TITLE
KATHAK NRITYASHALA, AHMEDABAD
SUBMITTED BY:
GONDALIYA MITALI V.
GUIDED BY:
PROF.BINITA PANDYA
DISSERTATION JUNE 2018
SEM – X, YEAR V B. ARCH. BHAGWAN MAHAVIR COLLEGE OF ARCHITECTURE, BHAGWAN MAHAVIR EDUCATION FOUNDATION, SURAT
GUJARAT TECHNOLOGICAL UNIVERSITY, AHMEDABAD, INDIA
Dissertation report on KATHAK NRITYASHALA, AHMEDABAD
Submitted by GONDALIYA MITALI V. FIFTH YEAR B.ARCH. [JUNE 2018] BHAGWAN MAHAVIR EDUCATION FOUNDATION, VESU,SURAT BHAGWAN MAHAVIR COLLEGE OF ARCHITECTURE
FOR THE PARTIAL FULFILMENT OF THE DEGREE OF B.ARCH. FOR GUJARAT TECHNOLOGICAL UNIVERSITY
B.ARCH Bhagwan Mahavir College of Architecture
Name of Student: Gondaliya Mitali V.
Approval The following study is hereby approved as a creditable work on the subject, carried out and presented in a manner, sufficiently satisfactory to warrant its acceptance as a prerequisite to the Bachlore’s Program for which it has been submitted. It is to be understood that by this approval the undersigned do not necessarily endorse or approve the statements made, opinions expressed or conclusions drawn therein, but approve the study only for the purpose for which it has been submitted and satisfies as to requirement laid down in the academic program. This is to certify that Gondaliya Mitali V. has worked under my supervision on Kathak Nrityashala, Ahmedabad, India towards the partial fulfillment of her/his thesis for Bachlore’s Program. This is her/his original work and can be submitted as Dissertation . The copyright of this work remains jointly with BMCA, Guide/ Co-ordinator and the student, whenever and/ wherever presented and/or published. The above said work shall not be presented or published without written permission from BMCA and the guide/ coordinator.
Name and Signature of Guide : Ar.Binita Pandya
Principal : Ar.Manoj Jain
H.O.D. – Ar.Viren Mahida
Date: 04/06/2018
Date: 04/06/2018
Co-ordinator : Ar.Pinal Patel
Name and signature of the student:
Date: 04/06/2018
Gondaliya Mitali V. Date: 04/06/2018
STATEMENT OF ORIGINALITY This work has not been previously submitted for a Degree or Diploma in any university. To the best of my knowledge and belief this thesis on Minor/Major contains no material previously published or written by another person except where due reference is made in the report itself. I have given due credit to the sources and have acknowledged them appropriately.
Name and Signature of the student: Gondaliya Mitali V. Date:04/06/2018
Gondaliya Mitali V. Sem – 10, 2018 B.Arch, Bhagwan Mahavir College of Architecture ABSTRACT In the process of modernization, which India has been experiencing since the beginning of the last century, almost all socio-cultural spheres have got affected. This also applies to the leisure activities and different arts in society. As people change their lifestyle, their tastes and likings also get changed. In such a situation various major transformations take place in the field of creative vision or in different arts of society. Therefore the main aim is to understand the present position of classical dance in Indian society & to establish an integrated cultural institute which associates the art form with urban context. The various aspects regarding dance related situation have been analyzed. Such aspects include various minor and major issues that show the recent and changing trends in society regarding the field of classical dance in India. Dance is the form of vibration of our body and mind. It is a form of worship through which a dancer can reach the Almighty. It is a form of Yoga. A dancer can only reach this stage through continuous training i.e. 'Sadhana'. So, in my view, for the child who wants to learn dance, the first thing s/he has to do is undergo hard training from which s/he will learn discipline and patience which are the most important factors in one's life. The second thing is the total body movement of a dancer so that a one has complete physical fitness and get control over the body. The third thing, dance is a mode of expression of our inner feelings. So, s/he can express herself through dance. In that way s/he will develop self-belief and self-confidence. The fourth thing, Indian Classical Dance is based on mythology & puranas. So when anybody learns dance, s/he is bound to know the story of Mahabharata, Ramayana, Bhagavat Geeta, books of Kalidas etc. In this way s/he can also learn the great Indian Literature. Thus the knowledge will be enhanced & will automatically come to know about the rich cultural heritage of India. We speak of culture as simplifying an all round development of human beings. True culture includes all these four aspects and a cultured man ought to show development along all these four lines. Man can never be complete or balanced unless his emotions are trained & developed. Unfortunately the development of human emotions has not received that attention which is due to it our educational institutions. Therefore it is necessary to have the training of Indian Classical Dance form under esteemed Guru because there are some special features about these dance forms, which distinguish it from other dances of the world. Moreover this institute is not only for the training purpose but it is an intervention of creating learning, performing & residential areas under one complex at the same time. This project will be an attempt to amalgamate the traditional Gurukul system with contemporary ways of teaching. It will be an effort to provide a holistic environment for learning & performing the art, close to the nature yet within the urban context. The center is to have a dedicated public zones too, which includes auditorium & cafeteria linked to the open & semi-open spaces. The idea is to generate the spaces in inter-relation of open, semi-open & closed spaces. As I already mentioned that the proposal is related to urban context too. Therefore to achieve that goal, my site location is selected in accordance to the conveyance of the students which is approachable from any area of that city. And also to create a responsive architectural design which is sensitive to climate & site.
KEYWORDS: Gurukul system, integrated cultural institute, Guru, urban context, dedicated public zones, Puranas, Indian classical dance, inter-relation of spaces, sensitive to climate & site, conveyance.
Kathak Nrityashala, Ahmedabad 2017- 2018
ACKNOWLEDGEMENT First of all I would like to thank the college Bhagwan Mahavir College of Architecture for providing me a platform to go ahead with my project and my ideas. I would like to express my sincere gratitude to the principal Prof. Manoj Jain and our Head of the department Ar. Viren Mahida, thesis co-coordinator Ar. Pinal Patel for initiating the course and giving me the opportunity of studying here. Special thanks to my guide, Prof. Binita Pandya for guiding me to structure the project and valuable suggestions she gave at all stages. My thesis would not have been possible without the support help and advice from Ms. Vaishali Trivedi, the Kathak Guru, for giving her valuable time whenever I needed. Also my thanks to Radha Bhaskar (Guru of Mudra School of Dance) & Kruti Mehta (Bharatnatyam Guru) to guide me on the basics of Indian Classical Dance forms. I would also like to express my gratitude to Ar. Neelkanth Chhaya for his timely help. Last but not the least; I would like to thank my parents, my brother and my friends who were always there for any kind of help.
Gondaliya Mitali V.
