Chalchitra Kala Bhawan : The permanent complex for the International Film Festival of India by Rishabh Wadhwa

CHALCHITRA KALA BHAWAN Permanent venue for the International Film Festival of India in Goa

Submitted by:Rishabh Wadhwa

Guided by:Ar. Raunak Prasad & Ar. Bineet Chhajer

SCHOOL OF ARCHITECTURE & DESIGN Faculty of Design Manipal University Jaipur December, 2017

CERTIFICATE

We hereby certify that the Thesis Report entitled ‘Chalchitra Kala Bhawan’, prepared by Rishabh Wadhwa under our guidance, be accepted as a requirement for the partial fulfillment of the Degree of Bachelor of Architecture. Dated: 14th Dec. 2017

Ar. Bineet Chajjar

Ar. Raunak Prasad

Guide

Co- Guide

Prof. Sunanda Kapoor

Prof. (Dr.) Madhura Yadav

Thesis Coordinator

Director

External Examiner

â&#x20AC;&#x153;What ever good things we build, end up building usâ&#x20AC;? -Jim Rohn When I started this project, I thought I knew it all, I thought I had learned everything. I truly believed that the my dissertation would just be a stage for showcasing my talents. The journey from then to now has been nothing short of humbling. At each point while designing, I made mistakes, I learned to ask for help & I learned to accept it. The project has developed in me the virtue of patience and the courage to be wrong and to accept it, and for that I am forever grateful.

ACKNOWLEDGMENT First and foremost, I have to thank my thesis guides, Ar. Raunak Prasad & Ar. Bineet Chajjar. Without their assistance and dedicated involvement in every step throughout the process, this project and the report would have never been accomplished. I would like to thank you very much for your support and understanding over these past four years. I would also like to show gratitude to all the proffessors who have guided me throught the process, including Prof. Madhura Yadav, Prof. Sunanda Kapoor, Ar. Shamini Shankar & Ar. Anil Baraya. I would also grab this opportunity to express my sincerest gratitude to the institution of Manipal University Jaipur, that gave me the platform to successfully complete this project. Getting through my dissertation required more than academic support, and I have many, many people to thank for listening to and, at times, having to tolerate me over the past five years. I cannot begin to express my gratitude and appreciation for their friendship. I will take this opportunity to thank all my classmates, my seniors and my juniors for constantly believing in me and for being honest in their reviews to help me become a better designer and a person. Most importantly, none of this could have happened without my family. To my parents and my sisterâ&#x20AC;&#x201C; it would be an understatement to say that, as a family, we have experienced some ups and downs in the past five years. Every time I was ready to quit, you did not let me and I am forever grateful. This dissertation stands as a testament to your unconditional love and encouragement.

Table Of Contents Chapter 1 : Synopsis.......................................................................................................12 1.1 Introduction................................................................................................12 1.2 Reasons for proposing this project.............................................................12 1.3 Reasons for choosing this project...............................................................13 1.4 Aim & Objectives.......................................................................................13 1.5 Scope of the work.......................................................................................14 1.6 Methodology...............................................................................................15 1.8 Possible Case Studies.................................................................................16 1.7 Proposed Site..............................................................................................16 Chapter 2 : Library Study...............................................................................................17 2.1 International Film Festival of India............................................................17 2.1.1 IFFI Venues ......................................................................................18 2.1.2 The Ticketing system at the IFFI......................................................21 2.1.3 Masterclasses & Workshops.............................................................21 2.1.4 Laser projections...............................................................................21 2.1.5 Other events at IFFI..........................................................................22 2.1.6 IFFI & Goa........................................................................................23 2.2 Entertainment Society of Goa ....................................................................24 Chapter 3 : Case Studies.................................................................................................29 3.1 Nandan Complex .......................................................................................29 3.1.1 Reasons for selection of this case study............................................30 3.1.2 The Site.............................................................................................30 3.1.3 History..............................................................................................30 3.1.4 Site Planning.....................................................................................30 3.1.5 Site Zoning........................................................................................32 3.1.6 User behavior & site sections...........................................................34 3.1.7 Buildings on site...............................................................................36 3.2 Palais de Festivals.......................................................................................38 3.2.1 Reasons for selecting this case study................................................39 3.2.3 History..............................................................................................39 3.2.4 Reasons for selecting this case study................................................39 3.2.2 The Site.............................................................................................39 3.2.4 Zoning & floor plans.........................................................................42

3.2.5 Various areas within the building......................................................43 3.2.6 Building Circulation..........................................................................44 3.2.7 Axillary functions within the building..............................................44 3.3 Comparative Analysis.................................................................................45 Chapter 4 : Site Analysis & Program Formulation.........................................................52 4.1 The context of Goa.....................................................................................52 4.1.1 Goa....................................................................................................52 4.1.2 Site Connectivity...............................................................................52 4.1.3 Geography & Climate.......................................................................53 4.1.4 Subdivisions......................................................................................53 4.1.5 Flora & Fauna...................................................................................54 4.1.6 Demographics & population.............................................................55 4.1.7 Religion.............................................................................................55 4.1.8 Culture...............................................................................................56 4.1.9 Architecture.......................................................................................59 4.2 Site Analysis...............................................................................................62 4.2.1 Location & Size................................................................................62 4.2.2 Site Surroundings..............................................................................63 4.2.3 IFFI venues & the proposed site.......................................................65 4.3 Program Formulation..................................................................................66 Chapter 5 : Design Concept & Evolution.......................................................................77 5.1 Understanding the Site................................................................................77 5.2 Beginning of the Design : Setting the parameters......................................77 5.3 Zoning of Individual Function....................................................................78 5.4 Final Zoning of Proposed Project...............................................................80 5.5 Concept - The Pedestrian Boulevard..........................................................85 5.6 Layout development...................................................................................85 5.6 The Design..................................................................................................85 Chapter 6: References.....................................................................................................90

List of Figures • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Figure 1.1 : Logo for the IFFI....................................................................................12 Figure 1.2 : Logo for the Entertainment Society of Goa...........................................12 Figure 1.3 : Logo for tourism department of Goa......................................................12 Figure 1.4 : Picture collage for IFFI..........................................................................13 Figure 1.5 : Inox in Goa during the IFFI...................................................................14 The Inox in Goa was specially constructed for the IFFI in goa, in 2004. With a total of 4 screens, the multiplex has a capacity of 1272 screens............................................14 Figure 1.6 : Methodology Map for the project..........................................................15 Figure 1.7 : Google earth images with the site Marked.............................................16 Figure 2.1 : Opening ceremony for the 46th IFFI......................................................17 Figure 2.2 : Old GMC building during IFFI..............................................................17 Figure 2.3 : Inox plaza decorated and prepared for an outdoor event.......................17 Figure 2.4 : Old GMC building decorated during the IFFI, with beautiful hanging lights. .........................................................................................................................17 Figure 2.6 : View of the Kala Academy.....................................................................18 Figure 2.6 : View of the Kala Academy.....................................................................19 Figure 2.7 : View of the Inox, Goa............................................................................19 Figure 2.6 : Corniche stretch during IFFI..................................................................20 Figure 2.8 : Miramar beach, Goa...............................................................................20 Figure 2.7 : SPM stadium during IFFI.......................................................................20 Figure 2.9 : Old GMC building, Goa.........................................................................20 Figure 2.11 : Ticketing at IFFI...................................................................................21 Figure 2.10 : Laser projection on the Old GMC building, Goa.................................21 Figure 2.12 : Various installations at the IFFI............................................................22 Figure 2.13 : IFFI venues on the Google earth satellite image of Goa......................23 Figure 2.14 : ESG offices during IFFI.......................................................................24 Figure 3.1 : Nandan logo by Satyajit Ray..................................................................29 Figure 3.6 : Google earth image of the site................................................................29 Figure 3.6 : Site Plan of Nandan complex.................................................................29 Figure 3.2 : Paschimbanga Bangla Akademi ............................................................29 Figure 3.3 : Nandan theater .......................................................................................29 Figure 3.4 : Rabindra Sadan ......................................................................................29 Figure 3.7 : Pie chart showing the built to unbuilt relationship................................30 Figure 3.8 : Pie chart of open spaces........................................................................30

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Figure 3.9 : Vehicular movement pattern within the site..........................................31 Figure 3.10 : Pedestrian movement pattern within the site.......................................31 Figure 3.11 : Site plan showing different zones according to use ...........................32 Figure 3.12 : Site plan with buildings demarcated .................................................34 Figure 3.13 : Nandan cinema....................................................................................34 Figure 3.14 : Nandan cinema....................................................................................34 Figure 3.14 : Paschimbanga Bangla Akademi (night)..............................................35 Figure 3.16 : A view of the Sisir Mancha (night).....................................................35 Figure 3.17 : A view of the exhibition gallery (night)..............................................35 Figure 3.19 : A view of the bookstore at Nandan complex.......................................35 Figure 3.15 : Paschimbanga Bangla Akademi (day).................................................35 Figure 3.18 : A view of the exhibition gallery (day).................................................35 Figure 3.20 : A view of the natural lake on the site..................................................35 Figure 3.21 : Site plan showing user gathering areas...............................................36 Figure 3.22 : Views from various view-points marked in figure 3.21......................36 Figure 3.30: Statue of Rabindra Nath Tagore in front of the Rabindra Sadan...........36 Figure 3.23: Overlaying of user gatherings on pedestrian movement pattern. .......37 Figure 3.27: Bookstore at the rear entrance of the complex......................................37 Figure 3.26: Ticket counter for Rabindra Sadan.......................................................37 Figure 3.24: Section at GG’ .....................................................................................37 Figure 3.24: Section at GG’ .....................................................................................37 Figure 3.29: Statue made out of a tree trunk, hence creating public art and an informal seating space..............................................................................................................37 Figure 3.25: Informal seating around trees created on site.......................................37 Figure 3.28: People sitting outside the Nandan Theatre (Informal Seating).............37 Figure 3.31 : Logo of Cannes Film Festival..............................................................38 Figure 3.35 : Google earth image of the site..............................................................38 Figure 3.36 : Site Plan of Nandan complex...............................................................38 Figure 3.32 : Palais de festivals during Cannes Film Festival...................................38 Figure 3.33 : Red carpet entrance..............................................................................38 Figure 3.34 : Theater at the Cannes Film Festival ....................................................38 Figure 3.37 : Palais de Festivals during Cannes Film Festival..................................40 Figure 3.38 : Pie chart showing the built to unbuilt relationship...............................40 Figure 3.39 : Vehicular movement pattern within the site........................................41

• Figure 3.40 : Pedestrian movement pattern within the site.......................................41 • Figure 3.42 : Pie chart showing the breakdown of various functions and the vertical zoning within the building.........................................................................................42 • Figure 3.41 : Floor plans of Palais de festivals, showing the zoning and the various functions spread out vertically ..................................................................................42 • Figure 3.46 : A schematic section of Theater Claude Debussy .................................43 • Figure 3.48 : A schematic section of the Room Estere..............................................43 • Figure 3.45 : A view of Theater Claude Debussy......................................................43 • Figure 3.47 : Room Estere.........................................................................................43 • Figure 3.43 : A view of Auditorium Louis Lumiere..................................................43 • Figure 3.44 : A schematic section of the Auditorium Louis Lumiere........................43 • Figure 3.49 : Auditorium A........................................................................................44 • Figure 3.51 : Building circulation in Palais...............................................................44 • Figure 3.52 : Casino at Palais de Festivals................................................................44 • Figure 3.53 : Tourism Office Cannes.........................................................................44 • Figure 3.50 : Auditorium K........................................................................................44 • Figure 4.1 : Climatic data for Goa.............................................................................53 • Figure 4.2 : District map of Goa................................................................................54 • Figure 4.3 : Coconut trees of Goa..............................................................................55 • Figure 4.7 : Languages spoken in Goa.......................................................................55 • Figure 4.4 : Baur, Goa’s state animal.........................................................................55 • Figure 4.8 : Hindu Christianity memorial at Miramar beach.....................................55 • Figure 4.5 : Ruby throated yellow bulbul..................................................................55 • Figure 4.6 : Population of Goa through the years......................................................55 • Figure 4.9 : Goa Konkani dance................................................................................56 • Figure 4.10 : Jagor, dance-drama in Goa...................................................................57 • Figure 4.12 : Modern theater in Goa..........................................................................57 • Figure 4.11 : Tiatr, Goa..............................................................................................57 • Figure 4.13 : Kala academy theater, Goa...................................................................57 • Figure 4.11 : Natak, Goa............................................................................................57 • Figure 4.14 : Goan fish curry.....................................................................................58 • Figure 4.15 : Goan pork vindalho..............................................................................58 • Figure 4.16 : Goan feni..............................................................................................58 • Figure 4.17 : Architecture in and around the city of Panjim......................................61

