 in rural southwestern Pennsylvania ► it was built as a weekend home for owners Mr. Edgar Kaufmann & his family. ► Wright‘s admiration for Japanese architecture was important in his inspiration for this house, just like in Japanese architecture, Wright wanted to create harmony between man and nature. ► The house was meant to compliment its site while still competing with the drama of the falls and their endless sounds of crashing water. 22. ORGANIC ARCHITECTURE 21 FALLING WATER (1936-1938); case study TYPICAL EXAMPLES BUILDING FALLING WATER! Unlike the Guggenheim Museum which took 16 years of designing. Designing falling water took only a few hours! It wasn't until September of 1935 that Wright produced any drawings when suddenly he was overwhelmed by a surprise Visit from Edgar Kaufmann, on business trip nearby. Kaufmann called Wright and told him he would be at Taliesin in a few hours to see the plans for the new country house. Wright had nothing on paper. Summoning the help of apprentices Bob Mosher and Edgar Tafel, Wright sat down at the drawing table and produced several preliminary sketches for the house, surprisingly it was complete almost exactly When Kaufmann arrived, Wright greeted him saying ―We‘ve been expecting you." And thus began the design and creation of Falling water. 23. ORGANIC ARCHITECTURE 22TYPICAL EXAMPLES FALLINGWATER(19361938); case study Wright had recognized the attraction the waterfall had for his clients, and wanted them "to live with the waterfall, not just to look at it,. The Kaufmanns were unprepared for Wright's placing the house directly above the waterfall, instead of facing it, but readily accepted the architect's designs almost without change. Finally the main house was constructed from 1936-38, followed by the guest house construction in 1939 The original house contains simple rooms furnished by Wright himself, with an open living room and compact kitchen on the first floor, and three small bedrooms located on the second floor. The third floor was the location of the study and bedroom of Edgar Jr., the Kaufmann‘s son. 24. ORGANIC ARCHITECTURE 23TYPICAL EXAMPLES FALLINGWATER(19361938); case study Interpretation of F.L.W idea of integrating falling water with the nature i. The rooms all relate towards the house‘s natural surroundings and the living room even has steps that lead directly into the water below. ii. The circulation through the house consists of dark, narrow passageways, intended this way so that people experience a feeling of compression when compared to that of expansion the closer they get to the outdoors. iii. The ceilings of the rooms are low reaching only up to 6‘4″ in some places, in order to direct the eye horizontally to look outside. INTERESTING FACTS ABOUT FALLING WATER iv. Final cost: $155,000 (Included $8,000 architect‘s fees) v. Square footage: The main house uses 5,330 square feet while the guest house uses 1,700 square feet. vi. Paint Colors. Only two colors were used throughout: light ochre (yellowish orange color) for the concrete and his signature Cherokee red 8|Page
for the steel. Special paints were used to withstand environmental challenges. vii. Visitation: 4.5 million people since the door opened in 1964, viii. Falling water is the only major Wright-designed house to open to the public with its Furnishings , artwork, and setting intact( untouched) ix. Falling water was featured on the cover of Time Magazine, January 1938 25. ORGANIC ARCHITECTURE 24TYPICAL EXAMPLES HERE ARE A FEW MORE DESIGNES BY F.L.WRIGHT The Johnson Wax building Unity Temple ―Bread and Butter‖ houses 26. ORGANIC ARCHITECTURE 25THE TRSNSFROMATION OF ORGANIC ARCHITECTURE Organic architecture seemed to have expired at the end of the twenties. Several of its leading pioneers such as Sullivan, Steiner and Gaudi died and in Europe the impending Second World War caused a general decline in building. In the 15th and 16th century however, organic architecture underwent a surprising revival brought about by pioneers of the modern movement. They transformed its initially rigid geometrical character into a more lively, organic direction Notre-Dame-du-Haut Le Corbusier Ron champ, France, 1950- 1955 TWATerminal,JohnF.Kennedy Airport EeroSaarinen NewYork,USA,1956-1962 SydneyOperaHouse JørnUtzon Sydney,Australia,1957-1973 Philharmonic Hans Scharoun Berlin, Germany, 1956- 1963 Finlandiahall Alvar Aalto Helsinki, Finland, 1962- 1975 Sekem Kinder garden PortusBau Egypt, 1986 INGBank Alberts&VanHuut Amsterdam,theNetherlands, 1979-1987 ORGANIC ARCHITECTURE WORLDWIDE
2.2.
HISTORY OF ORGANIC ARCHITECTURE
Organic architecture has a long and celebrated history, from Ancient Greece to Art Nouveau. Organic architecture is rooted in a passion for life, nature, and natural forms, and is full of the vitality of the natural world with its free-flowing curves and expressive forms are sympathetic to the human body, mind, and spirit. In a well-designed "organic" building, we feel better and freer. Frank Lloyd Wright introduced the word 'organic' into his philosophy of architecture as early as 1908. It was an extension of the teachings of his mentor Louis Sullivan whose slogan "form follows function" became the mantra of modern architecture. Wright changed this phrase to "form and function are one," using nature as the best example of this integration. Although the word 'organic' in common usage refers to something that has the characteristics of animals or plants, Frank Lloyd Wright's organic architecture takes on a new meaning. It is not a style of imitation, because he did not claim to be building forms that were representative of nature. Instead, organic architecture is a reinterpretation of nature's principles as they had been filtered through the intelligent minds of men and women who could then build forms that are more natural than nature itself. Organic architecture involves a respect for the properties of the materials-you don't twist steel into a flower-and a respect for the harmonious relationship between the form/design and the function of the building (for example, Wright rejected the idea of making a bank look like a Greek temple). Organic
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architecture is also an attempt to integrate the spaces into a coherent whole: a marriage between the site and the structure and a union between the context and the structure.
Figure 1: History of Architecture (nature)
2.3.
PRINCIPLES OF ORGANIC ARCHITECTURE
The term ‗organic architecture‘ was first coined by renowned American architect Frank Lloyd Wright, who described his naturally integrated approach as a new architectural paradigm. Wright was a keen observer of the natural world, so he found inspiration in the styles and processes related to nature in order to build a thriving yet sustainable ecosystem.Wright was born in simple rural Wisconsin and spent his teenage years working on his uncle‘s farm, which fascinated him with its natural vibrancy— varied domesticated crops, untouched wooded areas and the open spaces of a river valley of Wisconsin. It was here that Wright discovered what he later coined ―organic architecture.
Wright's principles of organic architecture are as follows:
Shelter: Buildings must serve to protect their inhabitants' safety and privacy. Space: The interior of a building is as much a part of its decor and aesthetic as the furnishings. Spaces should flow naturally from one area to the next without formidable separation, yet no room or space should be completely visible from any angle. The use of alcoves and other elements will create a constant sense of discovery as one moves through the space. Nature: Inspiration should be drawn from the natural surroundings, not in imitation of them, but as guides to selecting materials, textures, and colors. 10 | P a g e
Peacefulness: The design should avoid jarring contrasts with the landscape while providing inhabitants with a sense of openness free of clutter and offering a sense of tranquility. Language: Wright saw the patterns and forms of a building's designs as elements of grammar in the building's language. When put together the design speaks, but each construction much have its own unique voice. Ornamentation: If ornamentation is to be used on a building, it must not appear as if it was a decorative afterthought. Rather, it must be an integral part of the structure, seamlessly joining with the overall form. Simplicity: Designs must be clear with a uniform scheme. Mechanical components and furniture: Whenever possible, furniture should be a built-in part of the space in order to integrate the unity of design. Mechanical components, like light fixtures, appliances, furnaces, and plumbing should be considered as part of the space itself, not overly obvious, but not a disjoint or hidden aspect.
