B.Arch-Thesis/Rajeshwari-Ragampudi

The story of my thesis

The film industry is arguably one of the most impactful sectors in modern society. Sitcoms and comedy shows make us laugh, psychological thrillers help us see the world from an improved perspective, and historical films help us understand where we’ve come from as people. Every video and every film reflects society and transforms opinions.

Movies hold an undisputed raw power, so much so as to cause a revolution. They inspire us, shape culture and create awareness about multiple aspects of life.

After writing my dissertation on Understanding the filmic portrayal of elements in space through the study of Satyajit Ray’s films to examine the human emotional relationship with built environment, realised Filmic space can propose a different relationship between architecture and people. In order to streamline this into my thesis project, tried to analyze what could be done to make film education any different or unique.

If we think about the present day scenario, we are living in a world that is changing constantly. Films are not just for entertainment but a necessity for societies to run smoothly. While a lot of films have been true to their purpose, creating awareness about issues creatively, or recreating certain events to revisit history, some films have been disappointing. In todays ever changing, fast paced world, we cannot afford to slow down. Important tools like films that have the ability to reach a large amount of people is necessary to preserve.

Indian culture and awareness of arts in its general meaning is evolving and people are showing more appreciation of art and media before, the new generation is passionate about this field and have countless talent in art and filmmaking fields. There is a need for practical film education centers in India.

This projects aims to create a platform that embraces performing arts and filmmaking and empowers talents from all over the world. In addition to multi disciplinary workshops, cultural events, opportunities and jobs, with all required support and infrastructure, this projects is built with the hope to achieve a significant place in the world's development in arts and accomplish a vital role in the filmmaking industry.

physical manifestion of his ideology is the establishment of the Santiniketan school in 1901. the school which was moulded by ancient principles and grew into an international university, ‘Visva Bharati’. The motto is where the whole world is in a single nest.

FILM EDUCATIONIN INDIA

TelevisionInstitute,Assam

SatyajitRayFilmand TelevisionInstitute,Kolkata NationalInstituteofDesign,Ahmedabad

FilmandTelevisionInstitute,Pune

GovernmentFilmandTelevisionInstitute,Bangalore

K.R.NarayananNationalInstituteofVisualScienceandArts

India produces around 1300 feature films a year. There are around 800 channels on television. However, the moving image industry faces severe, crippling shortage of skilled manpower. This is a field where training is required. Even so, why is there no rush for these courses?

BijuPattanaikFilm&Television InstituteofOdisha

AnnapurnaInternationalSchoolofFilmand Media,Hyderabad

LVPrasadFilmInstitute,Chennai

IMPORTANCE OF THE CHALLENGE

The main issue faced by film students in India is the lack of practical or experiential knowledge gained by the process of physically experiencing it and lack of opportunities to get them involved. Another problem is the lack of infrastructure to equip advanced production technology so that the entire production could take place under one single roof.

A successful education system is necessary for a profession like filmmaking. Infrastructure needs to be designed to create an experiential way of learning, make students feel like they are a part of every aspect of their study and practise. Improving the learning environment for students could enhance their creative skills.

Spaces can be created to attract the public and the communities to visually experience the filmmaking process. This in turn could generate interest in them to participate and contribute to it.

Designing a mixed use development which involves film schools and art centres could energize the film industry in the community, both in terms of the education they get and in terms of generating public awareness and interest.

UPLIFTMENT OF CULTURAL ARTS

ThedyingartofBohurupi

Fig

Linking nature into the building by finding ways to integrate open spaces and transitional spaces to form a creative environment is important.

Also, how the introduction of a multi use program which includes institutional space, studio, offices, museum, etc. can encourage film studies in a different way

ARCHITECTURAL

KOLKATA: The Union culture ministry is mounting a renewed campaign to secure the status of Unesco World Heritage Site for Santiniketn

CHALLENGE AT LOCATION

2007, p.17)

Belawadi Indian

This complex could be visualised as a mini theme park where people can sequentially experience the filmmaking process through the educational block and also participate and engage in the cultural performances at the cultural arts block.

Approximately 160,800 people are required by the film industry to produce 1600 films in a year corresponding to a crew of 100 150 people per film.