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Figure 4.18 : Google earth location of the site...........................................................62 Figure 4.19 : Google map location showing the surrounding context of Goa...........63 Figure 4.20 : Buildings near the proposed site..........................................................63 Figure 4.21 : Cad drafted plan of the site showing the building uses nearby the site. 64 Figure 4.22 : Google earth image showing the proposed site with the current IFFI venues........................................................................................................................65 Figure 5.2 : Schematic plan of site showing the various zoning parameters considered 77 Figure 5.1 : Google maps showing the site................................................................77 Figure 5.3 : Schematic plan showing the site divided into a grid..............................78 Figure 5.4 : Schematic plan showing the zoning for large auditorium......................78 Figure 5.5 : Schematic plan showing the zoning for small auditoriums....................78 Figure 5.6 : Schematic plan showing the zoning for the multiplex...........................79 Figure 5.6 : Schematic plan showing the zoning for the multiplex...........................79 Figure 5.7 : Schematic plan showing the zoning for large VR & 3D simulation......79 Figure 5.9 : Schematic plan showing the zoning for the offices................................79 Figure 5.10 : Schematic plan showing the zoning of the hotel..................................80 Figure 5.11 : Schematic plan showing the zoning for motel + market......................80 Figure 5.12 : Schematic plan showing the zoning for drive in theater......................80 Figure 5.13 : Zoning option 1....................................................................................82 Figure 5.15 : Zoning option 3....................................................................................82 Figure 5.17 : Zoning option 5....................................................................................82 Figure 5.14 : Zoning option 2....................................................................................82 Figure 5.16 : Zoning option 4....................................................................................82 Figure 5.18 : Zoning option 6....................................................................................82 Figure 5.19 : Final Zoning Output.............................................................................84 Figure 5.20 : Concept sketch.....................................................................................85 Figure 5.21 : Concept sketch, Setbacks.....................................................................85 Figure 5.22 : Concept sketch, Pathway......................................................................85 Figure 5.23 :Concept sketch,Focal Points..................................................................85

List of Tables

Table 3.1 : Area statements and percentage uses of different functions on the site......33 Table 3.2 : Comparative analysis and Inferences Table 1.............................................45 Table 3.3 : Comparative analysis and Inferences Table 2.............................................47 Table 3.4 : Area analysis and Inferences Table 1..........................................................48 Table 3.5 : Area analysis and Inferences Table 1..........................................................49 Table 3.6 : Area analysis and Inferences Table 3..........................................................50 Table 3.7 : Area analysis and Inferences Table 4..........................................................51 Table 4.1 : Program Formulation 1...............................................................................66 Table 4.2 : Program Formulation 2...............................................................................67 Table 4.3 : Program Formulation 3...............................................................................68 Table 4.4 : Program Formulation 4...............................................................................69 Table 4.5 : Program Formulation 5...............................................................................70 Table 4.6 : Program Formulation 6...............................................................................71 Table 4.7 : Program Formulation 7...............................................................................72 Table 4.8 : Program Formulation 8...............................................................................73 Table 4.9 : Program Formulation 9...............................................................................74 Table 4.10 : Program Formulation 10...........................................................................75 Table 4.11 : Program Formulation 11...........................................................................76 Table 5.1 : Zoning Table................................................................................................81 Table 5.2 : Zoning comparison table..............................................................................83

Chapter 1 : Synopsis 1.1 Introduction

Figure 1.1 : Logo for the IFFI

Figure 1.2 : Logo for the Entertainment Society of Goa

Figure 1.3 : Logo for tourism department of Goa

The 1st edition of International Film Festival (IFFI) of India was organized by the Films Division, Government of India, with the patronage of the first Prime Minister of India. Held in Mumbai from 24 January to 1 February 1952, the Festival was subsequently taken to Madras, Delhi and Calcutta. Since its beginnings in 1952 the IFFI has been the biggest event of its type in India. Subsequent IFFI’s were held in New Delhi. In 2004 the IFFI was moved to Goa. Since then the IFFI has been an annual event and competitive. In 2013, Goa was announced as the permanent location for IFFI. Since then the team of IFFI along with the Entertainment Society of Goa (ESG) have been planning to create a permanent facility for the IFFI in Goa. The project is proposed by the Entertainment Society of Goa. To be designed in Dona Paula, Goa, the government allotted a site of 62 acres for the construction of the whole facility. A permanent facility for such an event will not just be a project to create some mere ‘convention halls’ or ‘theaters’, the design needs to be a celebration of

the arts, specially film making, and needs to be an identity of the journey that has been taken, both by the film industries and the festival itself. Moreover IFFI brings in heaps of International tourists each year and hence the design will be the image of India they take back. Henceforth the opportunity to design this facility comes with an immense responsibility, to design it in a way that functions beautifully and is captivating to look at. A design that can become the identity of the festival, and for those tourists who just come to India for the festival, an identity of India.

1.2 Reasons for proposing this project The IFFI will hold its 48th edition in 2017. Started in 1952, the festival has grown by leaps and bounds to become one of the most significant festivals of its kind in Asia. The festival brings in more than 8000 delegates, and each year this number keeps on increasing. CHALCHITRA KALA BHAWAN

The festival is currently held at multiple locations namely: • Kala Academy (capacity – 925) • Inox Screens (capacity 1517 in 5 screens) • Maquinez Auditorium (capacity 80 people) The venues are not completely able to handle the amount of visitors that come in. Furthermore, as the festival grows more and more each year, the number of visitors is only going to increase and a

Figure 1.4 : Picture collage for IFFI

new facility is needed that can completely accommodate the same. Also the various venues listed above are all located at different regions, hence to watch their favorite films, the delegates sometimes spend a lot of time in commuting from one place to another. A single facility will facilitate the movement between different venues and make handling of people within the facility a little easier.

1.3 Reasons for choosing this project The International Film Festival in Goa has risen to new heights and brought a lot of international fame not just to India as a country but to the film fraternity in general. Hence this project not only invites the designer to build an Entertainment complex, but it demands an architecture that can become an identity of creativity and technology in India. Set within the

picturesque location of Goa, the project demands to be a showcase of not just what Goa has to offer, but it has to become a monument to the film fraternity, to the film festival of India and a brilliant piece of sculpture to catch the attention of all the international delegates who visit India just for the festival.

1.4 Aim & Objectives

Aim – To design a permanent facility for the IFFI in Dona Paula Goa that is visually as captivating as it will be functionally fluent. Objectives:• Understanding the format of the festival and creating a detailed program that would be 13

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required in the functioning of the festival. • Understanding the inflow of traffic into the festival and designing theaters, auditoriums and convention halls to house the amount of people. • Creative auxiliary facilities that would help run the festival smoothly (food joints, etc) • Studying the surrounding context and immediate surroundings to deal with issues of culture, society and site considerations, if any are to arise.

1.5 Scope of the work

Figure 1.5 : Inox in Goa during the IFFI. The Inox in Goa was specially constructed for the IFFI in goa, in 2004. With a total of 4 screens, the multiplex has a capacity of 1272 screens

The total facility envisaged would require the design of the following:• Convention Hall • Auditoriums (varying capacities) • Multiplex with 4-5 screens • Hotel (300 keys) • Institution with screening rooms • Exhibition Areas • Offices (IFFI & ESG) • Food Plaza • Retail Areas • Open air screening areas • Creating an activated urban environment to house the various functions. Scope of the project: • To develop a site plan understanding all programs individually & the relationship between the various programs listed. • To design layouts for all the various programs up to a conceptual stage, ie, not detailed drawings • To select a function or multiple functions to detail out the various building services, structural details & any other details of the building(s). • Finding forms that are distinct yet speak to each other, creating an outdoor environment that is distinct, varied and interactive.

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1.6 Methodology

Figure 1.6 : Methodology Map for the project

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1.7 Proposed Site The proposed site is situated in Dona Paula, Goa. The site is located next to Goa University, right in front of the International Center. The total area of the site is approximately 62 acres. The site was initially given for the development of the Rajiv Gandhi IT Park, but in 2013, due to some issues with the development of the scheme, the land was taken back. In 2014, the talks for a permanent venue were already underway and so the land was given to the ‘Entertainment Society of Goa’, for the development of the permanent facility for the IFFI. The site was already developed for the IT park and some roads were constructed within the site. Some of these roads are connected further, becoming a part of the transportation grid.

Figure 1.7 : Google earth images with the site Marked

1.8 Possible Case Studies The following are the literature case studies that need to be read and analyzed:• Cannes Film Festival, Cannes, France. To analyze the permanent facility built for the festival. To critically analyze the various functions within the building and to form a program for the project understanding the international standard. • Kolkata Film Festival, Kolkata, India. To understand the film festival complex at Kolkata. To understand the various functions and the outdoor experience provided by the built environment to understand user behavior in the space.

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Chapter 2 : Library Study 2.1 International Film Festival of India

Figure 2.1 : Opening ceremony for the 46th IFFI

Figure 2.2 : Old GMC building during IFFI

Figure 2.3 : Inox plaza decorated and prepared for an outdoor event

Figure 2.4 : Old GMC building decorated during the IFFI, with beautiful hanging lights.

The ‘International Film Festival of India’, which is Asia’s oldest film festival, started way back in 1952. The 1st edition of IFFI was organized by the ‘Films Division’, ‘Government of India’, with the patronage of the first Prime Minister of India. Held in Mumbai from 24 January to 1 February 1952, the Festival was subsequently taken to Madras, Delhi and Calcutta. In all it had about 40 features and 100 short films. In Delhi, the IFFI was inaugurated by Prime Minister Pt. Jawaharlal Nehru on 21 February 1952. The IFFI aims at providing a common platform for the cinemas of the world to project the excellence of the film art; contributing to the understanding and appreciation of film cultures of different nations in the context of their social and cultural ethos; and promoting friendship and cooperation among people of the world. Today IFFI is the biggest film festival of the country, inviting hundreds of entries from all around the world. IFFI is one of the fifteen FIAPF (Federation international des Associations de Producteurs de Films) accredited film festivals around the world in the competitive category, and the only Indian film festival in this elite group. The festival traveled to different parts of the country till 2003 when it was decided to give it an identity of its own. This was decided looking at all the major festivals of the world. 17

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With the exception of Sun Dance, festivals around the world are identified with the city where they are held, be it Cannes, Toronto, Venice or Karlovy. Goa was chosen to host the festival, as very few places in India have the kind of established brand name that Goa does. The splendid locales and the melange of culture in this tiny state create the perfect ambiance for delegates to enjoy films and exchange ideas. Back in 2004, the then Chief minister of Goa, took the initiative to move IFFI to Goa. Even though Goa provided splendid and picturesque views and a vibrant culture that would perfectly match with the format of IFFI, there were a few problems that stood in the way. Goa did not have the infrastructure to host a festival of this magnitude, and furthermore Goa did not have a film culture. To counter the problem for the infrastructure, an Inox multiplex and other infrastructure projects like the new Patto Bridge were built in just a period of six months, a record time.