Kathak Nrityashala, Ahmedabad 2017- 2018
Table of Content 1.0 Introduction 1.1 Introduction……………………………………………………………………………………….1 1.1 A Project Brief……………………………………………………………………………..2 1.2 Aim…………………………………………………………………………...............................3 1.3 Objective……………………………………………………………………………………........3 1.4 Scope…………………………………………………………………………………………..…3 1.5 Limitation………………………………………………………………………………………....3 1.6 Need of the study……………………………………………………………………................3
2.0 Literature study 2.1 Challenges faced by Indian Classical Dance…………………………………………………4 2.1.1 A Gurukul System………………………………………………………….................4 2.1.2 B Modern Institution……………………………………………………….................5 2.1.3 C Conclusion……………………………………………………………….................5 2.2 Activity Analysis with Standards………………………………………………………………..8 2.3 GDCR Bye-laws………………………………………………………………………………..10
3.0 Specific Site/Selection 3.1 Site Selection Criterion……………………….…………………………………………..……11
4.0 Case Study 4.1 Case Study 1: Kadamb Centre for Dance………………………………………………......12 4.2 Case Study 2: Nrityagram…………………………………………………………................14 4.3 Case Study 3: Kala Academy……………………………………………………………..….16 4.4 Comparative Analysis……………………………………………………………………....….18
5.0 Site Analysis 5.1 Location…………………………………….…………………………………………………...22 5.2 Accessibility………………………………………………………………………………….....23 5.3 Climatic Study…………………………………………………………………………..……...24 5.4 Site Context & SWOT Analysis……………………………………………………………….25
Kathak Nrityashala, Ahmedabad 2017- 2018
Table of Content 6.0 Design Approach 6.1 Activity Analysis…………………………………………………………………………..…...26 6.1.1 A Space Mapping – Relationship with the space & user……………………..…26 6.1.2 B Space Mapping – Relationship within spaces………………………………....27 6.2 Area Programme…………………………………………………………………………..….27 6.3 Conceptual 6.3.1 A Origins & Proportion…………………………………………………………..….28 6.4 Design Stage 1……………………………………………………………………………..…30 6.5 Design Stage 2……………………………………………………………………………..…33 6.6 Design Stage 3……………………………………………………………………………..…34 6.7 Design Stage 4……………………………………………………………………………..…35
Bibliography Annexure
Kathak Nrityashala, Ahmedabad 2017- 2018
CHAPTER 1
Kathak Nrityashala, Ahmedabad 2017- 2018
1.0 INTRODUCTION 1.1 INTRODUCTION To create a space for dancers which will function as their hub, studio, interaction space & residency. Therefore, it was necessary to study and understand the feel of dancing and the space, along with the site and its climate. Dance is a type of art that generally involves movement of the body, which is rhythmic to music. It is performed in many cultures as a form of emotional expression, social interaction, or exercise, in a spiritual or performance setting, and is sometimes used to express ideas or tell a story. India has thousands of year old tradition of fine arts and classical and folk music and dances. Indian classical dance, or Shastriya Nritya, is a 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, from Tamil Nadu Kathak, from Northern and Western India Kathakali, from Kerala Kuchipudi, from Andhra Pradesh Odissi, from Odisha Sattriya, from Assam Manipuri, from Manipur Figure 1: Indian Classical Dance forms – Kathak, Mohiniyattam, from Kerala Bharatnatyam, Kathakali (from left)
All these dance forms use basically the same 'mudras' or signs of hand as a common language of expression and were originally performed in the temples to entertain various Gods and Goddesses. They were also effective in carrying forward the various mythological stories from generation to generation while entertaining the audiences. With time, the classical dances evolved to include the expressions and themes from social life and experiences. Lord Shiva is said to be the 'Nataraja' meaning 'King of All Dances', who is said to perform the Cosmic Dance that delicately balances life and death and all that is happening in the Universe in harmonious cycles. Bharatnatyam, popular in Tamil Nadu and Karnataka, is said to be revealed by Lord Brahma to Bharata. Kathak is the art to tell a story and is a form of North Indian classical dance. Later, it became courtly entertainment. Kathakali from Kerala makes use of colorful masks and costumes and belongs to Kerala. Kuchipudi is the dance drama of Andhra Pradesh that combines Natya, Nritta and Nritya. Manipuri is a combination of many dances prevalent in the Manipur. Mohiniattam from Kerala is a solo female dance and is known for its rhythmic and unbroken flow of the body movements. Odissi from Orissa is a dance of love, joy and intense passion. But to develop an institution which has amalgamation of all these classical dance forms is highly unmanageable. Because they vary in form to form but also culturally. Though they are known as “Indian” but are divided regionally. Moreover, the popularity is also the major concern. Bharatnatyam, Kathak & Kathakali are the most popular worldwide. Therefore it is possible to find their Gurus in any part of the world. Other dance forms are popular only in their region of origins. Hereby, I am designing an institution which teaches one or two dance forms & follows a modern gurukul system.
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1.1.A PROJECT BRIEF • Kathak Nrityashala is for artist Vaishali Trivedi. She is Ahmedabad based performing artist. She got her graduation in dance from “Kadamb Centre for Dance & Music”, under guru “Kumudini Lakhia [Padmabhushan & Padmashree Awardee].
Figure 5g Figure 2: Kathak Guru Vaishali Trivedi
Figure 5: Pictures of Existing dance studio
• Vaishali Trivedi is a very well-known international artist & teaching from last 20 years. • Her current studio is in the campus of “Chimanlal Patel Management Institute”, is a G+1 structure with 2 rooms & have the permission to access whole the whole building. • Right now, she is thinking of expanding her institute & develop her very own school for kathak in the campus itself. She is very passionate about her work & has taken Kathak dance internationally, have conducted workshops too. Moreover, she also has fellowship of U.S government.
Figure 3: Sketches of Existing Studio
Figure 5a
Figure 5b
N
Figure 5c
Figure 5d
Figure 4: First floor layout (Existing dance studio)
Figure 5e
Figure 5f
Figure 5: Pictures of Existing dance studio
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1.2 AIM My aim is to establish an integrated cultural institute which associates the art form with urban context. 1.3 OBJECTIVE • To study Indian Classical Dance & its architecture. • To study Gurukul system, which incorporates the modern way of teaching. • To study the inter-connection with open, semi-open & closed areas (to have the idea of how dance studios differ from other studios & classrooms). • To provide a holistic environment for learning & performing the art, close to the nature yet within the urban context. • To provide learning, performing & residential areas under one complex to remove the polarity between these activities. • To create a responsive architectural design which is sensitive to climate & site. 1.4 SCOPE OF WORK • Educational facilities • Recreational facilities • Basic daily needs for living • Provision for outside public 1.5 LIMITATION The study would be limited to the T.P. scheme defined by AUDA* & GDCR** rules defined by Gujarat Town planning Act. 1.6 NEED OF THE STUDY • Activity standards • GDCR** bye-laws • Related Case Studies
*AUDA – Ahmedabad Urban Development Authority **GDCR – General Development Control Regulations
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CHAPTER 2
Kathak Nrityashala, Ahmedabad 2017- 2018
2.0 LITERATURE STUDY 2.1 CHALLENGES FACED BY INDIAN CLASSICAL DANCE There are many complex factors involved in this matter which includes the potential dilution of tradition by innovation and fusion, effects of institutional learning vs. the gurushishya parampara training, the waning interest and attention spans of audiences raised on television and computer-based information technology, and problems of earning a living as a professional dancer in a market-driven economy. The changing values, stress of materialism, globalization and imbalance of social injustice, have resulted in anxiety. Urban audiences have shorter attention spans and increasingly would prefer a 45 minute of a dance program, rather than presentation of two to three hours. Dancers find members of the audience arriving late, staying for only a few and then leaving for social engagements. So, many dancers today choreograph to non-traditional texts, or using fusion of forms and non-traditional musical instruments. But these explorations are not always successful, they may even jeopardize the forms which have developed over time. Dance can delight, entertain, educate, and explore new vistas of choreography and text, yet if we abandon the transcendent capacity of the traditions we will lose the core of the art that has been able to survive the transition from temple to concert stage. Now gaining the training is also one of the major concern.