Figure 2: Frank Lloyd Wright home and studio Oak Park
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2.3.1.
ESSENCE OF ORGANIC ARCHITECTURE
a) Organic architecture is often seen as a translation of Wright‘s ―all-inclusive‖ idea of organic design. Materials, structures, motifs, and ordering principles, in general, tend to repeat themselves throughout the building, making them more holistic and intentional. b) The idea of organic architecture is concerned not only with the building‘s literal relationship to nature, but also how the design of the building is implemented to foster unification of the building with nature as a ―unified organism‖. c) Organic architecture is reflected in every element of the building—from windows to doors and even floors and furniture. Every component seems to relate to one another, reflecting nature‘s symbiotic ordering. By blending interiors and exteriors and maintaining a harmonic ambience, organic architecture strives for the unification of the human habitat with nature.
Figure 3: Sydney Opera House (Modernist Approach to Organic Design)
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2.3.2.
KEY POSITIONS OF ORGANIC ARCHITECTURE
In his seminal book, ―The Cause of Architecture‖, published in 1908, Wright highlighted a few important elements of organicity: a. Simplicity and repose are important qualities to assess the value of architecture. Thus, there is a need to simplify the design of structure, limiting the number of distinct rooms by instead rethinking them as open spaces. b. Doors, windows, and furniture should blend with the ornamentation of the structure. c. A building should appear to grow indigenously from its site and the structure should appear as if created by nature itself. d. The color of fields and woods should inspire the main coloring of the building to manifest natural aesthetics
2.4.
PRINCIPLES OF ORGANIC ARCHITECTURE
2.4.1. WRIGHT, FRANK LLOYD Wright defines architecture in an organic architecture as ―that great living creative spirit living creative which form generation to generation, from age to age, proceeds, persists, and creates according to the nature of man and his circumstances as they change‖. He was strongly influenced by Louis Sullivan‘s ideas about Architecture. Sullivan found inspiration ―In nature, in form growing and shifting and intertwining displaying the great principle of continuity ―.It is principle of Figure 5: Frank Lloyd Wright Figure 4-Frank Lloyd Wright continuity that Wright was to base his architecture upon. In The Natural House Wright stated that ―organic simplicity might everywhere be seen producing significant character in the ruthless but harmonious order in nature ―and also that is a need for hunger for reality, for sincerity, for a simplicity that would yield a broader.
a. FALLING WATER
Wright made this building for millionaire, Edgar J. Kaufman. The house was placed on top of a waterfall in the deep ravine. The purpose of this space was to be a country retreat/weekend getaway. Just like most of Wright‘s pieces, he used the integration of nature. This building uses concrete and stone for its structure. It has geometrical forms and an imagination of abstraction. Many windows were used in the Falling water building; it enhanced vertical and horizontal shapes within the building.
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The planning of the falling water was minimal with use of long windows which made maximum use of natural light as well as allowed the exterior to unify with the interior. Material and colour compositionThe color palate and material composition was such that it would be in harmony with surrounding foliage and topography. Most of the materials used were locally available or found around the site.
Figure 6: The Falling Water
Observations Building should be an integral part of landscape. 1. Geometry is an important synthesizer in integrating nature with the built-environment. 2. The form and the function are one. 3. A Design evolves from its site. It is not a preconceived thing.
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2.4.2. ANTONI GAUNDI Gaundi created a unique organic architecture profoundly different from wrights. He adopted Ruskin‘s idea that ornament is the origin of architecture and recognized gothic as a truly acceptable for architecture. The gothic form for Gaudi at same time functional and aesthetic, and he discovered how to adapt the language nature to structural forms of architecture. Gaudi was inspired by the organic shapes of nature. He found abundant examples of these instance in rushes, reeds and bones. Unlike wright, Gaudi did not integrate buildings natural surroundings by connecting it with interior; instead, he explored the static forces of nature and used its principles in the structure of the building. He established a sensitive relationship with nature and translated it into a highly original and often zoomorphic ornament that features prehistoric, extinct species Figure 7: Anton Gaundi of gigantic monster, dragons and dinosaurs, as well as trees and plants. He blended all of the above into a unique style of organic architecture.
a. CASA MILA Casa Mila also known as ‗La Pedrera‘, with this building Gaundi is going towards the maximum application of his ideal of architectural work as plastic organism. It looks like an enormous block of melting in which all the defaults are swellings all over the façade. It was supposed to be a building to Virgin of Rosario so it should have brought the city eye up to the sky. This enormous organism, with a concave and convex shape line remains an extraordinary work that shows how Gaudi could foresee elements that in future will be easy to build with new constructive technologies. Without the use of reinforced concrete, he will at able to build this wavy building only using bricks and employing the laws of hyperbole and parabolic as he did in Parc Guell and in the Sagrada Familia. It is important to remind at this point that Gaudi is not only an architect but also a remarkable engeenering took as starting point to create all of his buildings the notion of the inverted chain arch which it says that a chain sustained in the two extreme points is forming an arch that if turned upside down will create a perfect arch able to stand without and kind of banisters. The most important element of this building is the uninterrupted balconies that run all over the façade, characterized by some phitomorphic iron made banisters .interesting of course is the interior organization of the space, which is completely free and without any form of angle. But the most suggestive place is the rooftop populated by some imagery ghosts which are the chimney, with luxurious colours, planted on wavy surface, all of this creating a nightmare, foreseeing all the wars that are going to come and also the expressionist movement. The ornamentation of the buildings are inspired by nature, monster, trees and other super naturel elements, etc. The structures made by Gaudi were also inspired by nature and were structurally stable and at the same time visually functioned as an organic element.
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Figure 8: Casa Mila
2.4.3. SULLIVAN, LOUIS HENRY ―Form ever follows function and this is the law,‖ this is most notable statement from any of Sullivan‘s work and perhaps in all of architecture form and function are not two distinct entities. They are one and inseparable. The form cannot take shape without the function and the function cannot realize without the form. Sullivan‘s actual work embodies the attributes of organic Architecture in the following ways (paraphrased from Architecture as nature) 1.By evoking a form - such as the vertical shafts of one of his buildings evoking the form of tree standing tall or, Sullivan wrote about from his Figure 9: Sullivan Louis Henry childhood, the supports of a suspension bridge Louis Henry reflecting the form surrounding arms of his father.