2.1.1 IFFI Venues

• Maquinez Palace The Palace of Maquinez or Palacio dos Maquinez was built in 1702 and originally belonged to two brothers, Diago da Costa de Ataide e Tieve and Cristovam da Cost de Ataide e Tieve, known as the Maquinezes. In 1842, the Portuguese used the nearly 150-year old Palace to house a medical institution – Goa

Figure 2.6 : View of the Kala Academy CHALCHITRA KALA BHAWAN

As for the film culture in Goa, there are now film clubs flourishing in Goa and even the weekly releases at the multiplex are met with tremendous enthusiasm. Moreover, the number of Konkani films made is going up every year and the scenario is brighter than ever before. IFFI has changed and developed Goa into a thriving cinematic industry, with enthusiast traveling from all over India. The IFFI team along with the “Entertainment Society of Goa’ or ESG make arrangements to hold the festival every year since 2004. In 2014, the ESG decided to have a permanent venue to host the IFFI. Around the same time the land given for the development of the Rajiv Gandhi IT Park was taken back by the government and given to the ESG for the development of a complex for the IFFI. There hasn’t been much activity on the project since, but the ESG had initially planned to have a facility ready for hosting IFFI 2019.

Medical College – that was later occupied by the Dept. of Food and Drugs Administration, Govt. of Goa. Today, in its new refurbished avatar, the Palacio dos Maquinez houses the offices of the Entertainment Society of Goa. During the festival, the Maquinez Palace not only functions as the administrative base of the ESG, but also hosts master classes, workshops, film screenings. • Kala Academy

• Inox Multiplex

Figure 2.6 : View of the Kala Academy

Figure 2.7 : View of the Inox, Goa

The cultural hub of Goa, the Kala Academy was established in 1969, and functions as the principal institution for the promotion of art and culture in the State of Goa. Designed by Charles Correa, it is situated on the banks of the River Mandovi along the Panaji-Dona Paula road. The Kala Academy has become a cultural attraction for tourist and locales alike since its opening. With shows planned every other week, the black box theatre within Kala Academy draws a multitude of people.

Built in a record time of 100 days to host the 35th International Film Festival of India, Goa, 2004; the multiplex theatre is situated behind the Old GMC complex – a perfect blend of modern technology using Goan architectural sensibilities. On par with international standard movie equipment in a state-of-the-art setting, the Multiplex hosts four auditoriums with a total seating capacity of 1,272 seats. The introduction of the hall has transformed the cinema culture in Goa, as it not only attracts the Goan population to watch Bollywood releases, it also projects various Konkani films. During the festival, Inox has the ticket counters, film screenings, red carpet events & food village.

During the festival, one can find at Kala Academy; the delegate registration desk, the delegate kit Desk, ticket counters, film screenings auditoriums, the black box theatre.

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• Corniche

• Dr Shyama Prasad Mukherjee Indoor Stadium

Figure 2.6 : Corniche stretch during IFFI

Figure 2.7 : SPM stadium during IFFI

Set against the riverfront of Campal along the River Mandovi is a one kilometer stretch of tiled footpath built under the canopy of verdant green rain trees. The path is ideally suited for morning joggers or evening walkers. During the festival, a walk along the Corniche leads to, the food village, one fest Goa, CII events

The Dr Shyama Prasad Mukherjee Indoor Stadium or Multipurpose Indoor Stadium is an indoor stadium located in the campus of Goa University at Taleigao. The stadium was constructed for the 2014 Lusophonia Games. The stadium has a seating capacity of 4000. During the festival, the stadium hosts the opening & the closing ceremony.

• Miramar Beach

• Old Goa Medical College (GMC) Building

Figure 2.8 : Miramar beach, Goa

Figure 2.9 : Old GMC building, Goa

The Miramar beach is one of the most widely visited beaches of Goa, and the only beach in Panaji. Along the Miramar beach, the IFFI organizes open air screenings, where popular films are screened for the general public to watch. These screenings are usually of popular Bollywood movies that drag a lot of general public towards them.

The GMC, built in 1927, is the oldest modern medical institution in Asia. The period look of this building is evident from its Roman & Neo-classical, semi-circular arched windows, wooden ceilings, Gothic style window panes, porches & pillars resembling the Doric Order. During the festival, the old GMC building is used as the administrative base of the Directorate of Film Festivals

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2.1.2 The Ticketing system at the IFFI IFFI uses a number of DataKal softwares, including Ticketing and Datakal Starbase, which is used at the Cannes Film Festival as well. The whole system works like a regular box office. Whenever someone books a ticket from any of the counter, it gets blocked from Figure 2.11 : Ticketing at IFFI the system and it gets updated everywhere. The use of a software helps keep track of a lot of data. The rush hours for ticket booking comes between 9AM to 11AM. Since everything is digitalized and fast, this means a shorter waiting line at the ticket booth. A shorter line at the ticketing booth, means the traffic and the queue can be controlled easily. That being said, the ticketing counters still do get a rush, hence their positions need to be strategic, and they should be plenty in number for ease of traffic during the festival.

2.1.3 Masterclasses & Workshops During the festival, there are various masterclasses and workshops organized by eminent people in the cinema industries open to all film enthusiasts, students, directors, actors, cameramen, costume designers, etc. These informative workshops and classes are a way to better advance the field of cinema in India and help others get better through experience of various people in the industry. The classes currently take place at the Maquinez Palace, in Goa. The proposed project will require spaces for conducting these classes and workshops as well.

2.1.4 Laser projections In the 47th edition of the IFFI, the festival organizers partnered Barco to project map the old GMC building. Using laser technology, the facade of the building was used as a projector screen and brought to life. It was a new technique which is not used in any of the festivals in India. The massive crowd that the projection brought

Figure 2.10 : Laser projection on the Old GMC building, Goa

in also helped realize that is was a crowd pleaser and the next step in moving forward with cinematic entertainment. Hence introduction of similar elements in the project will make it a crowd-pleaser. 21

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Figure 2.12 : Various installations at the IFFI

2.1.5 Other events at IFFI • In Conversation- During in-conversation sessions, directors, actors and other eminent personalities of cinema world will converse on a various topics, including new film making techniques, scope for youngsters who seek to enter the field, skill-set required for newcomers to survive and changing discourse around women and commerce in cinema. • Co-production: Opportunities and Challenges - In this segment, co-production seminars are organized, where Indian film producers in collaboration with foreign delegates will discuss the nuances of co-production techniques and scope in the world cinema, including country specific and global co production case studies, overall discussion and questions & answer sessions. • Technological presentations - Cinema technique experts from several prominent enterprises in the fields discuss various aspects of new cinema techniques being in fashion in this age of constantly evolving information technology sector around the world. The session includes latest trends in digital cinema and virtual reality, among other significant topics. • Open Air Screenings - Open air screenings take place that showcase popular films to draw the general public into the festival fold CHALCHITRA KALA BHAWAN

Figure 2.13 : IFFI venues on the Google earth satellite image of Goa

2.1.6 IFFI & Goa

The IFFI has changed the culture of Goa since 2004, & at the same time, it has also acquired a new identity from Goa. The IFFI is a ten day event but the planning for the same starts off a month before. All preparations start from the start of November itself, and the whole city of Goa starts transforming. A new theme each year is given to the various venues of IFFI & each year one can start the whole city start to change. The city does not just become aesthetically appealing, it becomes vibrant and most importantly, it gets busy. Celebrities, film fraternities & film

enthusiasts flood the streets of Goa during the festival, which boosts the local market and restaurants. The city at this time is filled with tourists as not only the IFFI, but music festivals, the arts festivals & the literature festival, all take place one after another, thus for 3-4 months the city bustles with tourists. Furthermore, during winter months, Goa is a much more pleasant sites which already attracts loads of domestic tourists.

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Figure 2.14 : ESG offices during IFFI

2.2 Entertainment Society of Goa In 2004, when IFFI was shifted to Goa, the government of Goa, formed the ‘Entertainment Society of Goa’ to organize and ensure the smooth functioning of the festival. ESG aims to frame policies related to entertainment, to help cultivate Goa as a world – class entertainment nerve center of the country. Hosting the festival from its 35th edition, Goa is now the permanent home for the festival with ESG ensuring its functioning. ESG works each year to make the festival more and more visible and works to build the brand of the festival. The organizers of the festival, along with the ESG, have a vision to bring the IFFI at par with the film festivals of the world (eg, Cannes). CHALCHITRA KALA BHAWAN

This goal ensures that the State earns revenue on a long term basis from ventures in film entertainment and leisure projects. The ESG does not just organize the IFFI, but it also works year round to encourage the spread of cinematic entertainment in Goa. ESG works to encourage joint co-productions with international brands in the field of cinema, marketing &branding through ventures that focus on entertainment and its allied activities. Mooted by the Govt of Goa and the Ministry of Information and Broadcasting, Delhi based on Goa’s world reputation as a tourist destination, with its unique flavor of European lifestyle co-existing with multicultural ethnic sensibilities, Goa is now the

permanent venue host for the Film Festival. This has invited consensus from internationally recognized organizations, film bodies and elsewhere in India as the ideal venue for IFFI. Building on its mandate to create public consciousness about films and film festivals, the Entertainment Society of Goa endeavors to inculcate a cinematic sense of appreciation and infrastructure to attract international standard film studios, film institutes and build comprehensive facilities and provide services for telecommunications, entertainment and its allied products, through a self-sustaining pattern of revenue generation 2.2.1 Objectives of the ESG Some of the objectives with which the society is being formed are mentioned below:• To make the State of Goa the International Entertainment Hub, • To give global visibility and recognition to the State of Goa • To earn revenue on a long term basis from ventures in film entertainment and leisure projects • To increase revenue through direct and indirect taxes, levies and foreign exchange inflow and to bring about worldwide recognition to the State of Goa as an ultimate tourism and entertainment destination and maximize the state of Goa’s potential in this regard. • To hold world class entertainment events, exhibitions and expositions, • To indulge in networking and relation building in the interest of entertainment industry in the state of Goa. • To conceptualize and develop properties for the Government of Goa for the

• •

•

• •

•

purpose of entertainment industry. To integrate international support. To organize and host International Film Festival in the State of Goa, both competitive and non-competitive To leverage the International Film Festival as an anchor point to create permanent facilities that will enable the State of Goa to create a niche for itself in the realm of world Film Festivals and become known for its uniqueness and distinct character. To develop infrastructure to meet the needs of International Film Festival and bring in global investment. To build up ultra-modern infrastructure to hold International Film Festival. To set up international standards film studios, auditoriums with suitable capacities and training centers and a film institute. To build up comprehensive facilities and provide services for telecommunications, transportation, parking, banking, MANIPAL UNIVERSITY JAIPUR

• • • • • • • • • • • • • •

• • • •

Internet connectivity, power supply, water, sewerage, sanitation etc. To build up multiplex cinema halls, media centers, screening rooms, auditoriums store room, library etc. To renovate the existing buildings, houses and residential accommodations to meet the requirements of the film festival, other entertainment events, To conserve and improve the heritage buildings, to develop the water front, pedestrians plaza. To provide fast media of transport including speed boats, motor boats, steamers, hovercrafts if necessary. To provide proper sound lighting, video and digital technology, To set up food court, shopping mail, arena, To make arrangements for utilization of all the infrastructure facilities of the International Film Festival by organizing shows, concerts and other events, throughout the year, To host the film market in a fixed location and invite participation. To ensure proper attendance of film personalities and draw influential audience and dignitaries from all over the world, To set up stalls and ensure participation in other film festivals, To adopt innovative ideas for improving the organizations of film festival every year To go into co-production and joint collaboration for film production, To develop year long list of activities suited to maximize revenue for the State of Goa and utilization of infrastructure created. To conduct publicity campaigns through print media, Internet, videos and films and other new medium of communications that integrates information and marketing on a global level. To form committees, sub-committees for specific purpose tasks. To give awards, prizes and certificates to selected films, concerts etc. in various categories like directors, producers, photographers, lyrics, musicians, acting. To bring in best companies for facilitation of investment and land development programmes and leisure development projects. In general to do such things or undertake to do such other things from time to time as shall be deemed necessary for the promotion of the ideas and the attainments of the objects of the society subject to approval of the state government.