METHODOLOGY OF TRAINING
GURUKUL SYSTEM (GURU-SHISHYA PARAMPARA)
MODERN INSTITUTION
Figure 6: Different methodologies of training
2.1.1 A GURUKUL SYSTEM The ideal guru/shishya tradition in the performing arts is a model of one-to-one training with the guru imparting knowledge to the student in an atmosphere free of outside distractions. The student lives with the teacher and imbibes the attitude of the guru towards every aspect of life and philosophy. The guru guides the student as a mentor, combining masterly teaching with virtually parental responsibility from first initiation to the shishya's career development as a performing artist. In return, the student has the responsibility to work hard with sincerity, accept the discipline of the guru, and serve him or her with devotion and respect throughout the guru's life. If both fulfill their responsibilities, the student should become a master in the art. The downside of this relationship is that a teacher could withhold knowledge from a shishya for some selfish reason, such as not wanting a student to excel beyond his own family members or other favoured student, etc. Exploitation of the student can be easier in an environment of isolation and dependency. The guru-shishya relationship is based on trust, with the guru having more influence than a parent. Unfortunately, many teachers call themselves gurus without fulfilling the responsibilities of this role, thereby doing irreparable disservice to sincere students. Kathak Nrityashala, Ahmedabad 2017- 2018
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2.1.2 B MODERN INSTITUION
In the ideal modern institutional framework, the student can rely on the consistency of teachers who will offer regular instruction at fixed timings in a professional manner, i.e. focused on using the time so that the student will move forward in learning during each and every session together. In this institutional ideal, the fundamentals of the art have been structured into a curriculum so that there are no gaps in the basics of learning technique, philosophy, language and history, as these will enable the student to become a better artist. Here, the gathering of students and teachers enriches the student's exposure, interaction and dialogue with others so that s/he is capable of developing the confidence of a personal sense of aesthetics and a view of the range of creativity in the traditional form. A master teacher can share his or her art with many more students and thereby increase the odds that it lives on. Students learning in an institution of arts need not be restrained by the bonds of the teacher. Rather, they have the right to seek the best training available and move on to other teachers if they are ready for a more advanced level or simply wish to explore other dimensions of the art form. 2.1.3 C CONCLUSION Certainly no method of training can guarantee production of a great artist. There are models for both institutional and guru-shishya parampara combining to create new models for learning the traditional arts of India. These models are not necessarily definitive examples, but simply point out the directions of alternatives. Kalakshetra, just outside Chennai, has taught the classical dance of South India, Bharatnatyam, in a modern gurukul framework, as received by its pioneering founder, late Rukmini Arundale. Besides creating a respectable and peaceful environment for young people to receive training, Rukmini Devi was wise in establishing a clear structured curriculum so that Kalakshetra graduates have a solid foundation in the many related facets of dance, music, texts, history and aesthetics of stage production. The point is that while the antecedents of Indian classical dance are long and rich, the traditions are constantly changing and developing. In fact, I would say that it is the responsibility of performing artists to contribute to this growth when they have reached a level of maturity in the form, rather than to simply go on replicating what was learned from the guru. In modern dance it is completely appropriate to create new ways of using space, shape, time, energy and motion to communicate whatever is intended in the dance and movements. On the other hand, to go outside the codified movement vocabulary in any classical tradition of dance changes the form; this is not appropriate. The rules of modern dance are that one can draw on whatever aesthetically fits one's intention and the choreography. The rules of any classical dance genre are that one stays within the range of its stylistic vocabulary. Therefore, any modern dancer, from India or any other country in the globe has the artistic liberty to create his/her own parameters. The classical dancer is free within the tradition. But I feel the classical dance forms of India are so rich in aesthetic beauty and metaphysical depth that there is no need for any practitioners to criticize artists choosing other forms of dance & expression. I decided to go for modern gurukul system, where Guru is important. Before choosing the type of dance form, it is important to understand how today’s dance schools function. Hence I visited three privately-owned institutes which are run by particular gurus. Kathak Nrityashala, Ahmedabad 2017- 2018
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Table 1: Study of three privately-owned dance schools run by a particular guru
1. Mudra School of Dance (Ahmedabad) Dance forms
• • • •
Guru
2. Sangathi School of Dance (Ahmedabad)
3. Kruti Mehta Dance Class (Surat)
• Kathak
• Bharatnatyam
• Bhaskar Menon & Radha Bhaskar. • The school is run by family members, total 6 gurus.
• Vaishali Trivedi
• Kruti Mehta
Affiliated to
• Gandharva Mahavidyalaya. • 7 years degree course for B.A. • 2 years degree course for M.A. (Alankar)
• Under herself.
Dance Studio
• Three studios. • Studio with 25 sq. can accommodate dancers. • Studio with 45 sq. can accommodate dancers. • Studio with 36 sq. can accommodate dancers.
• Two studios. • Studio with 75 sq. can accommodate dancers. • Studio with 30 sq. can accommodate dancers.
Bharatnatyam Kathakali Kuchipudi Mohiniattam
m 2 m 5
m 4
• A semi-open space is available for rehearse. • 15 students per batch.
the
Guru
m 8
• Nalanda Nritya Mahavidyalaya. • 2 years diploma • 7 years degree course for B.A. • 2 years degree course for M.A. • One studio • Studio of area 45sq. m can accommodate 5 dancers.
m 3
• A semi-open space is available for rehearse. • 10-12 students per batch.
• An open space is available for rehearse. • 8 students per batch.
Guru’s view on ideal gurukul
• Because of its values, it is called gurukul (relationship between guru & disciple). • Gurukul is a guru’s house, where the students come to learn. • Guru is everything.
• Guru moulds the student in his way. • Gurukul is loyalty to guru & the art form. • There’s no specific time period for training. It depends on the guru, because essence takes a little time.
• Gurukul is something you train under the same guru throughout. • It is not something you design. Because of guru, it is a gurukul.
Guru’s view on ideal studio environment
• Dance should always be in a closed space, should have a respect; because there’s no focus in open spaces.
• A dance studio should be closer to nature & there should be a sense of isolation. I disagree to conduct classes in open space.
• Dance is related to the dancer’s emotions. Therefore the studio should be surrounded with greens.