Although close to 200,00 people are employed by the film industry, close to 90% of the workforce has been trained on the job rather through formal trainings resulting in non standardised skill sets.

The given site’s unique shape can be used to perfectly fit the program requirements. The project will aim to be designed without touching the existing landscape and use the water body as a part of the complex.

Physical Factors in relation to Tagore’s philosophy gave a vital perspective on the architecture of Santiniketan The need for world co operation arise in Rabindranath’s mind during 1914 18 war. He began preparation to add a center of Indian Cultures to the Santiniketan. The name Visva Bharati was givenby Tagore. Its Sanskrit motto, ’Yatra visvam bhavati eka nidam’, meaning ‘the world in one nest’, is taken from Vedic text. A university where all culture can come and share their knowledge together.

SCOPE OF PROJECT

Emphasis on Culture and Education

“…in the hollows of the sandy soil, the rainwater had ploughed deep furrows carving out miniature mountain ranges full of red gravel and pebbles of various shapes through which rantiny streams...the geography of the lilliput…everything there, the dwarfed date palms, the scrubby wild plums and the stunted jambolans was in keeping with the miniature mountain ranges…”

Khoai in Bengali refers to a geological formation specifically in Birbhum, Bardhaman and Bankura districts of West Bengal that is made up of laterite soil rich in iron oxide often in the shapes of tiny hills. This is like natural canyon caused by the effect of wind and water erosion on red laterite soil.Khoai is called part of the India's natural heritage.

West Bengal’s climate varies between tropical wet dry & Humid. The state faces two major seasons heavy monsoon with an average 1500mm rainfall and harsh summer. Topography of Bengal is broadly divided into two Gangetic planes and Himalayan areas.

WHY SHANTINIKETAN?

Some of the key motivators for staying here have been primarily the small town atmosphere, which implies knowing the people and developing a neighborhood kinship Access to educational facilities has been a prime motivator with the presence of Visva Bharati and its overwhelming influence on local people and outsiders. Some other inspiring factors for retaining people are particularly its culture, natural environment and overall convenience of being in a small town. For the urban inhabitants, strong social networks emerge as key motivators followed by good educational facilities.

In Rabindranath’s thoughts, philosophy, history and science combine with the details of day to day living to create a unique vision that is reflected in his entire body of works in the architecture he conceptualised.

TAGORE’S CONCEPT OF SPACE

Body and soul must freely touch nature

Freedom

mind & body; an intimate connection to nature

Creation of a form of unity; a synthesis of cultures

The

The library is a place where the natural sunlight from above, the sound of nature and the darkness the surround the courtyard, come together in unison This room consists of a wall lined with book, a meeting room, a Librarian counter, and multimedia area in the center of the room.

FLOOR PLAN

The canteen is an open air building.

SITE PLAN

The planning of the services is noteworthy, all kept away from the access road.

Circulation within site is pretty good.

The campus is located in a very secluded region.

Access

Service access A clear demarcation of programs must be done during the site planning.

Incorporating open spaces promotes interaction between students as well as the respective spaces.

Circulation within the complex should be take care of keeping in mind various gathering spaces.

Location of services to be kept away from all main access points.

PROGRAM

MATERIALS

A brick is an everyday material for common cultural heritage of Thai society. The simplified from of the brick is transformed into a universal geometric space. It goes beyond both light and wind which is simple aesthetics sense. It is an easy to understand building where the brick wall does not give the sense of solidity but is gives the surface homogeneous of sunlight.

Stone pebbles and blocks used in the outdoor corridors

Epoxy mixed cement for the flooring in the interior spaces

Pigmented concrete that is left natural and raw with the imprints of the wooden framework

The spatial planning needs to keep in mind the play of light, sound and wind. In both the institutes a play of nature is incorporated in the design as a

the red brick exterior welcomes the green of nature.

central circulation walkway. The walkway is an outdoor space yet gives the notion of a volume because of the presence of trees and especially the undulating walls on both sides

The lecture hall is a 100 seat large hall that can be divided into two rooms whenever needed.

The studio needs a film editing room, a sound editing room, a sound mixing room, a recording room, a technical service room, a computer server room, an animation computer laboratory, a fine arts studio, bathrooms and film equipment storage.

The library consists of a digital library, bookshelves, a general reading area and a private study room.