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2.2.1 General body Of ESG

2.2.2 Goa film archive & film book library

Understanding the general body governing the ESG is crucial in forming the program requirements for the offices of ESG, which are a part of the proposed project. The ESG follows the following hierarchy of administrative positions:• Chief Executive Officer • General Manager • Accounts Manager • Two Officers on Special Duty • Accountant • Hospitality Administrator • Accounts Manager • HR • Technical Manager • Transport Manager • Marketing Manager • IT Manager

Entertainment Society of Goa has set up a Digital Film Archive in Goa which is a novel initiative in Asia, with a view to promote a healthy Film Culture in Goa, encourage research on various aspects of cinema and also preserve cinema for posterity. The film archive contains Classics, Short Films, Documentaries and Feature Films with currently a collection of around 150 Films, films from the1930’s and also films that have won accolades at International Film Festivals and we are continually acquiring more films for the archive. Understanding this service given by the ESG allows the proposed design to have spaces to accommodate the same, this making the design better equipped to handle all the functions of the ESG

2.2.3 Other Spaces of the ESG The following spaces within the offices of ESG are used and maintained to be rented out by the ESG, hence the following spaces need to be accommodated for within the proposed design :• Media Center - The ESG Media Center is capable of catering to all the needs of the media,including private cubicles and separate internet connection stations. The media center is also equipped with Video Conferencing facility. • Conference Room - Located in the maquinez Palace annexe, the air conditioned press conference room offers state of the art facilities for conducting press conferences with a seating capacity of 47 with a compact sound system, cordless mikes, sound console and comfortable fixed seating arrangements with glass holder seats, and space for backdrops. The venue has served as the official press briefing area for the International Film Festival of India. • Film Theaters - The two Film theaters are equipped with state of the art projection 27

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facilities (Film projection, Digital projection with Dolby DTS Surround sound). The projection facility is equipped to handle all screen ratios and formats. The seating capacity of the theaters is 232 and 80 seats respectively. The theaters are ideal venues to carry out film premieres, screenings, presentations, film festivals, shows, launches and musical shows. These theaters have served as the official venues of the International Film Festival of India. â&#x20AC;˘ Art Gallery- The ESG art gallery serves as an ideal place to exhibit art works. This fully air conditioned art gallery is highly accessible but peaceful. Equipped with different lighting options, the gallery is part of the Maquinez Palace in the ESG campus.

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Chapter 3 : Case Studies 3.1 Nandan Complex

Figure 3.1 : Nandan logo by Satyajit Ray

Figure 3.2 : Paschimbanga Bangla Akademi

Figure 3.3 : Nandan theater

Figure 3.4 : Rabindra Sadan

Nandan is a government-sponsored film & cultural center in Kolkata, India. The primary aim of the cultural hub is to encourage & facilitate cinematic awareness in society. The complex, besides being a modern cinema and cultural complex, is a popular destination for the young and the aged alike. Figure 3.6 : Google earth image of the site

Figure 3.6 : Site Plan of Nandan complex

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3.1.1 Reasons for selection of this case study The Nandan Complex was specifically modified with the addition of Nandan Cinema, to cater to the Bengali Film Festival. The complex is designed such that it holds a variety of functions. From Cinema hall, to theater, from offices, to institutions, the complex caters to a variety of users of varied taste and age groups. Further, the complex incorporates natural features existing on site to create plazas, scenic views and informal seating spaces that are enjoyed by people in massive numbers during the evenings. Hence this study is not only a perfect model to study from, because of its functions, but it also gives an opportunity to study user behavior and preferences in such a built environment and how to plan the spaces to further enhance the user experience. 3.1.2 The Site The site is located in South Kolkata, next to the Victoria Memorial Complex. The placement of the site encourages the flow of tourists to visit the site, but the various activities & the spaces in the complex invite the locales to its gates all year long. The site is next to a natural water body that provides a scenic view from within the site. Located next to the Arts Center, the site because of the nature of its building use, invites a lot of people involved in fields of art. Within the Complex there are Cinemas, theaters, offices, exhibition spaces, food retail outlets, bookstore and an institutional building. 3.1.3 History The Rabindra Sadan, built in 1967, was the first building in this complex. Further there was the addition of the Sisir Mancha and other buildings. The Nandan Cinema, which was specifically built to meet the needs of the Kolkata Film Festival, was constructed in 1985. The Cinema and the complex as a whole went through additions and changes. The complex was used as a venue for the Kolkata Film Festival till 2010, but since 2011 the festival has been shifted to Netaji Indoor Stadium. 3.1.4 Site Planning Since the complex was not constructed at once but in different stages, a clear site Planning concept does not seem to emerge. All the various buildings in the complex have different architecture styles and elements and it becomes clear on the site that the Nandan cinema is the CHALCHITRA KALA BHAWAN

Figure 3.7 : Pie chart showing the built to unbuilt relationship.

Figure 3.8 : Pie chart of open spaces

Figure 3.9 shows the vehicular movement on the site and the frequency of vehicles on each route. From the diagram we can deduce that a particular area is demarcated on the site for vehicular movement, leaving the rest of the site to be pedestrian friendly.

Figure 3.9 : Vehicular movement pattern within the site

Figure 3.10 shows the pedestrian movement on the site. In the diagram we see the major routes that are pedestrian and the major areas where a lot of people accumulate. The diagram clearly shows the major part of the site is used for pedestrian movement.

Figure 3.10 : Pedestrian movement pattern within the site

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newest construction. The Nandan cinema in some ways dominates the complex and has become the identity of the site. Even though the site was not planned at once, the spaces left are beautifully used to draw crowds of people into the complex. The clubbing of trees with local vendors on site sets an inviting environment, specially during the day time, with ample of shade available. About 30% of the site is left for green spaces which are distributed all along the site. • Total site Area - 5.2 Acres • Total Ground Cover - 29 % • Total Parking Units on Site - 50 CHALCHITRA KALA BHAWAN

Figure 3.11 : Site plan showing different zones according to use

3.1.5 Site Zoning Figure 3.11 shows the different functions on the site & their locations on the site. Table 3.1 shows the different areas is meter square & percentage with respect to site of various functions. From these figures one can understand the site zoning, understanding the division of various functions on site and their placement with respect to each other and the environmental context. Also the percentage area covered by each function can be understood on site. Hence one can deduce the following:• Total GC - 29.35% • Total Circulation - 40.30% • Total Green Areas - 20.63% 32

Function Green Areas Parking

Ground Cover (m2) 4771

Ground Cover (%) 20.63

731

03.16

Retail

136.54

00.59

Food Outlets

166.87

00.72

Toilets

120

00.52

Office

1184

05.12

Water

1441.3

06.23

Auditoriums

3483.5

15.06

Cinema Theater

1141.3

06.10

Exhibition Space

277.5

01.20

318

01.38

Institutional Space Roads & Circulation

Table 3.1 : Area statements and percentage uses of different functions on the site

40.30

Total ground cover (buildings) Total ground cover percentage (buildings)

6779.61 m2 29.35 %

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Figure 3.12 : Site plan with buildings demarcated

3.1.6 User behavior & site sections • Nandan Nandan is a government-sponsored film and cultural center in Kolkata, India. The primary aim of the cultural hub is to encourage and facilitate cinematic awareness in society. It includes a few comparatively large screens housed in an impressively designed building.

Figure 3.13 : Nandan cinema

Building Use – Cinema Total Capacity – 940 seats • Rabindra Sadan Rabindra Sadan is a cultural center and theatre in Kolkata, located near the Nandan cinema and cultural complex and the Academy of Fine Arts on AJC Bose Road in South

Figure 3.14 : Nandan cinema CHALCHITRA KALA BHAWAN

Kolkata. Building Use – Theatre Building Capacity – 1101 seats Size – 11.6m x 14.6m • Paschimbanga Bangla Akademi Paschimbanga Bangla Akademi is the official regulatory body of the Bengali language in West Bengal. The entry to the institution is restricted by an internal gate within the complex.

Figure 3.14 : Paschimbanga Bangla Akademi (night)

Figure 3.15 : Paschimbanga Bangla Akademi (day)

Building Use – Institutional • Sisir Mancha Sisir Mancha is an auditorium located in A.J.C. Bose Road, Kolkata, West Bengal, India. This auditorium is regularly used for Bengali theaters.

Figure 3.16 : A view of the Sisir Mancha (night)

Building Use – Theatre Building Capacity – 412 seats • Gaganendra Shilpa Pradarshashala The interesting exhibits presented by this gallery make it a favorite haunt of the art-loving public. This gallery is a hub of

Figure 3.17 : A view of the exhibition gallery (night)

Figure 3.18 : A view of the exhibition gallery (day)

Figure 3.19 : A view of the bookstore at Nandan complex

Figure 3.20 : A view of the natural lake on the site

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Figure 3.21 : Site plan showing user gathering areas

3.1.7 Buildings on site Figure 3.21 shows the user gathering areas & the intensity of gatherings. Cross examining this with the pedestrian circulation pattern as (Figure 3.23) , we can see that the major gatherings happen at nodes where different pedestrian paths cross. These areas further have various informal seats & food joints to further enhance user experience & retain the users in these areas for longer.

Figure 3.30: Statue of Rabindra Nath Tagore in front of the Rabindra Sadan

Figure 3.22 : Views from various view-points marked in figure 3.21 CHALCHITRA KALA BHAWAN

Figure 3.23: Overlaying of user gatherings on pedestrian movement pattern.

Figure 3.27: Bookstore at the rear entrance of the complex

Figure 3.25: Informal seating around trees created on site. Figure 3.26: Ticket counter for Rabindra Sadan.

The two section views provide an insight on the arrangement and the environment created on site.

Figure 3.24: Section at GGâ&#x20AC;&#x2122; Figure 3.29: Statue made out of a tree trunk, hence creating public art and an informal seating space.

Figure 3.28: People sitting outside the Nandan Theatre (Informal Seating)

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Figure 3.24: Section at GGâ&#x20AC;&#x2122;

3.2 Palais de Festivals

Figure 3.31 : Logo of Cannes Film Festival

Figure 3.32 : Palais de festivals during Cannes Film Festival

Figure 3.35 : Google earth image of the site

Figure 3.34 : Theater at the Cannes Film Festival

The Cannes Festival , named until 2002 as the International Film Festival (Festival international du film) and known in English as the Cannes Film Festival, is an annual film festival held in Cannes, France, which previews new films of all genres, including documentaries, from all around the world. Founded in 1946, the invitation-only festival is held annually (usually in May) at the Palais des Festivals et des CongrĂ¨s.

Figure 3.36 : Site Plan of Nandan complex CHALCHITRA KALA BHAWAN

Figure 3.33 : Red carpet entrance

3.2.1 Reasons for selecting this case study Cannes film festival is one of the oldest and one of the most prestigious film festivals in the world. The study of this complex provides an insight into the program of film festival of an international standard. The IFFI aims to be at par with the top film festivals in the world and follows a format similar to that followed by the Cannes Film Festival.

3.2.2 The Site The site is located in Cannes, located at the top of blvd. de la Croisette, east of the port. Being near a port, the building offers splendid views of the sea, & also provides an access from the sea so the users can come to visit the festival with boats. The various buildings around the Palais de Festival, since its construction and success, have been converted into Hotels, Inns, cafes, restaurants, etc.

3.2.3 History The first Palais des Festivals et des Congrès was built in 1949 to host the Cannes Film Festival. The original building was located on the boulevard of Promenade de la Croisette on the present site of the JW Marriott Cannes. That building hosted the 4th and 6th Eurovision Song Contests in 1959 and 1961. In response to the growing success of the Film Festival and the advent of the first business conventions, such as the MIPTV Media Market since 1965, the City of Cannes decided to build a new Palais in 1979. The new building, a six-storey building designed in the Modernist style by the architects Sir Hubert Bennett and François Druet, was constructed on the site of the municipal Casino. It opened in December 1982 and was expanded in 1999 with the construction of the Espace Riviera, a new space of 10,000 square meters. In January 1992, the Society of Mixed Economy for the Events of the city of Cannes (SEMEC), was created to manage the Palais. SEMEC resulted from the merger of three non-profit organizations: Cannes Tourism, the OMACC and the association Cannes Palais des Festivals et des Congrès. 3.2.4 Reasons for selecting this case study The Palais de Festivals is one solid building. The various functions are housed in one solid mass itself. The rest of the area is filled with roads, pedestrian pathways and a park. The park is used for setting up tents when the festivals is hosted. Unlike the Nandan Complex which was spread all over the site, the Palais de Festivals is a concentrated mass in the middle of the site. The required spaces are efficiently packed into the building, making the site as economically viable as possible.