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1. Mudra School of Dance (Ahmedabad)
2. Sangathi School of Dance (Ahmedabad)
3. Kruti Mehta Dance Class (Surat)
Figure 7a
Figure 8a
Figure 9a
Figure 7b
Figure 8b
Figure 9b
Figure 7c
Figure 8c
Figure 9c
Figure 9d Figure 7d Figure 7: Pictures of Mudra School of Dance
Figure 8d Figure 8: Pictures of Sangathi School of Dance
Figure 9: Pictures of Kruti Mehta Dance Class
Table 1: Study of three privately-owned dance schools run by a particular guru
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2.2 ACTIVITY ANALYSIS WITH STANDARDS ADMINISTRATION + LIBRARY
CAFETERIA DIMENSIONS IN SKETCHES ARE IN CM
Figure 13: Seating guidelines
Figure 10: Sketch of Office standards
The general seating guidelines that should be observed are: • Full Service Restaurant Dining: 3.6 – 4.5m • Counter Service: 5.4 – 6 m • Fast Food Minimum: 3.3 – 4.2m
Figure 14: Tables-Seating measurements in plan
Figure 11: Sketch of Meeting room standards Figure 15: Distance between tables
Figure 16: Ratio between dining & kitchen area
Figure 12: Sketch of small library standards
Figure 17: Division of a café’s kitchen Table 2: Activity Standards
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Table 2: Activity Standards DANCE SCHOOL
PERFORMING SPACES
STORAGE – COSTUME & SCENE DOCK
AUDITORIUM
Figure 27a Figure 27b Figure 21a
Figure 21b
Figure 18: Typical dance studio
Figure 21: Auditorium arrangements standards for 200-300 people Figure 27: Typical costume room SCENE DOCK Figure 22a
Figure 22b
Figure 22: Auditorium seating standards for 200-300 people Figure 19: Basic diagram of cavity wall for insulation
Figure 20a
- This is a room/space to the immediate left, right or rear of the stage, and contains the loading bay doors, and provides the main receiving, storage and construction spaces for the set.
Figure 23: Auditorium section standards AMPHITHEATRE
Figure 20b Figure 20: standards
Dance
Figure 28: Typical scene dock – set room - It should have a large opening directly onto the stage in the region of 4m wide and 6m in height.
Studio
Figure 24: Amphitheatre layout
Figure 24a Figure 25: Seating
Figure 26: Amphitheatre section
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2.3 GDCR BYE-LAWS
MARGIN • ROAD MARGIN • SIDE MARGIN • ADJACENT BUILDING MARGIN
Figure 29a
Figure 29b Figure 29: Built-Open ratio BUILT - OPEN
Figure 32: Margin to be left in accordance with the road width & margin usage
Figure 30: Min. courtyard size
Figure 31: Ratio of courtyard with building height COURTYARD SIZE PARKING
Figure 32: Margin to be left in accordance with the road width & margin usage CORRIDOR IDEAL SIZE Figure 33: Truck parking dimension
Figure 34: Car parking- one-sided
Figure 35: Car parkingtwo-sided
Figure 37: Corridor sizes
Figure 36: Bike parking
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CHAPTER 3
Kathak Nrityashala, Ahmedabad 2017- 2018
3.0 SPECIFIC SITE/SELECTION 3.1 SITE SELECTION CRITERION • Close to the city center: The site should be located where people can easily reach & conduct other activities during the same trip, a place where people naturally converge. • Context: Architecture must be a piece of art but it must be responsive towards people & neighbourhood. It is simply an external element which influences the building & site both. If the context is in Figure the typology of Mixed-use zone, then it is the most influential part. 29b • Accessibility & Conveyance: It is critical to select a site that can be easily approachable by visitors, events’ guests, workers, & specially for students & their parents, who will be coming to the institute for learning purpose & should be walking distance at the same time for some people. Moreover, the distance between the site & airport – railway station should be minimal as there are people coming from outside the city too. The site should be well-connected to public transportation link.
• Micro Climate: Topography, natural habitat of the site, sun-path & wind direction. • Views: There should be pleasing views in order to accept the project by visitors & students. Therefore, it is necessary to study hot to manipulate the wanted views & avoid unwanted views. The site should be placed in an area with a strong positive identity & image, which can help in creating recreational areas & interesting outdoor semi-open & open spaces for income.
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CHAPTER 4
Kathak Nrityashala, Ahmedabad 2017- 2018
4.0 CASE STUDY 4.1 KADAMB CENTRE FOR DANCE, AHMEDABAD • Kadamb was started in 1967 with the purpose of promoting the appreciation of Kathak dance in Ahmedabad. The institute is running since 35 years & has gained the reputation in imparting Kathak dance education.
• It has the “Gurukul” system. In today’s world, Gurukul is where students’ gets graduated under same guru. But the time period of training is definitely decided by the Guru.
Location
•
It is located in the west zone of Ahmedabad, in the area Paldi, opposite Parimal Garden.
Main Road Connectivity
• •
Chimanlal Girdharlal Road Seth Mangaldas Road
Adjacent buildings
• • •
Parimal Garden Central Mall Rasala Nature Park
Site Area
•
500 sq. m
Function
•
Centre
for
Kathak
Dance
Indian Classical Music • Located in the city itself, therefore it is very accessible & convenient for the Table 3: Kadamb Centre for dance students to join.
• Climate of Ahmedabad is ‘hot & dry’ throughout the year. Cold north winds are responsible for chilly winters in January. • The average annual rainfall is about 800mm (31”). Figure 38: Temperature graph of Ahmedabad
Figure 39: Location of Kadamb Centre
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4.1 KADAMB CENTRE FOR DANCE, AHMEDABAD
Figure 44a
Figure 40: Ground floor layout
Figure 44b
Figure 41: First floor layout Figure 44c Figure 44: Pictures of Kadamb
Figure 43: Longitudinal Section
Figure 42: Latitudinal Section COMPONENTS
SPACES
NO. OF USERS
AREA (IN SQ M)
Administration
Entrance Foyer + Reception Waiting Area Office
10 12 3
65 35 35
Studio (with spill out space)
Studio 1 Studio 2 Studio 3 Studio 4 Spill out Space
4–5 5–6 10
45 55 135 35 98
Service
Pantry Area with Toilets
15
Other facilities
Guest Room with attached toilet
45
Parking
4 – wheeler 2 – wheeler
4–5 Max. 30
Figure 44d
Figure 44e Figure 44: Pictures of Kadamb
56
Table 4: Area analysis of Kadamb
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4.2 NRITYAGRAM, BANGLORE • Inaugurated in 1990, Nrityagram is a community of dancers in a forsaken place amidst nature. A place where nothing exists, except dance. • It was designed by architect Gerard da Cunha, following the vernacular architecture of the region.
Location
•
It is located in the North western part of Banglore, in Hessaraghatta village, about 30 kms from Banglore.
Main Road Connectivity
• •
Nrityagram Road Chikka Madurai Road
Adjacent buildings
• • •
Earth Kitchen Restaurant Varun Farms The adjacent buidings have similar function. There are institutions, farms, restaurants & resorts.
Site Area
•
4 ha = 40,000 sq m
Function
•
Gurukul based residential school, offers in Odissi, Kathak & Mohiniattam Dance form. But at present only Odissi dance form is in function. The gurus & students work together in the fields & grow their own food.