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2. By being emblematic - such as stylized star or the simple cubic tomb, Much of Sullivan‘s work is abstract. 3. By representation - such as the architectural representation of anthropomorphic rhythm of muscular movement seen in the panels of the Wainwright building representing structural stresses. 4. By acting as a reminder for that which is natural - such as in the vast array of colors that he incorporates into his ornamental work which remind the viewer of the color of nature. Sullivan stated, ―Such symbolism would not only make buildings a counterpart of nature but would also evoke in man the sense of his own dignity as a work of nature.‖
2.4.4. JONES, E. FAY The work of Fay Jones has been described as having ―emotive spatial drama with sensitive siting, solicitous scale, superb detailing and reverential handling of materials." An excerpt defining organic architecture from an interview with E. Fay Jones, the November / December, 1989 issue of Inland Architect ―Organic architecture involves a process by which you‘re carefully establishing a close grained relationship between all of the physical element, sensory effects, practical impact, and emotional nuances of a design. You want to be able to feel the relationship in all of its manifestation.‖
Figure 10: Jones, E. Fay
It is not a matter of these details sticking out, as if to say they are ‗related‘ to some whole. You want each element to have integrity, quality, utility, and interesting, but you must take care that is really is an emergent thing, not a distracting thing, and that is confides deeper, most stable kind of reference. Pertly wher thorn crown chapel would be located - originally as a space for his retirement cabin. But, after seeing tourists stop along the highway to view the beauty of the area, his vision changed. He imagined a non-denominational chapel, a spiritual place -- one that Jones would later describe as a "place to think your best thoughts." Perhaps its simplicity is what draws over 2000 daily visitors –it is architecture that everyone, not just architects, can understand and appreciate. With over 425 glass windows and a repeated column and truss structure, the vertical chapel is like a "forest within a forest," reaching 48 feet high, 60 feet long and a mere 24 feet wide. A central skylight allows generous portions of light to spill through onto those below. Custom lanterns adorn each column and at night reflect off the glass – as if they were lit somewhere off in the forest. For Jones, the process of construction was just as important as the final object. His practice was unique in that he employed not only young architects, but craftsmen, such as stonemasons and carpenters, whose influence is evident in the Chapel. Every truss was made of local pine – ―no larger than what two men could carry through the woods.‖ 2x4‘s, 2x6‘s and 2x12‘s were assembled on site and 17 | P a g e
Subsequently erected, leaving minimal site impact. In fact, the only visible steel in the project is the diamond-shaped patterns centered in each truss. Observation 1. The whole is to the parts the part is to the whole. 2. Each element of an architectural composition must have integrity yet not call too much attention to it. 3. Synthesis of physical, sensory, practical, and emotive elements creates architecture of integrity.
2.5.
WHY ORGANIC ARCHITECTURE?
The elemental ideation of organic architecture is to respect the properties of surrounding natural resources and materials, and thus plan a environment-friendly built tangible structures. Here are few of the signature objectives of Frank Lloyd Wright which made him stand out from other architects:
One of the main objectives is to not cause harm to the nature with the building design.
To build harmonious human habitation with the integration of nature‘s ambience.
Design approach of every structure should be unique.
Usage of organic colors and simple geometric shapes.
Any building structure which follows organic architecture should grow naturally out of the landscape usually as the plants do…
It would be a great deal if the Organic Architects Companies practice the above said objectives to enhance the intrinsic beauty of the concrete structures!
Adopting the principles of Organic Architecture in architectural design is surely needed to help preserve the nature, and thus the globe.
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3. TOPIC [SCHOOL OF PERFORMING ARTS] The Performing Arts play a hugely significant role in helping children to develop their creative skills. Educational theorists are increasingly emphasizing the importance of ―emotional intelligence‖, developing a creative mind and fostering personalities and imaginations as children make their journey through school, to become happy and well-rounded individuals. While Performing Arts allow children to develop creative passions, they simultaneously teach children language and communication skills, helping them to communicate effectively with others with confidence. Performing Arts are all about self-expression, exploring alternative options and embracing individuality. It‘s not black and white or about right or wrong answers, and this allows children to develop self-confidence and belief in them. With improved self-confidence and self-belief, comes a natural pathway for children to go on to master many more skills that will equip them for life. Children learn to trust others and build relationships as they learn to share their thoughts and ideas with confidence, to listen to others and to learn about respect for one another through positive, constructive criticism. This is why Performing Arts are so important in developing ―the whole child‖ and helping children to enjoy and make the most out of school life. When children from different backgrounds and cultures come together to put on a production, they learn to work together, develop an understanding and tolerance of different ideas and attitudes and a greater awareness and understanding of the world around them. As these children become adults they are more willing and able to work with other people who are different from them, and can enjoy the many benefits of the strong communities they have built. For students pursuing elite professional careers in performing arts like classical ballet and circus arts, the physical demands are such that early entry into training can be essential. The breadth of areas covered by the performing arts is wide, including: Table 1: Types of Performing Arts
ACTING
MUSIC
DANCE
Comedy Drama Magic Film Opera theatre
Busking Opera
Folk Classical Western
CIRCUS SKILLS Acrobatics Juggling
MARCHING ARTS
PERFORMANCE ARTS Music Dance Theatre Puppetry
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Figure 11: Performing Arts
3.1.
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. An important distinction is to be drawn between the contexts of theatrical and participatory dance, although these two categories are not always completely separate; both may have special functions, whether social, ceremonial, competitive, erotic, martial, or sacred/liturgical. Other forms of human movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, cheerleading, figure skating, synchronized swimming, marching bands, and many other forms of athletics.
3.1.1. HISTORY AND TYPES OF DANCES 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 c. 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. The use of dance in ecstatic trance states and healing rituals (as observed today in many contemporary "primitive" cultures, from the Brazilian rainforest to the Kalahari Desert) is thought to have been another early factor in the social development of dance. References to dance can be found in very early recorded history; Greek dance (horos) is referred to by Plato, Aristotle, Plutarch and Lucian. The Bible and Talmud refer to many events related to dance, 20 | P a g e
and contain over 30 different dance terms. In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands, and the earliest Chinese word for "dance" is found written in the oracle bones. Dance is further described in the Lüshi Chunqiu. Primitive dance in ancient China was associated During the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Muni's Natyashastra (literally "the text of dramaturgy") is one of the earlier texts. It mainly deals with drama, in which dance plays an important part in Indian culture. It categorizes dance into four types – secular, ritual, abstract, and, interpretive – and into four regional varieties. The text elaborates various hand-gestures (mudras) and classifies movements of the various limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and, notably, the Bollywood entertainment industry. Many other contemporary dance forms can likewise be traced back to historical, traditional, ceremonial, and ethnic dance.
3.1.2. INDIAN CLASSICAL DANCE Indian classical dance, or Shastriya Nritya, 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 recognized classical dances range from eight to more, depending on the source and scholar. The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam. Scholars such as Drid Williams add Chhau, Yakshagana and Bhagavata Mela to the list. The Culture Ministry of the Government of India includes Chhau in its classical list. 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.
3.1.3. WESTERN DANCE Folk dances vary across Europe and may date back hundreds or thousands of years, but many have features in common such as group participation led by a caller, hand-holding or arm-linking between participants, and fixed musical forms known as caroles.[ Some, such as the maypole dance are common to many nations, while others such as the céilidh and the polka are deeply-rooted in a single culture. Some European folk dances such as the square dance were brought to the New World and subsequently became part of American culture. Ballet developed first in Italy and then in France from lavish court spectacles that combined music, drama, poetry, song, costumes and dance. Members of the court nobility took part as performers. During the reign of Louis XIV, himself a dancer, dance became more codified. Professional dancers began to take the place of court amateurs, and ballet masters were licensed by the French government. The first ballet dance academy was the Académie Royale de Danse (Royal Dance Academy), opened in Paris in 1661. Shortly thereafter, the first institutionalized ballet troupe, associated with the 21 | P a g e
Academy, was formed; this troupe began as an all-male ensemble but by 1681 opened to include women as well. 20th century concert dance brought an explosion of innovation in dance style characterized by an exploration of freer technique. Early pioneers of what became known as modern dance include Loie Fuller, Isadora Duncan, Mary Wigman and Ruth St. Denis. The relationship of music to dance serves as the basis for Eurhythmics, devised by Emile Jaques-Dalcroze, which was influential to the development of Modern dance and modern ballet through artists such as Marie Rambert. Eurythmy, developed by Rudolf Steiner and Marie Steiner-von Sivers, combines formal elements reminiscent of traditional dance with the new freer style, and introduced a complex new vocabulary to dance. In the 1920s, important founders of the new style such as Martha Graham and Doris Humphrey began their work. Since this time, a wide variety of dance styles have been developed; see Modern dance. African American dance developed in everyday spaces, rather than in dance studios, schools or companies. Tap dance, disco, jazz dance, swing dance, hip hop dance, the lindy hop with its relationship to rock and roll music and rock and roll dance have had a global influence. Dance styles fusing classical ballet technique with African-American dance have also appeared in the 21st century including hiplet.