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Figure 3.37 : Palais de Festivals during Cannes Film Festival

Figure 3.38 : Pie chart showing the built to unbuilt relationship

• Location - 1 Boulevard de la Croisette, 06400 Cannes, France • Building Use - Multi-functional (theaters, cinemas, auditoriums, galleries, offices, institution, food retail, casino) • Site Area - 12.07 Acres • Ground Cover - 51.4% CHALCHITRA KALA BHAWAN

Figure 3.39 shows the vehicular movement on the site . One can deduce that the vehicles are allowed all around the central building mass.

Figure 3.39 : Vehicular movement pattern within the site

Figure 3.40 shows the pedestrian movement on the site . One can deduce that no major chunk on site is reserved for pedestrians.

Figure 3.40 : Pedestrian movement pattern within the site

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3.2.4 Zoning & floor plans 1 - Auditorium Louis Lumière (2309) 2 - Theater Claude Debussy (1068) 3 - Room Estérel (452) 4 - Auditorium A (280) 5 - Auditorium K (147) 6 - Auditorium B (40) 7 - Auditorium C (40) 8 - Auditorium D (40) 9 - Auditorium E (40) 10 - Auditorium F (40) 11 - Auditorium G (40) 12 - Auditorium H (50) 13 - Auditorium I (80) 14 - Auditorium J (80) 15 - Press Room 1 16 - Press Room 2 17 - Press Room 3 18 - Press Room 4 19 - Canopy California (100) 20 - The Ambassadors 21 - Rotonde Lérins 22 - Terrace Lérins

Figure 3.42 : Pie chart showing the breakdown of various functions and the vertical zoning within the building. CHALCHITRA KALA BHAWAN

Figure 3.41 : Floor plans of Palais de festivals, showing the zoning and the various functions spread out vertically

Figure 3.41 shows the different functions within the building and their proximity to one another. Table 3.42 shows the percentage weight-age with respect to site of various functions within the building. Hence one can understand that the maximum areas are used as exhibition and gathering spaces. Next the maximum space is occupied by the large auditoriums. 3.2.5 Various areas within the building • Auditorium Louis Lumière Auditorium Louis Lumiere is the largest auditorium in Palais de festivals. Spread on the second and the third floor, this auditorium is the one where the main red carpet is laid. 2309 seats 758 seats in the orchestra 1428 seats on the balcony Depth of stage from nose to stage: 15,50 m Fixed cinema screen: 19 x 8 m

Figure 3.43 : A view of Auditorium Louis Lumiere

Figure 3.44 : A schematic section of the Auditorium Louis Lumiere

• Theater Claude Debussy Theater Claude Debussy is the second largest theater in the Palais de Festivals. 1068 seats 612 seats in the orchestra 383 seats on the balcony Depth of stage from nose to stage: 13.70 m Fixed cinema screen: 15 X 6.55 m • Room Estére Room Estere is the auditorium at the roof top, and the third largest capacity in the building, almost half less than the previous) Maximum capacity (Plenary): 447 people 452 in conference 291 in projection Depth of stage from nose to stage: 4 m 43

Figure 3.45 : A view of Theater Claude Debussy

Figure 3.46 : A schematic section of Theater Claude Debussy Figure 3.47 : Room Estere

Figure 3.48 : A schematic section of the Room Estere

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• Auditorium A Capacity : 280 seats Stage depth: 3.80 m Fixed screen: 9 m X 3.60 m The auditorium A is serviced by a hoist whose dimensions are the following (cab):

2.38 width; 7.35 depth; 3.16 height.

Figure 3.49 : Auditorium A

Figure 3.50 : Auditorium K

• Auditorium K Capacity 147 places Stage depth: 3.86 m Fixed screen: 5.50 m X 2.50 m

3.2.6 Building Circulation There are two separate blocks within the Palais de festivals. For the general public, the building is connected as shown in figure 3.51. The connection of the building thus shows the connection of spaces. 3.2.7 Axillary functions within the building • Casino Barrière Le Croisette There is a casino within the Palais de festivals. Every Saturday, it turns into an entertainment space for dance and theatre performances. Figure 3.51 : Building circulation in Palais

Figure 3.52 : Casino at Palais de Festivals

• Tourism Office Cannes Within the Palais de Festivals, is the tourism office of Cannes. The office serves various functions on the site, promoting events for locales and working to promote tourism in Cannes. The office is also an information center for both locales and tourists alike, giving both the groups information for events happening all around the city.

Figure 3.53 : Tourism Office Cannes CHALCHITRA KALA BHAWAN

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• • • • • • •

Multiplex (27.6%) Auditoriums (34.1%) Exhibition Gallery (8.2%) Government offices (11.6%) Food outlets (1.6%) Institution (15.6%) Book Store (1.3%)

5.2 Acres

Nandan Complex Kolkata Film Festival

Table 3.2 : Comparative analysis and Inferences Table 1

Functions

Ground Cover

Area

Location : Site & Surroundings

Parameters Festival

• • • • • • • •

Cinema (7%) Auditoriums (16%) Exhibition Gallery (61%) Government Offices (1%) Food Outlets (3%) Press rooms (7%) Casino (2%) Toilets (3%)

12.07 Acres

Palais de Festivals Cannes Film Festival

The basic functions that are to taken into consideration for a festival are clear from studying the projects, but the auxiliary functions differ at every site

Nandan is more horizontally spread than Palais de festivals. Even though Palace de festivals has all the spaces necessary to hold the event, it does not invite and attract users like the Nandan.

Inferences

3.3 Comparative Analysis

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Vehicular movement pattern

Pedestrian movement pattern

Palais de Festivals

The vehicular pattern of Nandan complex is defined and restricted. A whole stretch is of are is only for the pedestrians. The vehicular movement of the Palais de Festivals is defined as well, but the pedestrian movement pattern and the vehicular movement pattern almost completely overlap.

The Palais de festivals is near a port with a beach. The site is filled with built mass and the pedestrian movement is spread around it. Even though the architecture does not really invite people in through the movement of users, the site does the work for the building. On a contrasting note, the Nandan complex invites a lot of users to its doors because of the pedestrian patterns and informal spaces created inside the complex.

Parameters Nandan Complex

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vehicular access.

around the building is open for vehicles and pedestrians alike.

Table 3.3 : Comparative analysis and Inferences Table 2

There is no one building for the Nandan complex, it is rather a group of buildings that all have different There is no complex for the Palais de Festivals, it is one Form of the functions and are spread around the site within one solid built mass. The built mass has multiple functions boundary complex. The spaces formed on the site building within it and has multiple entry and exit points. because of these movements invite a lot of movement on site. • Cinema (7%) • Multiplex (27.6%) • Auditoriums (16%) • Auditoriums (34.1%) • Exhibition Gallery (61%) • Exhibition Gallery (8.2%) • Government Offices (1%) • Government offices (11.6%) • Food Outlets (3%) • Food outlets (1.6%) • Press rooms (7%) Functions • Institution (15.6%) • Casino (2%) • Book Store (1.3%) • Toilets (3%) The basic functions that are to taken into consideration for a festival are clear from studying the projects, but the auxiliary functions differ at every site. Further studying the varying proportions of each function on the site, a basic conclusion can be drawn about the zoning proportions required. These proportions will be further analyzed in the formulation of the proposed area statements.

Entrance

Palais de Festivals The Palais de Festival does not have a boundary wall, and The Nandan complex is surrounded by a wall that has the building is accessible from various points. There is no multiple entry and exit points for both pedestrian and complex formed, there is just one building and the space

Parameters Nandan Complex

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Entrance Foyer with eating area Toilets (M) Toilets (F) Backstage Green Room Projection Room Ticket Counter Practice Room

Entrance Foyer with eating area Toilets (M) Toilets (F) Back Stage Green Room Projection Room Scenery Store Workshop Practice Room

Auxillary Spaces

1 - Nandan Complex 2 - Palais de Festivals

Capacity

940 1086 800

3 - Neuferts 4 - IFFI Venues

1272

517 (Screen I, Inox)

1 2 3 4 1101 2281 1500 1100 (Kala Academy)

Table 3.4 : Area analysis and Inferences Table 1

Total

Cinema Hall 2

Total

Cinema Hall 1

Program

1.48

2.62

1909

1061 1184

64 70

75 180 18.2 10 180

33.6

0.07 0.04

160

0.2

1909

0.62 0.91 1.45 2885 0.58 0.66

75 34 225 12 18.2 75 500 350 1438 2303 850 528

1353

785

2078 568

420

116

0.03 0.04 0.11

4 1223 239

2885

Area 2 3 1336 1000

0.22

0.2

m2/ Person 2 3 4 0.59 0.67 1.12

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Entrance Foyer with eating area Toilets Male Toilets Female Ticket Counter Green Room with toilets Projection Room

Entrance Foyer with eating area Toilets Male Toilets Female Back Stage Green Room with toilets Projection Room Ticket Conter Practice Room

Auxillary Spaces

1 - Nandan Complex 2 - Palais de Festivals

280

430

412

250

Table 3.5 : Area analysis and Inferences Table 1

Total

Cinema Hall 4

Total

Cinema Hall 3

Program

250

500

3 - Neuferts 4 - IFFI Venues

Included in Cinema Hall 2

230 ( Screen III, Inox Screens)

Included in Cinema Hall 2

4 315 ( Screen II, Inox Screens)

Capacity

Added in Cinema Hall 2

1.38

1.02

0.22

0.04

0.2

0.5

0.04

0.2

1.17

0.68 0.66 0.88

m2/ Person 2 3

Added in Cinema Hall 2

567

18.2

52.5

285

125

18.2 10 120 808

408

135

100

330

18.2

291

Area 2 3

Included in Cinema Hall 2

270

Included in Cinema Hall 2

276

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Ticket Counter Green Room with toilets Projection Room Translation room

Toilets Female

Entrance Foyer with eating area Toilets Male

Entrance Foyer with eating area Toilets Male Toilets Female Ticket Counter Green Room with toilets Projection Room Translation room

Auxillary Spaces

147

100

1 - Nandan Complex 2 - Palais de Festivals

0.09

100

0.04

Added in Cinema Hall 2

100

3 - Neuferts 4 - IFFI Venues

170

Included in Cinema Hall 2

4 210 (Screen IV, Inox Screens)

0.04

0.2

0.5

0.04

0.2

0.5

m2/ Person 2 3

0.22

100

250

Capacity

391

100

Table 3.6 : Area analysis and Inferences Table 3

Total

Cinema Hall 6

Total

Cinema Hall 5

Program

1.09

0.98

Added in Cinema Hall 2

15.5

18.2

245.3

Included with cinema hall 1

184.8

192.5 97.2

3.75

18.2

26 30 100

11.3

50 Included in Cinema Hall 2

205

137

125

Area 2 3

MANIPAL UNIVERSITY JAIPUR

Toilets

Foyer

Toilets

Entrance Foyer with eating area Toilets Male Toilets Female Ticket Counter Green Room with toilets Projection Room Translation room

Auxillary Spaces

1 - Nandan Complex 2 - Palais de Festivals

160 160

2 80

160

300 2500

Table 3.7 : Area analysis and Inferences Table 4

Office

Total

Exhibition Ares

Total

Cinema Hall 7

Program 3 80

4 80

3 - Neuferts 4 - IFFI Venues

Capacity

2.77

5.07 0.66

0.11

0.45 0.02

0.1 0.1 0.04

0.2

m2/ Person 2 3 4 1.14 0.5 2.28

831 788

831

1467 811 105

280

123 1127 60

16.4 16.4

82.4

18.2

3.2

Area 2 3 91 40

182

Chapter 4 : Site Analysis & Program Formulation 4.1.2 Site Connectivity

4.1 The context of Goa 4.1.1 Goa Goa is a state in India within the coastal region known as the Konkan in India. It is bounded by Maharashtra to the north and Karnataka to the east and south, with the Arabian Sea forming its Western coast. It is India’s smallest state by area and the fourth smallest by population. Goa has the highest GDP per capita among all Indian states, that is two and a half times that of the country. It was ranked the best placed state by the “Eleventh Finance Commission” for its infrastructure and ranked on top for the best quality of life in India by the National Commission on Population based on the 12 Indicators. Panaji is the state’s capital, while Vasco da Gama is its largest city. The historic city of Margao still exhibits the cultural influence of the Portuguese, who first landed in the early 16th century as merchants and conquered it soon thereafter. Goa is a former Portuguese province; the Portuguese overseas territory of Portuguese India existed for about 450 years until it was annexed by India in 1961. Goa is visited by large numbers of international and domestic tourists each year for its beaches, places of worship and world heritage architecture. It has rich flora and fauna, owing to its location on the Western Ghats range, a biodiversity hot spot. CHALCHITRA KALA BHAWAN

The Dabolim Airport lies just 26 kilometers from Dona Paula. It is well connected by daily flights from major airports in India.