• The buildings are built of mud giving the feel of a village. Open areas have large green cover & many trees dot the place. • Geology: The Banglore city is in the heart of the Mysore Plateau. The typology if flat but the western parts of the city are hilly. Soils of Banglore consists of red laterite & loamy to clayey soils.
• Table 5: Nrityagram
• Climate: Bangalore has a tropical savanna climate with distinct wet and dry seasons. Due to its high elevation, Bangalore usually enjoys a more moderate climate throughout the year, although occasional heat waves can make summer somewhat uncomfortable.
Figure 46: Climate graphs of Bangalore Figure 45: Location of Nrityagram
Figure 47a
Figure 47b
Figure 47c
Figure 47d
Figure 47: Pictures of Nrityagram I dream of building a community of dancers in a forsaken place amidst nature. A place where you breathe, eat, sleep, dream, talk, imagine - dance. A place where all the five senses can be refined to perfection. A place where dancers drop negative qualities such as jealousy, small-mindedness, greed & malice to embrace their colleagues as sisters & support each other in their journey towards becoming dancers of merit. A place called Nrityagram.” - Protima Gauri, founder of Nrityagram.
Kathak Nrityashala, Ahmedabad 2017- 2018
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COMPONENTS
SPACES
Service Block
Office Kitchen Dining hall Cook’s room Store
Gurukul (x3) (with spill out space)
Practice hall (studio) Guru’s residence Male student residence Female student residence
Performing Space
Amphitheatre (4000 capacity)
Other facilities
Yoga Centre Temple Guest Cottages & Dormitories
Parking Table 6: Area analysis of Nrityagram
Figure 47e Figure 47: Pictures of Nrityagram
Figure 49: Plan of Gurukul & Service block
Figure 47f Figure 48: Site layout of Nrityagram
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 47: Pictures of Nrityagram 15
4.3 KALA ACADEMY, PANJIM •
The Kala Academy is Goa’s premier cultural institution & center for performing arts.
Location
•
It is situated at Campal, in the northwestern part of the Panjim, along the banks of river Mandovi.
•
It was designed by architect Charles Correa, following the vernacular architecture of the region in 1970.
Main Road Connectivity
•
Dayanand Bandodkar Marg
Adjacent buildings
• •
Campal Gardens Greenland Colony
Site Area
•
6.3 acres = 25,500 sq m
Function
• •
Museum with Academy. School of Drama, School of Western Music & School of Indian Music & Dance. It plays the role of being an "apex body to develop music, dance, drama, fine art, folk art, literature, etc. and thereby promote cultural unity of Goa.
•
Correa has successfully managed to integrate an elaborate internal street like passage into a relatively formal scheme of a performing arts venue and achieve a delicate balance between inside & outside.
•
Table 7: Kala Academy
• One is never really away from the greenery outside, from the cool breeze coming in over the Mandovi river, from the sun, from light & shadow. • The environment is very soothing; with lots of greenery & trees; & the open spaces compliment them very well. • The exterior of the building is of laterite, creating a beautiful texture which is further accentuated in the sun.
Figure 51: Climate graphs of Goa
Figure 50: Location of Kala Academy
• Goa, being in the tropical zone and near the Arabian Sea, has a hot and humid climate for most of the year, with high humidity. Goa’s soil cover is made up of laterites rich in ferric-aluminium oxides & reddish in colour. They are mostly alluvial & loamy along the riverbanks.
Kathak Nrityashala, Ahmedabad 2017- 2018
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COMPONENTS
AREA (IN SQ. M)
Administration
500
Auditorium (1000 capacity)
1300
Black Box (used as a recording studio) (200 capacity)
175
Rehearsal Room (100 capacity)
150
Meeting Room
45
Art Gallery
150
Table 8a: Area analysis of Kala Academy
COMPONENTS
AREA (IN SQ. M)
Amphitheatre (2000 capacity)
1750
Mini Amphitheatre (300 capacity)
340
Library
135
Cafeteria (100 capacity)
450
Guest rooms (with attached bathroom)
53
Classrooms (x4)
8.6
Parking (250 cars capacity)
2000
Figure 52: Plan of Kala Academy
Figure 53: Section of Kala Academy
Figure 54a
Figure 54d Figure 54f
Figure 54b
Figure 54c
Figure 54e Figure 54g
Figure 54h Figure 54: Pictures of Kala Academy
Table 8b: Area analysis of Kala Academy
Kathak Nrityashala, Ahmedabad 2017- 2018
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4.4 COMPARATIVE ANALYSIS 1. KADAMB (AHMEDABAD) Space Requirement & Relation -ship
Academy for Indian Classical Dance & Music (Kathak)
Site area: 500 sq. m
Table 9a: Comparative analysis of case studies 2. NRITYAGRAM (BANGLORE)
Academy for Indian Classical Dance (Kathak – Mohiniattam – Odissi)
3. KALA ACADEMY (PANJIM)
CONCLUSION
Museum with Academy of Performing Arts
Site area: 6.3 acres = 25,500 sq m
Site area: 4 ha = 40,000 sq. m
Figure 60: Division of spaces Figure 55: Bubble dia. of Kadamb
A
S
P
R
O
A
Figure 56: Zoning - Studios in Kadamb are surrounded by the waiting area, which I feel it does create disturbance to the classes. - Because there are many people in there, it’s always chaotic.
Figure 44f
Figure 57: Bubble dia. of Nrityagram - Organic Masterplan with the architecture having origin in traditional forms & construction. - Different types of construction for different gurukuls.
Figure 58: Bubble dia. of Kala Academy - The programme called for the creation of spaces for several performance halls, exhibitions galleries, a large auditorium, amphitheatre, an art gallery, informal public gathering spaces & lounges, in addition to the administrative block.
S P R O
Figure Relationship spaces
61: within
- To avoid disturbances, gurukuls are placed separate & amphitheatre is kept at end. - Common dining & yoga centre are placed at center.
Figure 59: Spatial Organization of Kala Academy
Figure 44: Pictures of Kadamb
Figure 47g
Figure 47h Figure 47: Pictures of Nrityagram
Kathak Nrityashala, Ahmedabad 2017- 2018
The spatial organization is relatively horizontal, organized around an orthogonal grid with an interesting play of volumes. The grid allows Correa the flexibility to manipulate spaces to create a very rich sensory experience, while at the same time, meeting the functional requirements of the programme.
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Table 9b: Comparative analysis of case studies 2. NRITYAGRAM (BANGLORE) Space Requirement & Relation ship
CLASSROOMS - A hall attached with residence of teacher, is used for teaching – odissi & mohiniattam gurukul, have closed walls with small window openings only for ventilation & light is from courtyard.
Figure 47i
- Kathak gurukul has semi open arched walls.
Figure 62: Plan of Gurukul - The entire complex is actually a garden. Most food from fruits & vegetables to grain & dal is grown. There are many sculptures used as landscaping elements.