The canteen needed a dining area, a pantry, a common area and bathrooms.

Administration office

office, the dean’s

head’s department office,

The building forms descend into the ground and ascend out creating paths and spaces in flux and encouraging motion from different unconventional vantage points to allow students to explore spatial paradigm shifts necessary to understanding and planning scenography.

Internal spaces are articulated with wooden planks as a softening strategy that also resolves acoustical challenges

Film screens showcasing students works or interacting with the community through films

1. In case study 1 we see brick being used as a response to the local climate as well as a means of revival of the culture. The local climate is similar to that in Shantiniketan so the exploration of brick as a construction material is important.

2. In case study 2, the use of concrete is in response to providing a minimal contrast to the huge built form. The pigment in the concrete adds on to the overall color palette. In our project, we can look in to playing with pigments to manipulate the color palette while working with concrete.

In order to claim the majority of the property to landscape, many functions were pushed to sub grade levels, in turn, giving a non abrasive sculptural disposition of buildings above.

The basic concept to be implemented in the form is ike montage in filming, different spaces and building forms are juxtaposed as single layers In movies, dynamic motion is used to manipulate different scenes, this technique can be used to increase/decrease the speed of movement through ramps/staircases

Great films are a by product of collaborative and synergetic team effort. Most circulation spaces and open outdoor ones are articulated to become social and celebratory domains where conversations and exchange of ideas are not only welcomes but enhanced and promoted.

chairperson’s

department office, the

the lecturers’ office, a financial office, a registration office, a student affairs office, an academic office, a conference room, bathrooms and a pantry

The

Name: Satyajit Ray Film Institute and Cultural Arts complex Location Shantiniketan West Bengal

The designing of the transition spaces from public to private is noteworthy.

It is important to provide a strong connection between the pubic and private spaces but also maintain the sense of boundary.

• Including local architectural concepts brings up the cultural value of the complex.

• Form should play with shape and levels.

ELEMENTS

AREA PROGRAMMING

MAPPING

Vertical circulation Size of lift cabin = 1100 (W) X 1400 (D) Size of lift shaft = 1550 (W) X 1750 (D) No. Of lifts = 8 Area for vertical circulation = 35 sq.m

Services on site

Technical rooms (4) = 80 Waste storage = 50 Mechanical & electrical room = 300 STP = 200

Transformer yard = 30 DG Yard = 25 Circulation = 133 Total area = 798 sq.m

Parking

ECS For every 100 sq.m

DEPT. OF DIRECTION

Academic block = 180 Cultural arts complex = 360

Reducing acc. To context = 300

Total no. = 480 Total area = 5000 sq.m No. of Bicycle parks = 100 Total area = 100 sq.m No of 2 wheeler parks = 150 Total area = 300 sq.m

Total area of parking = 5,400 sq.m

Total areas

Total area of 4 depts. = 1915 sq.m Total area of rec + admin = 574.5

Total area of cultural arts complex = 3100 sq.m

Total built up = 5600 + 35 800 = 6435 sq.m Ground coverage < 40%

STANDARDS

Film Institute

Cultural arts complex

OUT INTERSECTING SPACES

Reception

Admin block Experience rooms Music hall Dance hall Yoga hall Workshop areas Retail store

Film Institute Cultural arts complex Dept. of Cinematography Dept. of Direction Dept. of Screenplay Writing Dept. of Production design

Performing Dept. Public Dept.

ADJACENCY MATRIX

Kitchen

Backstage media system Dressing room Offices Rehearsal room Multipurpose hall Toilet

Backstage media system Dressing room Offices Rehearsal room Multipurpose hall Toilet

Toilet

Classroom theatre Computer lab Dept. of Direction Dept. of Screenplay writing

Amphitheatre Exhibition area Preview theatre Screening hall Cafeteria kitchen Cafeteria Retail stores

Performing dept. Public dept.

SYNERGISING CINEMA IN ARCHITECTURE

Architecture has always sought associations with other fields of art like music, dance, literature, cinema, etc. in bringing out the nuances of its own narrative. Architecture narrative is structured and translated into form using parameters of space, events, movement and time.