The two major railway stations in Goa are Madgaon (36km) and Thivim (50km).

There are a number of public as well as private bus operators in Goa, which offer options for intra-city and inter-city conveyance.

Goa is connected to Mumbai via road as well, which offers a beautiful ride. The two cities are connected by NH48 and are 600 KMs apart.

4.1.3 Geography & Climate Goa is connected to Mumbai via road as well, which offers a beautiful ride. The two cities are connected by NH48 and are 600 KMs apart. Goa is a part of the coastal country known as the Konkan, which is an escarpment rising up to the Western Ghats range of mountains, which separate it from the Deccan Plateau. The highest point is the Sonsogor, with an altitude of 1,167 metres (3,829 ft). Goa has a coastline of 101 km (63 mi). Most of Goa’s soil cover is made up of laterites rich in ferric-aluminium oxides and reddish in colour. Further inland and along the riverbanks, the soil is mostly alluvial and loamy. The soil is rich in minerals and humus, thus conducive to agriculture. Some of the oldest rocks in the Indian subcontinent are found in Goa between Molem and Anmod on Goa’s border with Karnataka. The rocks are classified as Trondjemeitic Gneiss estimated to be 3,600 million years old, dated by rubidium isotope dating. A specimen of the rock is exhibited at Goa University.

Figure 4.1 : Climatic data for Goa

Goa features a tropical monsoon climate under the Köppen climate classification. Goa, being in the tropical zone and near the Arabian Sea, has a hot and humid climate for most of the year. The month of May is usually the hottest, seeing daytime temperatures of over 35 °C (95 °F) coupled with high humidity. The state’s three seasons are: Southwest monsoon period (June – September), post monsoon period (October – January) and fair weather period (February – May). Over 90% of the average annual rainfall (120 inches) is received during the monsoon season. 4.1.4 Subdivisions The state is divided into two districts: North Goa & South Goa. Each district is administered by a district collector, appointed by the Indian government. Panaji is the headquarters of North Goa district and is also the capital of Goa. North Goa is further divided into three subdivisions – Panaji, Mapusa, and Bicholim; and five taluks – Ilhas de Goa (Tiswadi), Bardez (Mapusa), Pernem, Bicholim, & Sattari (Valpoi). 53

MANIPAL UNIVERSITY JAIPUR

Margão is the headquarters of South Goa district. South Goa is further divided into five subdivisions – Ponda, Mormugao (Vasco da Gama), Margao, Quepem, and Dharbandora; and seven taluks – Ponda, Mormugao, Salcete (Margao), Quepem, and Canacona (Chaudi), Sanguem, and Dharbandora. Goa’s major cities include Vasco da Gama, Margão, Panaji, Mapusa and Ponda. Panaji is the only Municipal Corporation in Goa. There are thirteen Municipal Councils: Margao, Mormugao (including Vasco da Gama), Pernem, Mapusa, Bicholim, Sanquelim, Valpoi, Ponda, Cuncolim, Quepem, Curchorem, Sanguem, and Canacona. Figure 4.2 : District map of Goa

4.1.5 Flora & Fauna Equatorial forest cover in Goa stands at 1,424 km2 (549.81 sq mi), most of which is owned by the government. Government owned forest is estimated at 1,224.38 km2 whilst private is given as 200 km2. Most of the forests in the state are located in the interior eastern regions of the state. Goa’s wildlife sanctuaries boast of more than 1512 documented species of plants, over 275 species of birds, over 48 kinds of animals and over 60 genera of reptiles. Goa is also known for its coconut cultivation. The coconut tree has been reclassified by the government as a palm (like a grass), enabling farmers and real estate developers to CHALCHITRA KALA BHAWAN

Figure 4.3 : Coconut trees of Goa

Figure 4.4 : Baur, Goa’s state animal Figure 4.5 : Ruby throated yellow bulbul

4.1.6 Demographics & population A native of Goa is called a Goan in English. The local Indian Christians were called “indiacatos” and the mixed population, mestiços by the Portuguese. Goa has a population of 1.459 million residents, making it India’s fourth smallest. The population has a growth rate of 8.23% per decade. The density is 394 people for each square km of land which is higher than national average 382 per km2. Goa is the state with highest proportion of urban population with 62.17% of the population living in urban areas. The sex ratio is 973 females to 1000 males.

Figure 4.7 : Languages spoken in Goa

Figure 4.6 : Population of Goa through the years

The Goa, Daman & Diu Official Language Act, 1987 makes Konkani in the Devanagari script the sole official language of Goa. Portuguese is now mostly spoken by only the elderly Portugueseeducated populations. Konkani is spoken as a native language by about 61% of the people in the state but almost all Goans can speak & understand Konkani. Other linguistic minorities

in the state as per the 2001 census are speakers of Marathi (19%), Kannada (7%), Hindi (5%), & Urdu (4%). Kannada, Hindi & Urdu are primarily migrant-based languages. 4.1.7 Religion According to the 2011 census, in a population of 1,458,545 people, 66.1% were Hindu, 25.1% were Christian, and 8.3% were Muslim. Smaller minorities of about 0.1% each followed Sikhism, Buddhism, or Jainism. Due to the economic decline of the Estado da India from the eighteenth century, there was a large 55

Figure 4.8 : Hindu Christianity memorial at Miramar beach MANIPAL UNIVERSITY JAIPUR

scale migration of Goan Catholics. The population moved from 64.5% Christians and 35% Hindus in 1851 to 50% Christians and 50% Hindus in 1900, with a steady increase in the Hindu proportion from then onwards. 4.1.8 Culture Having been a Portuguese territory for over 450 years, Goa’s culture is an interesting amalgamation of both Eastern and Western styles, with the latter having a more dominant role. The tableau of Goa showcases religious harmony by focusing on the Deepastambha, the Cross and Ghode Modni followed by a chariot. Western royal attire of kings is as much part of Goa’s cultural heritage as are regional dances performed depicting a unique blend of different religions and cultures of this State. Prominent local festivals are Christmas, Easter, Carnival, Diwali, Shigmo, Chavoth, Samvatsar Padvo, Dasara etc. The Goan Carnival and Christmas-new year celebrations are well known to attract a large number of tourists. The Gomant Vibhushan Award, the highest civilian honour of the State of Goa, is given annually by Government of Goa since 2010. Figure 4.9 : Goa Konkani dance

Traditional Goan art forms are Dekhnni, Fugdi, Corridinho, Mando, Dulpod and

Fado.Goan Catholics are fond of social gatherings and Tiatr (Teatro). As part of its Portuguese history, music is an integral part of Goan homes. It is often said that “Goans are born with music and sport”. Western musical instruments like the Piano, guitars and violins are widely used in most religious and social functions of the Catholics. Goan Hindus are very fond of Natak, Bhajan and Kirtan. Many famous Indian classical singers hail from Goa, including Mogubai Kurdikar, Kishori Amonkar, Kesarbai Kerkar, Jitendra Abhisheki and Pandit Prabhakar Karekar. Goa is also known for the origin of Goa trance. Natak, Tiatr (most popular) and Jagor are the chief forms of Goa’s traditional performance arts. Other forms are Ranmale, Dashavatari, Kalo, Goulankala, Lalit, Kala and Rathkala. [citation needed] Stories from the Ramayana and the Mahabharata along with more modern social subjects are narrated with song and dance. “Jagor”, the traditional folk CHALCHITRA KALA BHAWAN

Figure 4.10 : Jagor, dance-drama in Goa

Figure 4.11 : Tiatr, Goa

Figure 4.11 : Natak, Goa

dance-drama, is performed by the Hindu Kunbi and Christian Gauda community of Goa, to seek the Devine Grace for protection and prosperity of the crop. Literal meaning of Jagor is “jagran” or wakeful nights. The strong belief is that the night long performance, awakens the deities once a year and they continue to remain awake throughout the year guarding the village. Perni Jagor is the ancient mask dance – drama of Goa, performed by Perni families, using well crafted and painted wooden masks, depicting various animals, birds, super natural power, deities, demons and social characters. Gauda Jagor, is an impression of social life, that displays all the existing moods and modes of human characters. It is predominantly based on three main characters, Gharasher, Nikhandar

Figure 4.12 : Modern theater in Goa

Figure 4.13 : Kala academy theater, Goa

and Parpati wearing shining dress and headgears. The performance is accompanied by vibrant tunes of Goan folk instruments like Nagara/Dobe, Ghumat, Madale and Kansale. In some places, Jagor performances are held with participation of both Hindus and Christian community, whereby, characters are played by Hindus and musical support is provided by Christian artistes. Tiatr (Teatro) and its artists play a major role in keeping the Konkani language & music alive. Tiatr’s are conducted solely in the Roman script of Konkani as it is primarily a Christian community based act. They are played in scenes with music at regular intervals, the scenes are portrayals of daily life and are known to depict social and cultural scenarios. Tiatrs are regularly held especially on weekends mainly at Kala Academy, Panaji, Pai Tiatrist Hall at Ravindra Bhavan, Margao and 57

MANIPAL UNIVERSITY JAIPUR

most recent shows have also started at the new Ravindra Bhavan, Baina, Vasco. Western Musical Instruments such as Drums, bass, Keyboards, Trumpets etc. are part of the show and most of them are played acoustically. It is one of Goa’s few art forms that is renowned across the world with performances popular among Goans in the MiddleEast, Americas and Europe. Konkani cinema is an Indian film industry, where films are made in the Konkani language, which is spoken mainly in the Indian states of Goa, Maharashtra and Karnataka and to a smaller extent in Kerala. Konkani films have been produced in Goa, Karnataka, Maharashtra and Kerala.The first full length Konkani film was Mogacho Anvddo, released on 24 April 1950, and was produced and directed by A. L.Jerry Braganza, a native of Mapusa, under the banner of ETICA Pictures. Hence, 24 April is celebrated as Konkani Film Day. Konkani film Paltadcho manis has been included in the world’s best films of 2009 list. Konkani films are eligible for the National Film Award for Best Feature Film in Konkani. The most commercially successful Konkani film (as of June 2011) is O Maria directed by Rajendra Talak. In 2012, the whole new change adopted in Konkani Cinema by introducing Digital Theatrical Film “The Victim” directed by Milroy Goes. Some old Konkani films are Sukhachem Sopon, Amchem Noxib, Nirmonn, Mhoji Ghorkarn, Kortubancho Sonvsar, Jivit Amchem Oxem, Mog ani Moipas, Bhuierantlo Munis, Suzanne, Boglantt, Padri and Bhogsonne. Ujwadu is a 2011 Konkani film directed by Kasargod Chinna and produced by KJ Dhananjaya and Anuradha Padiyar.