3.1.3.1.
TAP
Tap dance is a type of dance characterized by using the sounds of tap shoes striking the floor as a form of percussion. The sound is made by shoes that have a metal "tap" on the heel and toe. There are several major variations on tap dance including: flamenco, rhythm (jazz) tap, classical tap, Broadway tap, and post-modern tap. Broadway tap is rooted in English theatrical tradition and often focuses on formations, choreography and generally less complex rhythms; it is widely performed in musical theatre. Rhythm tap focuses on musicality, and practitioners consider themselves to be a part of the jazz tradition. Classical tap has a similarly long tradition which marries European "classical" music with American foot drumming with a wide variation in full-body expression. Post-modern or contemporary tap has emerged over the last three decades to incorporate abstract expression, thematic narrative and technology. There are different brands of shoes which sometimes differ in the way they sound. "Soft-shoe" is a rhythm form of tap dancing that does not require special shoes, and though rhythm is generated by tapping of the feet, it also uses sliding of the feet (even sometimes using scattered sand on the stage to enhance the sound of sliding feet) more often than modern rhythm tap. It produced what is currently considered to be modern tap, but has since declined in popularity.
3.1.3.2.
BALLET
Ballet (French: [bale]) is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own vocabulary based on French terminology. It has been globally influential and has defined the foundational techniques used in many 22 | P a g e
other dance genres and cultures. Ballet has been taught in various schools around the world, which have historically incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet. A ballet, a work, consists of the choreography and music for a ballet production. Ballets are choreographed and performed by trained ballet dancers. Traditional classical ballets are usually performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine, often are performed in simple costumes (e.g., leotards and tights) and without the use of elaborate sets or scenery.
3.1.3.3.
TUTTING
Finger-totting is a type of dance that involves intricate movements of the fingers. The word "tutting" is a street dance style based on angular movements which are supposed to stylize the poses seen on reliefs in the art of ancient Egypt, and refers to "King Tut". Popularity of this dance style increased after Jay Gutierrez or "Jsmooth" revealed his innovated style of finger-tutting in the credits of Step Up 3D, released August 6th, 2010. Finger-tutting received international attention after dancer/choreographer Julian "Jay Funk" Daniels performed in a viral Samsung commercial entitled "Unleash Your Fingers". Later, the dance group, Finger Circus, pushed the art-form worldwide through commercials, YouTube videos, and community-building. Finger tutting received further international attention after practitioner John Hunt (aka Pnut) made a viral video entitled "Greasy Fingers". Later, Hunt was featured prominently in the video for the Taylor Swift song "Shake It Off". More recently, Finger-tutting has been featured in the Syfy show The Magicians and the Marvel Studios film Doctor Strange as one of the ways in which characters can cast various spells. JayFunk helped with the Finger-tutting in the latter one. Finger-tutting is still popular outside of the entertainment industry. The flexibility and mobility of one's fingers give this dance style incredible variation and make each dancer's style unique. The style continues to expand and develop with each new practitioner.
3.1.3.4.
B-BOYING
Breaking, also called breakdancing or b-boying/b-girling, is an athletic style of street dance. While diverse in the amount of variation available in the dance, breakdancing mainly consists of four kinds of movement: toprock, downrock, power moves and freezes. Breakdancing is typically set to songs containing drum breaks, especially in hip-hop, funk, soul music and breakbeat music, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns. 23 | P a g e
Breaking was created by African American youth during the late 1960s and early 1970s. The earliest breakdancing groups included the "Zulu Kings" and "Clark Kent". By the late seventies, the dance had begun to spread to other communities and was gaining wider popularity; at the same time, the dance had peaked in popularity among African Americans. A practitioner of this dance is called a b-boy, b-girl, or breaker. Although the term "breakdance" is frequently used to refer to the dance in popular culture and in the mainstream entertainment industry, "b-boying" and "breaking" are the original terms and are preferred by the majority of the pioneers and most notable practitioners.
3.1.3.5.
CONTEMPORARY
Contemporary dance is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical, modern, and jazz styles, it has since come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. In terms of the focus of its technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern that stresses on torso. It also employs contract-release, floor work, fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. Additionally, contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh.
3.1.3.6.
FREE STYLE
Dance improvisation is the process of spontaneously creating movement. Development of improvised movement material is facilitated through a variety of creative explorations including body mapping through levels, shape and dynamics schema. Improvisation is a free, seemingly unstructured, less technically strict and impulsive form that draws inspiration from everyday dance practices and influences. It is a movement technique that is capable of evoking dramatic and thought-provoking content just as well as more codified western dance techniques such as ballet and non-western movement forms. Dance improvisation is not only about creating new movement but is also defined as freeing the body from habitual movement patterns (see Postmodern dance and Judson Dance Theater). Dancer and singer Michael Jackson combined improvisation in both of those definitions, insisting that he had interest in performing a dance to Billie Jean only if he could do it a new way each time. A lot of improvisation is focused on finding a deeper way of comprehending otherwise concealed thoughts or feelings of an individual. Through the emphasis of instinctual, unpredictable, free
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movement that improvisation is centered upon the mover is able to explore authentic feelings and inspirations.
3.1.3.7.
LATIN
Dance improvisation is the process of spontaneously creating movement. Development of improvised movement material is facilitated through a variety of creative explorations including body mapping through levels, shape and dynamics schema. Improvisation is a free, seemingly unstructured, less technically strict and impulsive form that draws inspiration from everyday dance practices and influences. It is a movement technique that is capable of evoking dramatic and thought-provoking content just as well as more codified western dance techniques such as ballet and non-western movement forms. Dance improvisation is not only about creating new movement but is also defined as freeing the body from habitual movement patterns (see Postmodern dance and Judson Dance Theater). Dancer and singer Michael Jackson combined improvisation in both of those definitions, insisting that he had interest in performing a dance to Billie Jean only if he could do it a new way each time. A lot of improvisation is focused on finding a deeper way of comprehending otherwise concealed thoughts or feelings of an individual. Through the emphasis of instinctual, unpredictable, free movement that improvisation is centered upon the mover is able to explore authentic feelings and inspirations.
3.1.3.8.