3. KALA ACADEMY (PANJIM) AUDITORIUM (1000 CAPACITY) – 1300 SQ M - The changes are made by manipulating absorbent materials placed within inner compartments hidden from view above this ceiling. - The walls are painted illusions of an old Goan theatre. The stage is 80 cm high from the first row. Stage opening – 9.6 m Orchestra pit – 7.2 x 2.1m. No. of green rooms – 3 Figure 67: Plan of Auditorium
SERVICE BLOCK Figure 54j - This structure is the heart of the Figure 54i Figure 54: Pictures of Kala Academy centre, entire community eats here together. MINI AMPHITHEATRE (300 CAPACITY) Figure 47j – 340 SQ M Figure 47: Pictures of Nrityagram It is mainly used as an outdoor - It contains the common dining hall, kitchen, services classroom & meeting space. However & accommodation for the cook. small performances are also held here. One reaches the gurukul by going around the service It has a tread of 85cm & a riser of block. - There’s a 45cm. Torana gate - The farthest seat is 6m away & no before amplication is required. approaching - Two aisles run along either end of any building, 1.2m width. giving a - The steps have 15cm risers & 28cm sense of treads. entry. - The stage is square in shape of 7.5 x Figure 63: Plan of Service block 7.5m. AMPHITHEATRE (4000 CAPACITY) - Scooped out of the red earth & built along the lines of Roman amphitheatres, this is one of the most famous structures at Nrityagram.
Figure 54k Figure 68: Plan of Open air Auditorium
Figure 64: Plan of Amphitheatre
- It is here that several thousand people congregate every February for the annual Vasantahabbha Figure 66: Iso-view of Amphitheatre
Figure 65: Section of Amphitheatre
Kathak Nrityashala, Ahmedabad 2017- 2018
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Table 9c: Comparative analysis of case studies 1. KADAMB (AHMEDABAD)
2. NRITYAGRAM (BANGLORE)
Zoning
GUEST COTTAGES
Access
- These round structures, inspired by the yurts of Tibet & Ladakh.
Priorities
3. KALA ACADEMY (PANJIM)
TEMPLE - Built from the raw mud of Nrityagram, is dedicated to space. - Decorated with panels depicting the elements, dance motifs, mudras & designs from costumes & ghungroos.
Process Circulation
Figure 69: Zoning of spaces
YOGA CENTRE
- Reminiscent of Stonehenge, Figure 74: Circulation it is an open structure number of footfall attached to the temple. - This space is also used for in-house performances under open sky.
in
Figure 74a
Figure 70:
Circulation of spaces
Figure 72: Site access with circulation - Starting with a yoga hall & Figure 75: Site layout temple, it developed with the gurukuls along the eastern CONCLUSION edge, with the services that support them alongside on the west.
Figure 71: Waiting area
Figure 47k Figure 47: Pictures of Nrityagram Figure 73: Cluster formation - However, while this was a general concept, no definite master plan was made & growth was to take place through a gradual process of adaption.
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 76: Access to site with division of spaces
20
Table 9d: Comparative analysis of case studies
Enclosure Form & Structure Construction
1. KADAMB (AHMEDABAD)
2. NRITYAGRAM (BANGLORE)
3. KALA ACADEMY (PANJIM)
CONCLUSION
- The environment in Kadamb is very soothing. The margin left around the building are smartly developed into spill out spaces & they are directly connected with the studios.
- The four elements are gathered around a courtyard, which became a central gathering point, with the stair to the roof placed here as an element to sit on & watch the activity.
- The entrance is through a double height space with an open floor plan in the ground floor.
- Building material plays a secondary role to create such environment. It is not necessary to have pitched roof, mud plastered walls, etc. to give that feeling. - The important part is creation of such spaces through volumes, landscape, courts, etc. - But Nrityagram has a total different scenario. The architect did his best to give what the site & context provided.
- These spaces have greenery around, with birds chirping, which calms our mind. Figure 77: of spaces
Division Figure 77: Division of spaces - One moves through a very interesting series of spaces, a deliberate internal street.
Figure 47L Figure 77:
Division of spaces
Figure 47: Pictures of Nrityagram CONSTRUCTION
Figure 77:
Division of spaces
Figure 78: Sketch of open space near studio
Figure 42:
- Willful agglomeration of stone, brick. mud, tile & thatch (locally available material). - All external walls are mud plastered. - Different types of roof pattern Flat rough granite slabs. Stone plinth beam, column & capital Manglore tile Thatch pitched roof Figure 47m
Latitudinal Section Figure 47: Pictures of Nrityagram
Figure 79: Sectional Elevation
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 78: Sketch of entrance plaza - One is never really away from the greenery outside, from the cool breeze coming in over the Mandovi river, from the sun, from light & shadow.
Figure 80: Section of kala academy Figure 54L
Figure 81: Sketch of auditorium entrance - There are walls which have been given depth & life through realistic Figure 54m perspectives of arcaded streets, of Figure 54: Pictures projecting balconies, of of Kala Academy staircases, of windows, of doorways.
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CHAPTER 5
Kathak Nrityashala, Ahmedabad 2017- 2018
5.0 SITE ANALYSIS 5.1 LOCATION OF SITE Location
Main Road Connectivity Area
• The site is located in the new west zone of Ahmedabad, in the area Prahaladnagar. • It is the part of the Chimanlal Patel Institute of Management campus. • Corporate Road • S.G. Highway • Jodhpur Gam Road • 7170 sq. m
Table 10: Site information
Parth Bungalows
Jodhpur Gam Road
Sarkhej Gandhinagar Highway
Corporate Road
SITE
Rajdeep Bungalows
Chimanbhai Patel Institute
Shapath IV
Riviera Bungalows
Figure 82: Site location
Sabarmati River 120 ft Ring Road Walled City Road Figure 84a
S.P. Ring Road
Figure 84b
132 ft Ring Road
180 ft Ring Road Figure 84: Site Pictures
Figure 83: Ring Roads of Ahmedabad
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5.2 ACCESSIBILITY
Figure 86a
Rajpath Club
Figure 86b
Figure 86c
Iscon Temple Iscon Cross Roads Figure 86d
Wide Angle Cinema
Karnavati Club
Shalby Hospital Figure 86e Figure 86: Pictures of Adjacent Buildings
Shapath IV
Adjacent Buildings Figure 85: Site Context
Site
Road Accessibility: - There’s no problem in the road connectivity, as it is located along the SG Highway. - The highway is in the middle of SP ring road & 132 ft ring road, which encircles all the ring roads.
Airport
Site
Site Context
Figure 87: BRTS road network of Ahmedabad
Kathak Nrityashala, Ahmedabad 2017- 2018
Railway station
Figure 88: Distance between site & airport, railway station
Public Transport: - BRTS Iskon stop is the nearest one. - However, AMTS bus stands are well-connected throughout the highway. 23
5.3 CLIMATE STUDY WITH EXISTING NATURAL FEATURES
Figure 89: Climate study of the site (sun path & wind direction)
Figure 90: Site Sensitivity
Macro Climate: Micro Climate: - Climate of Ahmedabad - The western edge being along the highway is a is ‘hot & dry’ weakness as the road experiences heavy traffic throughout the year. throughout the day, which creates noise pollution. - Max. temperature in summers is 47 deg C. - Cold north winds are responsible for chilly winters in January, min. temperature ranging from 15 deg to 30 deg C. - The average annual Figure 91: Climate graphs of Ahmedabad rainfall is about 800930 mm.