Figure 4.14 : Goan fish curry

Figure 4.15 : Goan pork vindalho

Figure 4.16 : Goan feni

Rice with fish curry (xit koddi in Konkani) is the staple diet in Goa. Goan cuisine is famous for its rich variety of fish dishes cooked with elaborate recipes. Coconut and coconut oil are widely used in Goan cooking along with chili peppers, spices, and vinegar is used in the Catholic cuisine, giving the food a unique flavour. The Goan cuisine is heavily influenced by Portuguese cuisine. Goan food may be divided into Goan Catholic CHALCHITRA KALA BHAWAN

and Goan Hindu cuisine with each showing very distinct tastes, characteristics, and cooking styles. Pork dishes such as Vindalho, Xacuti, chouriço, and Sorpotel are cooked for major occasions among the Goan Catholics. An exotic Goan vegetable stew, known as Khatkhate, is a very popular dish during the celebrations of festivals, Hindu and Christian alike. Khatkhate contains at least five vegetables, fresh coconut, and special Goan spices that add to the aroma. Sannas, Hitt, are variants of idli and Polle, Amboli, and Kailoleo are variants of dosa; all are native to Goa. A rich egg-based, multi-layered sweet dish known as bebinca is a favourite at Christmas. The most popular alcoholic beverage in Goa is feni; cashew feni is made from the fermentation of the fruit of the cashew tree, while coconut feni is made from the sap of toddy palms. Goa also has a rich wine culture. 4.1.9 Architecture The architecture of Goa is a combination of Indian, Islamic[citation needed] and Portuguese styles. Since the Portuguese ruled for four centuries, many churches and houses bear a striking element of the Portuguese style of architecture. Goan Hindu houses do not show any Portuguese influence, though the modern temple architecture is an amalgam of original Goan temple style with Dravidian, Hemadpanthi, Islamic, and Portuguese architecture. The original Goan temple architecture fell into disuse as the temples were demolished by the Portuguese and the Sthapati known as Thavayi in Konkani were converted to Christianity though the wooden work and the Kavi murals can still be seen. The traditional pre-Portuguese homes were inward-looking with small windows; this reflected the secluded role of women. The houses opened into courtyards, and rarely opened onto streets. The Catholic houses built or refurbished between the middle of the 18th and the 20th centuries were more outward-looking and ornamental, with balcões (covered porches) and verandas facing the street. The large balcões had built-in seating, open to the street, where men and women could sit together and ‘see and be seen’, chat with their neighbours, or just enjoy the evening breeze. These balcões are bordered by ornamental columns that sometimes continued along the steps and added to the stature of the house. This, together with the plinth, which usually indicated the status of the owners. The houses of rich landlords had high plinths with grand staircases leading to the front door or balcão.A typical red Mangalore tile used for the roofing of traditional built Goan Catholic houses. 59

MANIPAL UNIVERSITY JAIPUR

Large ornamental windows with stucco moldings open onto verandas. These may appear purely decorative, but have their origins in similar moldings in the windows of Portuguese houses. There these elements of style were devices to help sailors identify their homes at a distance as they sailed in. The design is therefore an import but serves a similar purpose in Goa: to help construct the identity of the home. Windows gradually became more decorative, ornate, and expressive. Front doors were flanked by columns or pilasters. Railings were the most intricate embellishment in a Goan house. Pillars, piers, and colours do not seem to be influenced by any style in particular; rather they conform to a rather mixed bag of architectural styles. Country tiles used as a corbel are a feature peculiar to Goa. The effect achieved is aesthetically pleasing, giving the roof projection a solid, moulded appearance. Gateways consisted of elaborately carved compound walls on either side of the gate posts. Dramatic and startling colour—initially achieved with vegetable and natural dyes—plays an important role in Goan architecture. Colour was decorative and used purely to create a sensation. With a colour wash, the house looked “dressed” and therefore displayed the economic well-being of the family that lived in CHALCHITRA KALA BHAWAN

it. Here art in architecture performed a social function. However, this was not completely a matter of individual choice, since during Portuguese rule the owner of the house could be fined if his house was not painted. The walls were made of mud and then later of laterite stone; they were usually plastered then painted. Very few buildings are coloured exactly alike and solid colours are used for front facades; interiors are usually in paler colours/white with solid color highlights. This rendering or piping in white is the result of the unwritten rule during the Portuguese occupation of Goa that no private house or building could be painted in white. Only churches and chapels enjoyed this privilege. It is understandable that Goan Christians followed this rule, as white was associated with the Virgin Mary and therefore the virtues of purity and chastity (both desirable in Goa), but, surprisingly, Goan Hindus also respected this practice. As a result of this code, an interesting and aesthetically pleasing trend developed, as competition among neighbours gave impetus to variety.

Figure 4.17 : Architecture in and around the city of Panjim

1 - House in Goa 2 - Art gallery, cafe + house 3 - Fontainhas House 4 - Church of Mae de Deus at Saligao 5 - Kala Academy 6 - Early Settlements 7 - Contemporary house 8 - Beaches of Goa 9 - Contemporary house 10 - Portuguese House 11 - Portuguese House 12 - Portuguese House 13 - Portuguese House

MANIPAL UNIVERSITY JAIPUR

4.2 Site Analysis

4.2.1 Location & Size The site as shown in figure 4.17 is located in the Dona Paula region of Goa, India. Located to the west of the ‘University Of Goa’, is the proposed site of 60 acres. The site was previously allocated by the government of Goa for the construction and development of the Rajiv Gandhi IT Park. Due to certain circumstances, the IT Park project was canceled & the land was allocated to the ‘Entertainment Society of Goa’ aka ESG. The ESG is a government body that looks after the promotion of film & art culture in Goa. The ESG wants to use the provided land to design & construct a permanent venue for the IFFI.

Figure 4.18 : Google earth location of the site CHALCHITRA KALA BHAWAN

4.2.2 Site Surroundings

Figure 4.19 : Google map location showing the surrounding context of Goa

As shown in Figure 4.18, the site is located in Dona Paula. Dona Paula is next to the capital city of Panaji. The previous venues of the IFFI are in Panaja, not farther than a 20 minutes drive from the new proposed site. The site is also next to the Goa University. With a mere 500 M from the shore line, the site is surrounded by various buildings. With Manipal Hospitals on the west , housing to the north and the east, and the international center on the south.

Top left - Government building to the east of the site, top middle - residential towers to the north of the site, top right - Goa University building to the east of the site, bottom left - Manipal Hospitals to the west of the site, bottom middle - International Center to the south of the site, bottom left - residential buildings to the east of the site Figure 4.20 : Buildings near the proposed site

MANIPAL UNIVERSITY JAIPUR

CHALCHITRA KALA BHAWAN

• • • • • •

Site Area - 246090 m2 - 60 Acres Distance from sea shore (shortest) - 500 m Adjoining Road Width (widest) - 20 m Adjoining Road Width (narrowest) - 4.5 m Highest contour - 49 m Lowest contour - 37 m

Figure 4.21 : Cad drafted plan of the site showing the building uses nearby the site.

Figure 4.22 : Google earth image showing the proposed site with the current IFFI venues

4.2.3 IFFI venues & the proposed site The current IFFI venues, are spread across the city of Panjim. The proposed site for the new design is present near the Dr. Shyama Prasad Mukherjee Indoor Stadium, which is currently used for the opening and the closing ceremonies of the IFFI. The new design will be easier to maneuver through for the visitors of the festival as they will not have to go from one part of the city to another to attend the various events of the festival. Further, the current IFFI venues can also be used to hold the various events that take place in parallel to the IFFI like the ‘Film Bazaar’, and the ‘Children’s Film Festival’. The new site will become the new identity of the festival, making it more unique and giving the brand of IFFI a permanent and beautiful home that is designed and customized to be used as the required by a festival of such a scale. 65

MANIPAL UNIVERSITY JAIPUR

4.3 Program Formulation Program Auditorium 1

Auxillary Spaces

Area

Quantity Total Area

Capacity

1050

1500

Entry Foyer with Eat- 300 ing Area Toilets - Entry Foyer 37.5

300

Stage

300

Back Stage

Green Room

150

300

Toilets - Green Room

18.75

37.5

Projection Room

Scenery Store

Workshop

500

Practice Room

350

Loading / Unloading Dock Storage Area

200

Circulation

120

840.63

Total

4203.13

Auditorium 2

560

Entry Foyer with Eat- 160 ing Area Toilets - Entry Foyer 40

160

Stage

200

Back Stage

Green Room

180

Toilets - Green Room

13.5

Projection Room

Practice Room

180

Circulation

366.5

Total

1832.5

Table 4.1 : Program Formulation 1 CHALCHITRA KALA BHAWAN

800

Program Auditorium 3

Auxillary Spaces

Area

Quantity Total Area

Capacity

350

500

Entry Foyer with Eat- 100 ing Area Toilets - Entry Foyer 25

100

Stage

100

Back Stage

Green Room

140

Toilets - Green Room

Projection Room

Circulation

203

Total

1015

Auditorium Director Auditorium Manager Secretary Personal Toilets Reception Toilet Entry Foyer Technitions Toilet Waiting Area

13.4

9.3

27.9

6.7

26.8

18.9

Circulation

Total Cinema Hall 1 Cinema Hall 2 Cinema Hall 3

200 250

250

100

Table 4.2 : Program Formulation 2

MANIPAL UNIVERSITY JAIPUR

Auxillary Spaces Program Cinema Hall 4

Area

Quantity Total Area

Capacity

Entry Foyer with eating Area Toilets

105

Ticket Counter

Projection Room

13.4

9.3

13.4

26.8

4.5

Secretary Rooms

6.7

20.1

Personal Toilets

Entry Foyer

Reception

Waiting Area

Toilets - waiting Area

Toilet - Staff

Selling Space

Preparation Space

Storage Space

Loading / Unloading

Multiplex Director Multiplex Manager Multiplex Technical Manager Multiplex Office Staff

Cinema Cafeteria

Circulation + Services

267.28

Total

1336.38

Table 4.3 : Program Formulation 3

CHALCHITRA KALA BHAWAN

Auxillary Spaces Program ESG OFFICE CEO OFFICE GM Office Accounts Manager Office Accountant Admin Hospitality HR Event Manager Technical/ Theater Manager Transpor Manager Marketing Manager Vice Manager Employees Assistant Vice Chairman

Area

Quantity Total Area

9.3

13.4

9.3

13.4

4.5

40.5

18.5

Personal Toilets

Secretary Rooms

6.7

80.4

Entry Foyer

Reception

Waiting Area

Toilets - Waiting Area 4

Toilets - Staff

Capacity

Table 4.4 : Program Formulation 4

MANIPAL UNIVERSITY JAIPUR

Program

Auxillary Spaces

Area

Quantity Total Area

Circulation + Services

Capacity

99.08

Total

495.38

Hotel Plot

45976

Ground Cover Allowed No. of Keys

15172

No. of storeys

Total Builtup

15000

Ground Cover

3750

Plot

50489

Ground Cover Allowed Screening Rooms

16661 40

200

Recording Rooms

180

Filming Studios

100

300

Storage

150

Lecture Halls

200

800

Library

300

Training Center

300

Workshop Spaces

200

1000

100

Seminar Halls

100

200

Conference Rooms

100

Press Rooms

150

100

300

Institution

Circulation + Services

1840

Total No. of Storeys Ground Cover

5520 3 1840

Table 4.5 : Program Formulation 5 CHALCHITRA KALA BHAWAN

Auxillary Spaces Program IFFI Offices Festival Director Deputy Director, film selection Deputy Director, Admin Deputy Director, Cultural Exchange Deputy Director, Indian Panaroma Deputy Director (North East) Deputy Director (Accounts) Programming Team Asst. Film Programmers Festival Coordinator Film Schedular Delegate Registration Print Coordinator

Area

Quantity Total Area

18.5

4.5

13.5

9.3

Capacity

Table 4.6 : Program Formulation 6

MANIPAL UNIVERSITY JAIPUR

Program Film Print Collector & Dispatcher

Auxillary Spaces

Area

Quantity Total Area

9.3

Personal Toilet

Secretary Rooms

6.7

Entry Foyer

Reception

Waiting Area

Toilets - Waiting Area 4

Toilets - Staff

Other Staff Area Circulation + Services Total

4.5

Drive In Cinema

6500

Projection Booth

Ticketing Booth

Food Counters

Seating Area

Capacity

106.75 533.75

Circulation + Services Total Exhibition Areas Temporary Exhibition 1 Temporary Exhibition 2 Formulation 7 Table 4.7 : Program CHALCHITRA KALA BHAWAN