SALSA
Salsa is a popular form of social dance originating from Cuban folk dances. The movements of Salsa are a combination of the Afro-Cuban dances Son, cha-cha-cha, Mambo, Rumba, and the DanzĂłn. The dance, along with salsa music, saw major development in the mid-1970s in New York. Different regions of Latin America and the United States have distinct salsa styles of their own, such as Cuban, Puerto Rican, Cali Colombia, L.A. and New York styles. Salsa dance socials are commonly held in night clubs, bars, ballrooms, restaurants, and outside, especially when part of an outdoor festival.
In many styles of salsa dancing, as a dancer shifts their weight by stepping, the upper body remains level and nearly unaffected by the weight changes. Weight shifts cause the hips to move. Arm and shoulder movements are also incorporated. Salsa generally uses music ranging from about 150 bpm (beats per minute) to around 250 bpm, although most dancing is done to music somewhere between 160–220 bpm. The basic Salsa dance rhythm consists of taking three steps for every four beats of music. The odd number of steps creates the syncopation inherent to Salsa dancing and ensures that it takes 8 beats of music to loop back to a new sequence of steps.
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3.2.
DRAMA
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc, performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory. The term "drama" comes from a Greek word meaning "action" (Classical Greek: δρᾶμα, drama), which is derived from "I do" (Classical Greek: δράω, drao). The two masks associated with drama represent the traditional generic division between comedy and tragedy. In English (as was the analogous case in many other European languages), the word play or game (translating the Anglo-Saxon pleġan or Latin ludus) was the standard term for dramas until William Shakespeare's time—just as its creator was a play-maker rather than a dramatist and the building was a play-house rather than a theatre. The use of "drama" in a more narrow sense to designate a specific type of play dates from the modern era. "Drama" in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrower sense that the film and television industries, along with film studies, adopted to describe "drama" as a genre within their respective media. The term 'Radio drama has been used in both senses—originally transmitted in a live performance. May also refer to the more high-brow and serious end of the dramatic output of radio. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. Mime is a form of drama where the action of a story is told only through the movement of the body. Drama can be combined with music: the dramatic text in opera is generally sung throughout; as for in some ballets dance "expresses or imitates emotion, character, and narrative action". Musicals include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese No, for example). Closet drama is a form that is intended to be read, rather than performed.[8] In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.
3.2.1. HISTORY OF INDIAN DRAMA The earliest form of Indian drama was the Sanskrit drama. Between the 1st century AD and the 10th was a period of relative peace in the history of India during which hundreds of plays were written. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely. Later, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in a large number of regional languages from the 15th
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to the 19th centuries. Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.
3.2.1.1.
SANSKRIT THEATRE
The earliest-surviving fragments of Sanskrit drama date from the 1st century AD. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre. The ancient Vedas (hymns from between 1500 and 1000 BC that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre. The Mahabhaṣya by Patanjali contains the earliest reference to what may have been the seeds of Sanskrit drama. This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India. The major source of evidence for Sanskrit theatre is A Treatise on Theatre (Nātyaśāstra), a compendium whose date of composition is uncertain (estimates range from 200 BC to 200 AD) and whose authorship is attributed to Bharata Muni. The Treatise is the most complete work of dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction, architecture, costuming, make-up, props, the organization of companies, the audience, competitions, and offers a mythological account of the origin of theatre. Its drama is regarded as the highest achievement of Sanskrit literature.[66] It utilized stock characters, such as the hero (nayaka), heroine (nayika), or clown (vidusaka). Actors may have specialized in a particular type. It was patronized by the kings as well as village assemblies. Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha (famous for Nagananda, Ratnavali, and Priyadarsika). Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832).
3.2.1.2.
MODERN INDIAN DRAMA
Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed. His plays are written in Bengali and include Chitra (Chitrangada, 1892), The King of the Dark Chamber (Raja, 1910), The Post Office (Dakghar, 1913), and Red Oleander (Raktakarabi, 1924). Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance. Karnad's numerous plays such as Tughlaq, Hayavadana, Tideland, and Naga-Mandala are significant contributions to Indian drama. Vijay Tendulkar and Mahesh Dittany are amongst the major Indian playwrights of the 20th century. Mohan Rakesh in Hindi and Danish Iqbal in Urdu are considered architects of new age Drama. Mohan Rakesh's Aadhe Adhoore and Danish Iqbal's Dara Shikoh are considered modern classics.
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3.2.1.3.
MODERN URDU DRAMA OF INDIA AND PAKISTAN
Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiceed by exponents like Nawab Wajid Ali Shah (1822 – 1887) of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is the culmination of this tradition. Urdu theatre tradition has greatly influenced modern Indian theatre. Theatre has flourished in Urdu (which was called Hindi by early writers), along with Gujrati, Marathi, and Bengali. Urdu drama has had an important influence on Bombay Film industry and all the early works of Urdu theatre (performed by Parsi Companies) were made into films. Urdu dramatic tradition has existed for more than a 100 years. Prof Hasan, Ghulam Jeelani, J.N, Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar, Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of Urdu Drama. Sayeed Alam is known for his wit and humor and more particularly for plays like 'Ghalib in New Delhi', 'Big B' and many other works, which are regularly staged for large audiences. Maulana Azad is his most important play both for its content and style. Danish Iqbal's play Dara Shikoh directed by M. S. Sathyu is a modern classic that uses newer theatre techniques and a contemporary perspective. His other plays are Sahir. On the famous lyricist and revolutionary poet. Kuchh Ishq kiya Kuchh Kaam is another play written by Danish which is basically a Celebration of Faiz's poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. Chand Roz Aur Meri Jaan – another play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays including Dilli Jo Ek Shehr Thaa and Main Gaya Waqt Nahin hoon. Shahid's Three B is also a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is a product of performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu, his play AUR KITNE JALYANWALA BAUGH? Won a National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries.
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4. METHODOLOGY • Collection of available data and literature on Organic Architecture. • Collection of available data and literature on School of performing Arts. • Understanding and correlating the available data. • Study the theories and philosophies of Organic Architecture. • Study the key features of School of performing arts. • Study the various cases in detail by documenting them. • Study the built form by analyzing it and identifying the factors affecting the built form. • Analyze the inferences from the case studies and applying those in the Design process. • Final Design.
Figure 12: Methodology
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5. LITERATURE STUDY 5.1.
LITERATURE STUDY IN ORGANIC ARCHITECTURE
5.1.1.
THE SHELL HOUSE –ARTECHNIC ARCHITECTS
The ‗shell house‘ sits within the nagano prefecture of japan. The ‗shell house‘ by architect kotaro ide, is a sculptural shell-like structure which has been built in the woods of karuizawa, located in the nagano prefecture of japan. The house is meant to function as a vacation home, which is able to withstand the humid summers and cold winters of the region. to accomplish this, ide opted not to use the typical wood structure of villas in the area because of their susceptibility to decay easily. Instead, he used reinforced concrete to construct two elliptical shell forms which are supposed to represent a conch. From its profile, ‗shell house‘ takes on a j-shape which is raised above the ground by 1400 mm resulting in the ‗floating‘ masses. Ulin wood is used to create terraces around the home with a courtyard into the center of the main living areas. The villa‘s simple aesthetic lends itself well to the traditional Japanese landscape, creating a balance between the futuristic man-made structure and the environment which surrounds it. The entire project took more than 18 months to realize and two and a half years to complete.