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5.4 SITE CONTEXT & SWOT ANALYSIS
87 m
70 m
A
110 m
B’
B
Figure 92: Site context analysis
A’
Commercial Residential Institutional
Figure 93: Site sections
Figure 94a
Figure 94b
Figure 94: Pictures of Chimanlal Patel Institute
Strength
• • • •
Figure 94c Table 11: SWOT Analysis
The location of the site is very positive in terms of context. It has major highway connectivity. Mixed use land use – no industries around. The campus has the perfect environment amidst nature.
Weakness
• Traffic during peak hours, which is very noisy & such a pain in head.
Opportunity
• Future expansion can be idea when time comes. • Area in which the site is developing rapidly, so it has great chances of opportunity.
Threat
• The institute is related to management & proposing dance school here, can create disturbance during working hours. Maybe, this can hinder the dance school in future.
Kathak Nrityashala, Ahmedabad 2017- 2018
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CHAPTER 6
Kathak Nrityashala, Ahmedabad 2017- 2018
6.0 DESIGN APPROACH 6.1 ACTIVITY ANALYSIS 6.1.1 A SPACE MAPPING – RELATIONSHIP WITH SPACE & USER
Figure 95: Space mapping – relationship within spaces
Figure 96: Space mapping – relationship with space & user
Kathak Nrityashala, Ahmedabad 2017- 2018
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6.1.2 B SPACE MAPPING – RELATIONSHIP WITH SPACE
Figure 95: Space mapping – relationship within spaces
5.2 AREA PROGRAM COMPONENTS
SPACES
NO. OF USERS
AREA (SQ. M)
ADMINISTRATION
DIRECTOR’S OFFICE ASSISSTANT’S OFFICE ACCOUNTS MANAGER’S ROOM TECHNICAL HEAD ROOM MEETING ROOM WAITING AREA PANTRY GUEST’S STAFF ROOM
1
28
VISITORS ADMIN & RECEPTION
RECEPTION WAITING AREA TICKET COUNTER TOILETS (F) (M)
35
8-10
includes attached toilet includes cashier, safe, etc.
25
15 20 1
15
2 3 – WC 4– URNINALS 2 – WC
10 15 18
123 sq. m
for shows
58 sq. m
Table 12a: Area table
Kathak Nrityashala, Ahmedabad 2017- 2018
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6.2 AREA PROGRAM COMPONENTS
SPACES
NO. OF USERS
AREA (SQ. M)
SCHOOL OF DANCE
STUDIO 1 STUDIO 2 CHANGING ROOMS, LOCKERS & TOILETS
10 5
2x124= 248 2x68= 136
3 – ROOMS 2 – WC
2x45= 90
6-8 1 3-4 10-15 10-15
20 15 24 75 35 8
50
135 70
WAITING AREA MEETING ROOM H.O.D OFFICE STAFF ROOM LIBRARY AV ROOM WASHROOM
CAFETERIA
SEATING KITCHEN + STORAGE
AUDITORIUM
STAGE SEATING GREEN ROOMS SCENE DOCK FOYER
200
GUEST ROOMS 2 SHARING DORMITORIES KITCHEN DINING AREA
205 sq. m
reception + toilets
CONTROL ROOM WAITING AREA
RESIDENCY
70 275 2 x 45= 90 2 x 18= 36 24
651 sq. m
18 513 sq. m 2 5 6 20-25
2 x 28= 56 45 56 20 24 201 sq. m
Table 12b: Area table
TOTAL
1751 sq. m
(excluding circulation, waiting areas & semi-open spaces)
6.3 CONCEPTUAL 6.3.1 A ORIGIN & PROPORTIONS
Figure 97: Origin of Kathak dance
Kathak Nrityashala, Ahmedabad 2017- 2018
28
Figure 99: Muslim form of kathak
Figure 98: Mughal proportion
Figure 100: Hindu form of kathak
Open spaces Figure 101: Basic grid
Figure 102: Transformation of grids into spaces
Corridors
Built-up spaces
Figure 98: Mughal proportion
A golden rectangle (in pink) with longer side a and shorter side b, when placed adjacent to a square with sides of length a, will produce a similar golden rectangle with longer side a + b and shorter side a. Figure 103: Golden ratio
Grid proportions are used in designing spaces, as classical dance has particular format which is to be followed but still it looks very pleasing; same goes with the grid. The Kathak dance form origins are linked with Mughals.
Figure 104: Bubble diagram of spaces
The Mughal architecture is very well-known for its proportions (golden proportion), like Humayun’s tomb, Taj complex, to name a few.
Kathak Nrityashala, Ahmedabad 2017- 2018
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6.4 DESIGN STAGE 1
Figure 105: Design process
• Initial basic idea was to have amphitheater organized centrally & giving spaces around it. • Different composition gave the idea of amphitheater as plaza, giving a grand entrance to the building.
Figure 105: Design process Figure 106a
Basic Grid (4m x 4m)
Golden rectangle Grid
Figure 107: Grid Diagrams
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 106b
Figure 106c Figure 106: Conceptual zoning model
30
Figure 108: Conceptual diagram
Figure 109: Entrance of the institute through amphitheater (conceptual diagram)
Max. number of footfall (Public visitors)
Figure 108: Conceptual diagram
Min. footfall (Public visitors) Private footfall
Admin Dance School + Residency Amphitheatre
Auditorium
Cafeteria Figure 110: Zoning of the institute
Figure 112a
Figure 111: Number of footfall in the institute (circulation)
Figure 112b
Figure 112c
Figure 112d
Figure 112: 3D views
Kathak Nrityashala, Ahmedabad 2017- 2018
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6.4 DESIGN STAGE 1
Figure 114
Figure 113: Initial idea was to have the entrance through colonnades surrounding amphi, which acts as the public plaza, just like St. Peter’s Church in Italy.
Ground Floor Plan with Section AA’
Figure 115
First Floor Plan with Section BB’
Kathak Nrityashala, Ahmedabad 2017- 2018
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6.5 DESIGN STAGE 2
Figure 116
Ground Floor Plan
Figure 117
Section & Elevation Kathak Nrityashala, Ahmedabad 2017- 2018
33
6.6 DESIGN STAGE 3
Figure 118a
Figure 118b
Figure 118c
Figure 118d
Figure 118e
Figure 118f
Figure 118g Figure 118h
Figure 118: 3D views (Stage 3)
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 119: Stage 3 panel sheet 34
6.7 DESIGN STAGE 4
Figure 120a Figure 120b
Figure 120c
Figure 120d Figure 120e
Figure 120: Design process (zoning according to grid)
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 121: Stage 4 panel sheet 1 35
6.7 DESIGN STAGE 4
Figure 123a
Figure 123b
Figure 123c
Figure 123d
Figure 123e
Figure 123f Figure 123: Model pictures (stage 4)
Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 122: Stage 4 panel sheet 2 36
Figure 124a
Figure 124c
Figure 124b
Figure 125c
Figure 124: Site Context Model pictures
Figure 125a
Figure 123g
Figure 123h Figure 125b
Figure 123: Model pictures (stage 4)
Figure 125: Model pictures (stage 1)
Kathak Nrityashala, Ahmedabad 2017- 2018
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BIBLIOGRAPHY Sharon Lowen. (2008). Philosophies/Methodologies/Pedagogy –Training Students in the Classical Performing Arts of India.