Step 1: Conceiving the story

People became characters of their own story, the very spaces they inhabit

Architects can draw similarities to the process of narrative translation in architecture by dissecting the language used for narrative processes in cinema. This can be adapted to architecture to evolve a new way in which architecture and cinema can collaborate.

Thenarrativeof Shantiniketan’s architecture

Step 2: Breakdown of narrative as spatial diagrams

Architectural narratives can be broken down into a sequence of spaces and programs

Creating a community’s sense of place.by creating a collection of qualities and characteristics that provide meaning to the location and that which is unique to the individuals

Sequencing the plan

Spatial adjacencies, relationships between them, treatment of starting and ending points can be determined. Architectural narrative can help multiple narratives as multiple users are involved, mapping the intersections gives points of experiential encounters in the space

A space should be designed in such a way that it responds to movement patterns.

Step

3: Mapping movement trajectories

Derive parameters of design solely from the events that happen in the individual sequences

Step 4: Storyboarding the narrative

Derive parameters of design solely from the events that happen in the individual sequences

ENTRANCE ARRIVAL RELEASE

Map the trajectories of the multiple users so that the space is a direct response to the people and their movements

The sequential exploration of architectural space helps foster a relationship between user and space.

Juxtaposing the transition between spaces and the spaces of transition can help enhance the experience to be created inside experiences are not fitted in plans, plans are fitted in experiences. Over time the user adds his/her own experience and memory to the space hence evolving the narrative.

The scale of sculpting can be experienced here with juxtaposition of two different styles of pillars, with the light and shadow creating an endless story

WHAT WOULD BE THE ARCHITECTURE IN SHANTINIKETAN?

The question has multiple answers, but more than fulfilling the need, its relation and responses towards the vast paradigm created by Tagore & his colleagues is more important. As a result of Tagore & his team’s constant search for the ‘Indianness’ in Santiniketan the current architecture is eclectic in its nature & expression. In this quest, they kept experimenting with building expressions, materials, typologies, construction techniques and many other such factors which led to multiple answers to the question regarding ‘Indianness’, raised by architectural practices across the country.

Therefore, the project might have multiple answers. But being in that position, along with it being respectful towards the heritage, it should complement its timeless inspiring culture

The illustrations show various

at Santiniketan. It includes a pattern of learning spaces across the institutions, starting from learning under a tree in Patha Bhavana till Indoor experiments and Outdoor workshops in Kala Bhavana. These illustrations also give a hint regarding thought on future typologies on the campus on the basis of their pedagogy.

of

Juxtaposition of space The events that happen within it Movement of bodies through it The program that brings it alive

ARCHITECTURE

SPACE EVENT MOVEMENT TIME

Architecture is a conversation, and architects are the storytellers Bernard Tschumi

EVOLVING A CINEMATIC NARRATIVE PROCESS IN ARCHITECTURE

Light and shadows combine to create a poetic form in a corner of the first floor of Udayana

Symmetrical windows is a common element that resonates the principle of ‘similarity and repetition’. Repetition of elements is used to create motifs and the feeling of parallelism

A temple attached with an open courtyard within the house, the usage of arches instead of doors was to create a symbol, a link between two divergent visions.

Experiences in architecture are created not only through the built forms but the threshold around it similar to the concept of filming in cinema

Observations from campus at Santiniketan

typologies

learning spaces

Types of learning spaces at Santiniketan

Concept of the Experiential rooms ✓ It begins with the “experience below ground”.

✓ Each room expresses an emotion through the architectural elements inside. ✓ The design vocabulary has been derived from the dissertation topic. Understanding the filmic portrayal of elements in space through the study of Satyajit Ray’s films to examine the human emotional relationship with built environment. ✓ The space also contain a mini amphitheatre shaded by the floor plate above creating a different performing experience compared to the ground floors. ✓ The 10m wide staircase leading to the rooms double up as a social creative space

Signage for the complex, inspired by the traditional details imbibed in the architecture of Shantiniketan The color purple is used to add a royal, mystic feel

RECYCLINGWATERONSITE

Prevents disease by minimizing water contact with the leaves, stems, and fruit of plants. Allows the rows between plants to remain dry, improving access and reducing weed growth. Saves time, money, and water because the system is so efficient. Decreases labor.

Increases effectiveness on uneven ground.

Reduces leaching of water and nutrients below the root zone

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