Figure 13: The Shell House
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Figure 14: The j -shaped profile of the 'shell house'
Figure 15: The concrete structure creates a continuous line from building to courtyard
Figure 16: A view of the serene forest which surrounds the home
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Figure 17: The extruded conch shell form has windows on each end, providing panoramic views of the scenery which surrounds it
Figure 18 Skylights allow natural light to flow the interior from above
Figure 19: Sky light for day lighting
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Figure 20: Interior view
Figure 21: Exterior view
Figure 22: Front facade
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Based on Integration with nature The building is constructed around a tree. Large double glazed openings allow for uninterrupted views of the nature from within the house. The two-storey shell-shaped structure makes itself distinct from the surrounding and it is clearly not a part of nature. The reinforced cement structure becomes one and harmonizes itself with the landscape. The villa fits perfectly into surrounding landscape. Its proportion and curved lines stand in contrast to woodland, but Shell‘s presence is balanced against both surroundings and human presence. Reminiscent of a shell, it not only corresponds perfectly with natural surrounding but is also proportioned to fit the needs of its inhabitants.
Figure 23: Site Plan
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Figure 24: Floor Plan
As designers contend ―by isolating living space from the wilderness, and upgrading its quality as a shelter, the house will be protected from nature and will provide a comfortable environment. With this, the house will be taken care of and used frequently and continuously.‖
INFERENCES
*Proportion is a postulate of organic design that holds the closest link to humans. *To have all detail so designed as to make the human relationship to architecture is convenient. *Coexistence of natural environment and architecture is an important part.
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5.1.2. THE MOONLIGHT –AR.MAHESH NAIK • LOCATION: Ratnagiri, Maharashtra, India. •
ARCHITECT: Mahesh Naik
•
CLIENT : Mr. B. C. Bhatwadekar
•
BUILDING TYPE: Residential
• Figure 25: Building View (outside)
Figure 26: The moonlight
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•
It grows out of the site enhancing the grace of the surrounding nature.
•
Using a simple approach to designing - without defined lines of front, rear or side.
•
The outside and inside merge seamlessly; the structure and the site becomes one.
•
It extends an invitation to include itself with the natural display of contours.
•
Drawing its spirit from its honest use of natural local materials.
•
Moonlight has a raw, rustic and monumental character born out of:
•
Black Basalt
•
Red bricks.
•
Concrete.
•
Wood complemented by a wild and natural landscape.
•
The major axis of Moonlight is aligned in east-west direction, parallel to the valley and river below so that each room gets a panoramic view of the sunrise till sunset.
•
Planning is open, symmetric and based on a combination of square and circular grids, making it functionally efficient.
Figure 27: Artificial waterfall at the moonlight
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Figure 28: Brickwork in moonlight
Figure 29: Building overview
Figure 30: Moonlight (residential house)
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Figure 31: Interior View (bedroom)
Figure 32: Pool Side
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Figure 33: Site Plan River side
The house consists of an entrance veranda opening into a massive hall leading to a veranda on both sides - one towards the valley, with access to the swimming pool below and the other into the are towards the water fountain.
Figure 34: Plan
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Figure 35: Bedroom Interior
Figure 36: Plan
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A skylight domed roof provides a natural setting for a circular library cum meditation space at the mezzanine level, where balcony projections from wooden railway sleeper deck wood present panoramic views of the scenic surrounds
Figure 37: Air circulation through openings
The huge openings cater to fast air change. While prevailing breeze passes through the swimming pool and water-fountain keeping the surrounding temperature comparatively cool.
Figure 38: Opening
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Figure 39: Elevation
Concrete shell roof over mezzanine floor cantilevers more than six meters (20ft) on either side to provide ample shade on the veranda, It shields the home from severe monsoon rains and hot afternoon sunrays. Privacy from outsiders is ensured as it tapers down towards the entrance on the east and west .
Figure 40: Shell roof
INFERENCES
. Building should be integral part of landscape. . It should complement the environment. . Site and design should be dependent on each other. . Similarity and contrast both can be the way to achieve harmony. . Form and function are one, they are inseparable. 43 | P a g e
5.2.
LITERATURE STUDY IN SCHOOL OF PERFORMING ARTS KALA ACADEMY
1. LOCATION: Situated at Compel, Panaji along the banks of river Mandovi Area has mixed land use with a military hospital across the road, a cricket ground and a park on either side. 2. ARCHITECT: Charles Correa 3. YEAR COMPLETED: 1983 4. BUILDING TYPE: Institution 5. SITE AREA: 6.3acres
Figure 41: Kala Academy, Goa
Kala Academy Goa, the premiere institute acting in the field of Art & Culture has been doing Yeoman Service in identifying, nurturing and promoting art. Thus, it has evolved as center of various forms of art. Ever since its inception, it has been bedrock of huge number of activities and programs organized across various fields and discipline of art to fructify the goals and aim of this institute. The Kala Academy Goa was established by the Govt.of Goa on 28th February 1970 under the Registration of Societies Act, 1860 bearing Reg.No. 264 with the approval of Govt. of India, Ministry of Art & Culture, as an apex body to develop Music, Dance, Drama, Fine Art, Folk Art, Literature etc. and thereby promote cultural unity of this State. Kala Academy Goa has a distinctive character of imparting training through its various faculties besides organizing on regular basis, festivals, competitions, exhibitions, workshops, seminars, discussions and debates, performances and taking up schemes and activities for preservation of traditional art forms.
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The Academy functions under the overall tutelage of 28 member General Council consisting of persons drawn from various cultural fields and is assisted by a 14 member Executive Board Besides having Advisory Committees for Indian Music, Dance, Western Music, Folk Art, Literature, Drama, (Theater Art), Tiatr, Visual Art/ Fine Art, Film, Vision, Stage Craft, Service matters and School of Drama. This institution is fully funded by the Govt. of Goa.
BUILDING LEVEL ZONING •
Building is divided into three zones: Public, Administration, and Academic.
•
Provided at different levels so as to avoid conflict between these zones.
•
Ground floor includes facilities like auditorium, Preview Theater, amphitheater, art gallery, and canteen etc., where public entry is invited.
•
First and second floors - academic and administration facilities.
Circulation linked to the zoning is segregated through levels - ground floor for audience functions and first and second floor for staff and students with degree of inter linking
Figure 42: Section
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Figure 43: Ground Floor Plan
Figure 44: Floor Plan
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Figure 45: Plan
AMENITIES:
D.M Kala mandir
Cafeteria
Open air theatre
Library
Mini OAT
Teaching Studio
Black Box
Green Room
Rehearsal Room
Kitchen
Art Gallery
Administration
Meeting Room
Reception
Guest Room
Lounge
Preview Theatre
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6. CASE STUDY 6.1.
CASE STUDY OF TRIVENI KALA SANGAM
Architect: Joseph Allen Stein Location: Mandi House, New Delhi. Type of building: Public and Semi Public Building. Triveni Kala Sangam is an important cultural and arts complex and education center in New Delhi. Founded in 1950, by Sundari K. Shridharani, who was also its Founding Director, Triveni, as it is commonly referred, contains four art galleries, a chamber theatre, outdoor theatre, open air sculpture gallery, besides this it runs its various arts, music and dance classes. It is situated on Tansen Marg, between Mandi House roundabout and Bengali Market.
Its aim is to reintroduce traditional forms of expression into Indian life.
Figure 46: Triveni Kala Sangam, New Delhi
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Figure 47: Site Location
6. 7. 8. 9. 10.