Nikita Verma. (2014). Architectural Undergraduate thesis, School of Planning & Architecture, New Delhi. Cultural & Performing Arts Institute, Bengaluru. (January 2012). Architecture Student’s Corner blogspot. Charles Correa, Kala Academy, Goa. (October 2010). Sacred space blog. Nrityagram: Living for dance. (October 2016). Theatre Solutions Inc. Auditorium Seating Layout & Dimensions – The Complete Guide. Sharon Lowen. (April 2016). Challenges for Indian Classical Dance. Cultural India. Indian Classical Dance: Kathak. Shodhganga. Chapter 6: The Role & Position of Classical Dance in Modern India. Suprava Mishra. (May 2001). The Role of Indian Classical Dance in Education. (2016). General Development Regulation Control GDCR. Youssef Yahya. (January 2015). Architectural Undergraduate thesis, King Abdulaziz University. Art & Cultural Center, Jeddah.
Kathak Nrityashala, Ahmedabad 2017- 2018
ANNEXURE List of Figures Figure 1: Indian Classical Dance forms – Kathak, Bharatnatyam, Kathakali (from left) Figure 2: Kathak Guru Vaishali Trivedi Figure 3: Sketches of Existing Studio Figure 4: First floor layout (Existing dance studio) Figure 5: Pictures of Existing dance studio Figure 6: Different methodologies of training Figure 7: Pictures of Mudra School of Dance Figure 8: Pictures of Sangathi School of Dance Figure 9: Pictures of Kruti Mehta Dance Class Figure 10: Sketch of Office standards Figure 11: Sketch of Meeting room standards Figure 12: Sketch of small library standards Figure 13: Cafeteria seating guidelines Figure 14: Tables-Seating measurements in plan Figure 15: Distance between tables in cafeteria Figure 16: Ratio between dining & kitchen area Figure 17: Division of a café’s kitchen Figure 18: Typical dance studio Figure 19: Basic diagram of cavity wall for insulation Figure 20: Dance Studio standards Figure 21: Auditorium arrangements standards for 200-300 people Figure 22: Auditorium seating standards for 200-300 people Figure 23: Auditorium section standards Figure 24: Amphitheatre layout Figure 25: Seating standards Figure 26: Amphitheatre section Figure 27: Typical costume room Figure 28: Typical scene dock – set room Figure 29: Built-Open ratio Figure 30: Min. courtyard size Figure 31: Ratio of courtyard with building height Figure 32: Margin to be left in accordance with the road width & margin usage Figure 33: Truck parking dimension Figure 34: Car parking- one-sided Figure 35: Car parking- two-sided Figure 36: Bike parking Figure 37: Corridor sizes Figure 38: Temperature graph of Ahmedabad Figure 39: Location of Kadamb Centre Figure 40: Ground floor layout Figure 41: First floor layout Figure 42: Latitudinal Section Figure 43: Longitudinal Section Figure 44: Pictures of Kadamb Figure 45: Location of Nrityagram Figure 46: Climate graphs of Bangalore Figure 47: Pictures of Nrityagram Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 48: Site layout of Nrityagram Figure 49: Plan of Gurukul & Service block Figure 50: Location of Kala Academy Figure 51: Climate graphs of Goa Figure 52: Plan of Kala Academy Figure 53: Section of Kala Academy Figure 54: Pictures of Kala Academy Figure 55: Bubble diagram of Kadamb Figure 56: Zoning of Kadamb Figure 57: Bubble diagram of Nrityagram Figure 58: Bubble diagram of Kala Academy Figure 59: Spatial Organization of Kala Academy Figure 60: Division of spaces Figure 61: Relationship within spaces Figure 62: Plan of Gurukul Figure 63: Plan of Service block Figure 64: Plan of Amphitheatre Figure 65: Section of Amphitheatre Figure 66: Iso-view of Amphitheatre Figure 67: Plan of Auditorium Figure 68: Plan of Open air Auditorium Figure 69: Zoning of spaces Figure 70: Circulation of spaces Figure 71: Waiting area Figure 72: Site access with circulation Figure 73: Cluster formation of Nrityagram Figure 74: Circulation in number of footfall Figure 75: Site layout of Kala Academy Figure 76: Access to site with division of spaces Figure 77: Division of spaces Figure 78: Sketch of open space near studio Figure 79: Sectional Elevation Figure 80: Section of kala academy Figure 81: Sketch of auditorium entrance Figure 82: Site location Figure 83: Ring Roads of Ahmedabad Figure 84: Site Pictures Figure 85: Site Context Figure 86: Pictures of Adjacent Buildings Figure 87: BRTS road network of Ahmedabad Figure 88: Distance between site & airport, railway station Figure 89: Climate study of the site (sun path & wind direction) Figure 90: Site Sensitivity Figure 91: Climate graphs of Ahmedabad Figure 92: Site context analysis Figure 93: Site sections Figure 94: Pictures of Chimanlal Patel Institute Figure 95: Space mapping – relationship within spaces Figure 96: Space mapping – relationship with space & user Figure 97: Origin of Kathak dance Figure 98: Mughal proportion Kathak Nrityashala, Ahmedabad 2017- 2018
Figure 99: Muslim form of kathak Figure 100: Hindu form of kathak Figure 101: Basic grid Figure 102: Transformation of grids into spaces Figure 103: Golden ratio Figure 104: Bubble diagram of spaces Figure 105: Design process Figure 106: Conceptual zoning model Figure 107: Grid Diagrams Figure 108: Conceptual diagram Figure 109: Entrance of the institute through amphitheater (conceptual diagram) Figure 110: Zoning of the institute Figure 111: Number of footfall in the institute (circulation) Figure 112: 3D views (Stage 1) Figure 113: Initial idea was to have the entrance through colonnades surrounding amphi, which acts as the public plaza, just like St. Peter’s Church in Italy. Figure 114: Ground floor plan with section AA’ (Stage 1) Figure 115: First floor plan with section BB’ (Stage 1) Figure 116: Ground floor plan (Stage 2) Figure 117: Section & Elevation (Stage 2) Figure 118: 3D views (Stage 3) Figure 119: Stage 3 panel sheet Figure 120: Design process (zoning according to grid) Figure 121: Stage 4 panel sheet 1 Figure 122: Stage 4 panel sheet 2 Figure 123: Model pictures (stage 4) Figure 124: Site Context Model pictures Figure 125: Model pictures (stage 1) List of Tables Table 1: Study of three privately-owned dance schools run by a particular guru Table 2: Activity Standards Table 3: Kadamb Centre for dance Table 4: Area analysis of Kadamb Table 5: Nrityagram Table 6: Area analysis of Nrityagram Table 7: Kala Academy Table 8: Area analysis of Kala Academy Table 9: Comparative analysis of case studies Table 10: Site information Table 11: SWOT Analysis Table 12: Area table
Kathak Nrityashala, Ahmedabad 2017- 2018