Barakhamba road Firozeshah road Copernicus marg 4.Bhagwan Das marg Sikandara road Tansen marg
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Figure 48: Site Analysis Table 2: Standards
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Table 3: Area Statement
Figure 49: Ground Floor Plan
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11. Art Gallery
12. Visual Library 13. Exhibition Room
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14. Entry
15. 16. 17. 18. 19. 20.
Front Setback Passage to Canteen OAT List of Departments Art Gallery Sculpture Court
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8.
Group Discussion Area
9. 10. 11. 12. 13. 14.
Staircase Fire Extinguisher Accounts Department Waffle slab Corridor Vertical Opening
Figure 50: First and Second Floor Plan
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Figure 51: Auditorium Plan
. Figure 52: Changing Room Level Plan
•
It has a sitting capacity of 350 people.
•
It has a total of 4 exits. Including 2 fire exits (exit number 3 and 4) 55 | P a g e
1. 2. 3. 4. 5. 6. 7. 8.
Residences. Classrooms. Offices. Gallery. OAT Stage. Auditorium Studio.
Figure 53: Sectional plan
Figure 54: Section (Phase 1)
Figure 55: Section (Phase 2)
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DESIGN ELEMENTS •
Extensive areas of jaalis and planting boxes arranged into vertical gardens are prominent elements at the Triveni.
•
The jaali panel create a cool space of filtered light in the classroom buildings‘ corridor.
Figure 56: Design Elements
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MATERIALS USED •
The building is composed of RCC framed structure.
•
Indigenous jaali panels, concrete blocks.
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Plastered finish on most elevation.
•
Rough cut stone facing on gallery facade, concrete planters and concrete clad with gray chips for the pergolas.
FINISHES / SURFACE ARTICULATION •
The colors of the facade are of light grey concrete and have grit finish on the walls.
•
The textures are rough and rugged.
•
Lack of bright colors is soothing as the abundant greenery adds brightness.
Table 4: Pros and Cons
PROS
CONS
•
Good Green Cover.
•
Orientation is favorable in terms of Wind
natural ventilation available leads to
Direction (North West) And Sun Path.
the poor indoor air quality.
•
Nearest Metro Station Mandi House.
•
Good Connectivity of Different Sections Of
•
•
•
In sculpture studio there is less
Experiences Noise Disturbance due to nearby railway line.
Building.
•
Lack of wind flow through OAT.
Close to the Metro Stations and easily accessible
•
No Parking Space.
by public transport. •
In a prestige and good location of New Delhi.
•
A common platform for artists all over the India as it is located in prime location of New Delhi.
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6.2.
CASE STUDY OF NATIONAL SCHOOL OF DRAMA
The National School of Drama is one of the foremost theatre training institutions in the world and the only one of its kind in India. It was set up by the Sangeet Natak Academy as one of its constituent units in 1959. In 1975, it became an independent entity and was registered as an autonomous organization under the Societies Registration Act XXI of 1860, fully financed by the Ministry of Culture, Government of India. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to practice. As a part of their training, students are required to produce plays which are then performed before the public.
Architect: K.T. Ravindran Location: Mandi House, New Delhi. Type of building: Public and Semi Public Building.
Figure 57: National School of Drama, New Delhi
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Figure 58: Location and Surrounding Vicinity
7.
Barakhamba road
8.
Firozeshah road
9.
Copernicus marg
10. Bhagwan Das marg 11. Sikandara road 12. Tansen marg
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The school share its 8acre space with three more institutions; therefore, the planning is distracted. The campus does have required facilities but due to scattered planning, they are unable to fulfil the purpose completely.
Figure 59: Site plan
1. Abhimanch (336 people). 2. Sammukh (150 people). 3. Bahumukh (75-100 people). 4. Sound department. 5. Canteen. 6. Costume department.
Total plot area: 8 acres
3M wide entry.
Parking provision only for 10 cars. 61 | P a g e
Figure 60: User Movement
Figure 61: Services
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Figure 62: Costume Department Plan
Figure 63: Costume Department
 Placed near Experimental theatre, and the room acts as changing room for it.  No proper arrangement has been done for the particular purpose the department contains.  It has lack of sunlight and no proper ventilation. Service place for abhimanch touches one end of the workshop, and thus it cater for both experimental theatre and abhimanch at the same time. 63 | P a g e
Figure 64: Sound and Photography Department
Figure 65: Sound and Photography Department Photos
SOUND AND PHOTOGRAPHY LAB AND EDITTING STUDIO • • • •
The corridor is dark and artificially lit. The structure does not have any ventilation. It is placed in isolation as it does not need any sound disturbances or light. It is a single storey structure and is acoustically treated in both outside and inside.
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LIBRARY •
It is located in the administration block.
• Since the block was previously built for other purpose than current usage, the space is very small, and air circulation is extremely low. •
Figure 66: Library
Natural light reception is approximately low.
Table 5: Pros and Cons
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6.3.
CASE STUDY OF INDIRA KALA SANGEET VISWAVIDYALAY Indira Kala Sangeet Vishwavidyalaya, was established in the Year 1956, Indira Kala Sangeet Vishwavidyalaya ―IKSV‖ is situated in the Khairagarh township of Chhattisgarh State of India. A different University by its type, where higher education is imparted in the field of Music, Dance, Fine Arts and Theatre. Location: Khairagarh, Chhattisgarh Year of establishment: 1956 Nearby Highway: State Highway 5 Approach road: 3.5m Wide
Figure 67: Indira Kala Sangeet Viswavidyalaya
Figure 68: Outer Facade
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Figure 69: Site Location
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Figure 70: Campus 1 (Zoning)
Campus 1 has all the academic blocks and hostels. These departments has their own administration within themselves where as the university as a whole has its administration department in the Campus 2.Almost all the buildings are old and load bearing structures and not more than the height of G+1. Some of the buildings like Darbaar hall, Library, Hostels are the part of the palace situated there earlier. 68 | P a g e
Campus 2 contains the residences for the Professors, Teachers, and employees. It also have the main administrative building which works for both the campus (campus 1 and campus 2). It also have one auditorium which has a seating capacity of 530 people. Though a lot of open space is provided all over the campus, but are not used by people who work or stay there.
Figure 71: Campus 2 (Zoning)
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Figure 72 Site location
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Department of Dance •
Three types of classical dance forms are taught, namely: •
Bharatanatyam
•
Kathak
•
Odissi
•
Department has its own separate administration.
•
Department has its own library.
•
2 classrooms are provided for Bharatanatyam, 4 for Kathak and 2 for Odissi.
•
Courses provided for dance are: •
Under Graduate Courses: B.P.A.( Bachelor of Performing Arts)
•
Post Graduate Courses: M.A. / M.F.A
Figure 73: Department of Dance
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Dance Halls •
Size of rooms: 5 x 8M.
•
Rooms have proper ventilation but less natural light.
•
Large mirror is placed along the length of the room so that they can get perfection while learning, watching themselves.
•
1 Changing room is attached with the hall.
•
10-15 people dance in this hall. Maximum 20 people can dance in this space.
•
1 Guru with Taal-peti and 2 Sangeetkars are required to manage 10-15 students.
•
The sitting arrangement is on Pieta at one side of the hall (the shorter side).
•
Electronic Tanpura is played in the background.
•
There is no echo in the hall and good acoustics is maintained.
•
Odissi dance hall also has a store room and a bathroom attached.
Figure 74: Dance Hall Table 6: Pros and Cons
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7. COMPARATIVE ANALYSIS Table 7: Comparative Analysis
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Table 8: Comparative Analysis
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Table 9: Comparative Analysis
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Table 10: Comparative Analysis
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8. SITE ANALYSIS
Figure 75Site Location
N
1. Eastern Ring Road / Piplia Rao Ring Road. 2. Khandwa Marg. 3. Eastern Ring Road / Piplia Rao Ring Road. Khandwa Marg • • • • • •
•
Railway station is at a distance of 5.5 km. Bus stand at a distance of 5.1 km. Location: Near Crystal IT park Square, Indore, Madhya Pradesh. Type of Land use: Public and Semi-Public Land. Climate: Humid Sub-tropical Climate. Topographical features: Flat land Around 350 trees Approach road width: 22M.
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Figure 76 Site Analysis
CALCULATIONS:
.
N
•
Total plot area
:33.5 acres
•
Permissible Height
: 15m.
•
Accessible from any part of the region.
•
Front Setback
: 6m.
•
The site proposed comes under public
•
Rear Setback
: 6m.
•
Side Setback
: 6m.
•
Have ample amount of trees.
•
F.A.R.
:1.5
•
Very close to the railway station and
•
Ground coverage
:35%
SUPPORTIVE FEATURES
and semi-public area.
bus stand.
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9. QUESTIONARE: FOR TEACHERS: (TOPIC) 1. What is the name of the organization you are working for and what are the facilities provided to you by the organization? 2. How much distance is travelled and what are the ways of commuting to reach the desired location? 3. What are the types of areas you need in the school? What are the specific spaces you need in and around the school? THEME: 1. Do you want students to have gathering spaces in school area or to be in their respective classes in their free time? 2. What are the spaces of interaction required around the school?
FOR STUDENTS :( TOPIC) 1. What is the strength of the students in each class? 2. What are the main interactive spaces you would like in the school? 3. How often do you visit these spaces? THEME: 1. What are the most comfortable spaces one wants in a school?
Open Semi-open Closed
2. Do you want more public interaction spaces or more private ones? 3. should the interaction be through direct means or through intermediate ones? 4. Are you satisfied with the current design? If not what suggestions you can give to improve?
FOR ADMINISTRATIVE PEOPLE (TOPIC) 1. What is the name of organization you are working for and what all are the facilities provided by them? 2. What specific areas you require to be existing in the school? 3. Should the administrative block be isolated or attached to the main blocks of the school building? 79 | P a g e
9.1. PREPARATION FOR CASE STUDY INFORMATIONS AND OBSERVATIONS
GENERAL OBSERVATIONS 1. Name of the project: 2. Location: 3. Date designed/planned: 4. Date of construction: 5. Architects/Firm: 6. Client: 7. Site area: 8. Site zoning: 9. Number of entrances and exits: 10. Parking (details): 11. Circulation spaces within the site: 12. Provision of services / utilities: 13. Amenities:
Parks/gardens: Y/N
assembly halls: Y/N
dispensary: Y/N
local shopping centre: Y/N
area –
residence: Y/N
area –
area – area – area –
14. Orientation of the school: 15. Number of openings – doors and windows: 16. Construction materials used: Floor Roof Walls
Ceiling window and doors projections
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17. Number of blocks: 18. Number of floors: 19. Floor height: 20. Services: Unit level
Electrical
Water supply
Drainage
21. Size and present use of spaces: 22. Structural systems: 23. Significance / uniqueness: 24. Criticism / limitations:
DATA COLLECTION
1. Location maps 2. Site plan with dimensions 3. All floor plans with furniture 4. Sections with dimensions 5. Elevations with dimensions 6. Constructional details 7. Landscape details 8. Service details 9. Government publications 10. Building bye laws and census data
F.A.R.
GROUND COVERAGE
SETBACKS AND OTHER DETAILS
population density
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number of habitable rooms
far maximum and far achieved
area of built up spaces/area of open space
QUESTIONNAIRE FOR STUDENTS
a) Personal information
1. Name: 3. Sex – M/F:
2. Age: 4. Address: 5. Total number and age of students: Age(years)
0-9
10-15
16-19
20-44
45-64
10-15
16-19
20-44
45-64
Male Female 6. Total number and age of teachers: Age(years)
0-9
Male Female
b) School condition
7. Number of classrooms: 8. Do you have toilet or not?
Yes
No
If yes, how many toilets are provided? 82 | P a g e
9. Do you have a canteen or not?
Yes
10. Does your house have 24hrs. electricity?
Yes
No No
11. Where do you get your drinking water from? 12. Does your campus have any parking space? Yes
No
If yes, is it sufficient?
13. Number of vehicle parking: 14. Is your school fulfilling the needs of an educational building? If not, kindly specify the problems? Infrastructure Basic services Space of future expansion Open spaces Public amenities
15. Any scope of future expansion?
Yes
No
If yes? Please specify the additional spaces that you need?
QUESTIONNAIRE FOR ARCHITECTS/FIRMS
a) Project background and details
1. Name of the project: 2. Location: 3. Date designed: 4. Date of construction:
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5. Client/s: 6. What was the design brief provided by the clients? 7. What were your design principles regarding the project? 8. What were the challenges posed during the design of such institution and how did you overcome those challenges? 9. What were the construction techniques adopted by you for this project? 10. What were the measures and strategies adopted for the maintenance and operation of the services provided?
b) Organic Architecture 1. What is / would have been the impact of organic architecture in the design of a school of performing arts? 2. How a School of performing arts proved to be beneficial? 3. According to you, what is the scope of providing organic architecture in any educational building? 4. What are the measures that you can suggest while opting for organic architecture in a design?
QUESTIONNAIRE FOR AUTHORITIES
A) GENERAL INFORMATION 1. Name of the organization: 2. Date of establishment: 3. Location: 4. Department: 5. Head -in -charge: 6. What is the average number of students taking admission? 7.
What is the land rate in the institutional sector?
8. How the idea of making a higher secondary school came up? 9.
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B) GENERAL INFORMATION
1. Name of the organization: 2. Date of establishment: 3. Location: 4. Department: 5. Head -in -charge: 6. What are the basic requirements for proposing such institutional projects? 7. What are the challenges to be overcome during the execution of such projects? 8. What are the construction techniques that are adopted for the completion of the project? 9. What would be the scenario if the same institutional project is done with an incremental approach?
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10.
REFERENCES
Oliver, Sophie Anne (February 2010): "Trauma, Bodies, and Performance Art: Towards an Embodied Ethics of Seeing". Goldberg, Merryl (2011-04-11). Arts Integration: Teaching Subject Matter through the Arts in Multicultural Settings Dictionary of Architecture and Construction edited by Cyril M Harris, McGraw-Hill, 1975, pp. 340341 The Future of Architecture by Frank Lloyd Wright, New American Library, Horizon Press, 1953, pp. 21, 41 Living Architecture by F.L. Wright A Living Architecturein.pinterest.com The Future of Architecture by Frank Lloyd Wright, New American Library, Horizon Press, 1953, pp. 21, 41 www.waymarking.com A Living Architecture www.snowcrystals.com www.dezeen.com www.archnet.org www.archdaily.com www.widewalls.ch www.archdaily.com www.home-review.com www.farmhouseorganicarchitecture.com inditerrain.indiaartndesign.com
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