200

24 6620

300

500

600

1000

Program

Auxillary Spaces

Area

Quantity Total Area

Entry Foyer 1 - Public 100

100

Entry Foyer 2 - Public 200

200

Toilets 1

Toilets 2

18.5

4.5

13.5

4.5

13.5

Personal Toilets

Secretary Rooms

6.7

13.4

Entry Foyer

Reception

Waiting Area

Toilets - Waiting Area 4

Toilets - Staff

Exhibition Director Exhibition Manager Exhibition Assistants Exhibition Technitions

Circulation + Services Total

Capacity

358.48 1792.38

Food Court Food Outlets

400 20

160

Preparation Area

200

Storage Area

600

Toilets

Toilets Staff

Seating Area

Table 4.8 : Program Formulation 8

MANIPAL UNIVERSITY JAIPUR

Program Circulation + Services Total

Auxillary Spaces

Area

Quantity Total Area

Capacity

283.5 1417.5

VR & 3D Simulations VR Rooms

100

150

100

140

Toilets

Entry Foyer

Reception

18.5

4.5

Control Rooms

3D Cinemas Projection Room

7D Cinemas Projection Room

VR Gallery AV Exhibition Spaces

Simulation Director Cinema Manager Gallery Manager Exhibition Manager Technicians Exhibition Assistants Personal Toilets Table 4.9 : Program Formulation 9

CHALCHITRA KALA BHAWAN

1 40

Program

Auxillary Spaces

Area

Quantity Total Area

Secretary Rooms

6.7

26.8

Entry Foyer

Reception

Waiting Area

Toilets - Waiting Area 4

Toilets - Staff

Circualtion + Services Total

Capacity

280.83 1404.13

Information Center Information Booths

Reception

Waiting Area

Public Toilets Circulation + Services Total

32.5 162.5

Convention Hall Seating Area + Stage

5850

Entry Foyer with Seat- 1800 ing Area Toilets - Entry Foyer

1800

Storage

150

Back Stage

300

Projection Room

100

6000

400

Table 4.10 : Program Formulation 10

MANIPAL UNIVERSITY JAIPUR

Program

Auxillary Spaces

Area

Quantity Total Area

Green Rooms

400

18.5

4.5

180

Personal Toilets

Secretary Rooms

6.7

26.8

Entry Foyer

Reception

Waiting Area

Toilets - Waiting Area 4

Toilets - Staff

Convention Director Convention Manager Convention Tech Managers Convention Technicians Assistants Convention Staff

Circulation + Services Total

2383.2 11916

Table 4.11 : Program Formulation 11

CHALCHITRA KALA BHAWAN

Capacity

Chapter 5 : Design Concept & Evolution 5.1 Understanding the Site As shown in Figure 5.1, the site is located in Dona Paula. Dona Paula is next to the capital city of Panaji. The previous venues of the IFFI are in Panaja, not farther than a 20 minutes drive from the new proposed site. The site is also next to the Goa University. With a mere 500 M from the shore line, the site is surrounded by various buildings. With Manipal Hospitals on the west , housing to the north and the east, and the international center on the south.

Figure 5.1 : Google maps showing the site

5.2 Beginning of the Design : Setting the parameters As there is no strong context that is prevalent on the site, and furthermore there are no views available from the site (even thought there is a close proximity to the sea), there are no external strong parameters that define the site. Hence the following points were taken into consideration, to evolve the design from the site itself :-

Figure 5.2 : Schematic plan of site showing the various zoning parameters considered

There is a hospital near the site owned by Manipal group. Due to its presence, any event that makes a lot of noise should not be placed near it.

The main road is of prime importance in this project as this is not only a means of access but also a means of attracting people to the site.

There are two internal roads that are already developed on the site. The site was previously given to Rajiv Gandi IT park scheme, and in its development, these roads were laid. MANIPAL UNIVERSITY JAIPUR

5.3 Zoning of Individual Function The program for the proposed project is too much to start zoning while keeping all other in mind. The exercise initially started with random zoning options but there were just too many. Hence a different method is adopted. The site is divided into a grid so that each of the functions could be easily zoned and graphed. The grid is randomly divided, but with the help of this grid each function can be individually zoned giving an overall position for each function. It is just like in mathematics, we make one assumption and then solve everything according to the assumption. Below are all the functions individually zoned.

Figure 5.3 : Schematic plan showing the site divided into a grid

Figure 5.4 : Schematic plan showing the zoning for large auditorium

Figure 5.5 : Schematic plan showing the zoning for small auditoriums

â&#x20AC;˘ Large Auditorium (6000 capacity) The large auditorium needs to be away from the hospital as in its full capacity, it will make a lot of noise. At the same time, it needs to be accessible. Hence the auditorium needs to be towards the east of the site, and at the same time, needs to be near the roads.

â&#x20AC;˘ Auditoriums The auditoriums needs to be away from the hospital. Due to the noise they make, keeping them towards the east portion of the site could help in smoother functioning of the auditoriums and the whole urban field in general.

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Figure 5.6 : Schematic plan showing the zoning for the multiplex

Figure 5.7 : Schematic plan showing the zoning for large VR & 3D simulation

• Multiplex The multiplex needs to be near the roads for easy access and visibility. A multiplex is usually well insulated and hence does not pose much discomfort to the hospital. Multiplexes need to function regardless of the festival and hence need to maintain easily visibility and access all year round.

• VR & 3D Building With the laser projection uses being a big hit for the festival, a building dedicated to VR and 3D will attract a lot of users. The main of this building is to attract in more users and hence it needs to be near the main roads, so it is easily visible from the main driving road.

Figure 5.6 : Schematic plan showing the zoning for the multiplex

Figure 5.9 : Schematic plan showing the zoning for the offices

• Institution The institution is a private space. Moreover it is a space that will be used everyday and has fixed users and hence it does not need to be near the roads as they would just waste a space that might be needed by a building that demands visibility. Hence the building needs to be away from the main road and the internal roads.

• Offices The offices needs to be near roads for they demand easy accessibility, but at the same time, the offices do not need to be near the main roads, as they will just waste a space that might be needed by a building that demands visibility.

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â&#x20AC;˘ Hotel A hotel is private space and hence demands privacy, but at the same time the hotel needs to have easy access, hence it needs to be near roads. Figure 5.10 : Schematic plan showing the zoning of the hotel

â&#x20AC;˘ Motel + Market A motel demands easy accessibility and hence needs to be near the roads, to attract as many users as possible.

Figure 5.11 : Schematic plan showing the zoning for motel + market

â&#x20AC;˘ Drive In Theater The drive in theatre needs to be away from the hospital and near the main road. The drive In theater has no insulation as it is in the open, hence it needs to be as away from the hospital as possible. Furthermore, it needs to be easily accessible, specially from the main road.

Figure 5.12 : Schematic plan showing the zoning for drive in theater

5.4 Final Zoning of Proposed Project

After the functions are individually zoned, the next step is to iterate the different zonal layouts that hold all the functions together. To begin the process, all the above diagrams are first studied in a tabular format as shown in Table 5.1. After all these functions are studied and analyzed, they are paired together, to see what functions can work with each other. Different functions are then grouped together & based on all these combinations, different zonal layouts are tried that hold all the functions together. These layouts are then studied and analyzed to bring out their strengths and weaknesses and weather they satisfy each of the functions. After going through all the analysis, the strong zonal layouts are combined to form one final layout that will give way to preparing a site layout for the site. In the following pages we will see the above explained process, in detail, explained with more clarity and bringing forward the methodology followed to establish different zones and functions on the site. CHALCHITRA KALA BHAWAN

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Table 5.1 : Zoning Table

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Drive In Cinema y y y y VR & 3D Building y y y y y y y y Offices y y y y y y y Institution y y y y y y y y y y y y y y y y y y y y y y y y Convention Hall y y y y y y y y y y y y y y y Multiplex y y y y y y y y y y y y y y y y y y Auditoriums y y y y y y y y y y y y y y y y y y y y y Hotel y y y y y y y y y y y y y y y y y y Motel + Market y y y y y y y y y y y y y y y y y y y y y y y y

The above table shows a tabular arrangement of information shown in figure 5.3 to figure 5.12. The numbers written at the top depict the cells of the grid shown in figure 5.3. The various functions are then plotted in the table. The denotation of ‘y’ represents that a function can be placed in that particular position. After the whole table it plotted, we get an overview of the various functions that can come into each cell. As this table can still lead to a lot of possibilities and combining them and assessing them will waste a lot of time. Therefore different functions are clubbed together, so that we can have a truly mixed used development in the proposed project. For each cell when two or more colors are placed one after another, it means that those functions can be clubbed together. A white space between two such groups denotes the presence of an ‘or’, ie either one group of functions can exist or another. After these are plotted, the zoning options begin to emerge :-

Figure 5.13 : Zoning option 1

Figure 5.14 : Zoning option 2

Figure 5.15 : Zoning option 3

Figure 5.16 : Zoning option 4

Figure 5.17 : Zoning option 5

Figure 5.18 : Zoning option 6

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Table 5.2 : Zoning comparison table

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1) Private Space 2) seems segregated from the site 3) might get disturbance from the market

Option 6

Option 5

1) The instituition might get disturbance because of the market and motel 1) Private Space 2) seems segregated from the site

Option 4

1) Private Space 2) seems segregated from the site

Option 3

1) Integrated within the site 2) Seems to be taking prime place without as much traffic

1) Private Space 2) seems segregated from the site

1)The offices get their own space 2) Might be a little secluded from the site

1) Private Space 2) seems segregated from the site

1)Private Space 1)Private Space 2) Too much 2) Too much personal Space personal Space

Option 2

1) Private Space 2) seems segregated from the site

Office

Option 1

Institution

Motel +Market

1) gets privacy 2) good integration in the site 3) Placement will encourage marketplace 4) Will get a good vehicular access

1) Might not have easy vehicular access

1) The motel and the hotel can be managed together. 2) Allows for a healthy integration of the whole site

1) Does not get as 1) The market place is much Privacy scattered, which joins 2) Big chunch of the two plots together land inaccessible to the general public in the middle of the site

1) Gets private Space

1) Easy visibility 1) The market place is 2) Easy access scattered, which joins 3) can have an the two plots together iconic architecture

1)Private Space 2) Segregated from site

1) Hotels get their 1) Near the node private space which will allow greater visitors in the market

Hotel

1) Not as cleary visible 2) Can have a healthy pedestrian access

1) At the edge will give easy access

Multiplex

Exhibitio VR & n 3D

Convention Hall

1) The architecture will be able to shine and can be integrated with the auditoriums

1) Greater visibility 1) the architecture may not 2) Healthy be as Iconic movement on site 2) Might have a healthy integration on the site

1) The architecture of the convention hall might be decreased in intensity because of the Multiplex

1) Get some privacy 1) The architecture will be able to shine and can be integrated with the auditoriums

1) The convention hall is in open ground, thus the figure will get importance over ground.

1) Get some privacy 1) The convention hall is in open ground, thus the figure will get importance over ground. 2) The architecture of the hotel and the convention hall might clash

Auditioriums

Drive in Theatre

5+1

7+ 3

7+2

8+2

5+3

1) The third plot seems completel y empty 6 +3

Other

After the conception of six different zoning options, each of the functions are analyzed one by one. The above table show the comparison of the various zoning options based on individual functions. It is seen whether the zoning option satisfies the requirements of all the functions individually, and then based on the analysis, option 2, 3 & 5 are chosen. Option 5 is the clear winner, but it still lacks. Therefore, these three options are combined to give rise to the final zoning for the proposed project as shown below.

Figure 5.19 : Final Zoning Output

The above diagram shows the final zoning for the proposed project. The features of this proposal are as follows:• The hotel gets its privacy. • The motel + market gets accessibility and it works to bind the two plots together • The auditoriums gets accessibility and are sufficiently away from the hospital • The multiplex and the VR & 3D buildings are near the main road to make them prominent and easily accessible. • The offices get road access and are pushed to the back. • The institution gets enough privacy. • The large auditorium is so placed such that its architecture can be iconic, set amidst open grounds and buildings that won’t overpower its architecture. • The drive in theatre gets easy accessibility and is away from the hospital.

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5.5 Concept - The Pedestrian Boulevard There are two roads that cross the site and divide it into three parts. Hence the concept of a pedestrian boulevard proposed to make a pedestrian walkway that goes straight across the three parts, hence becoming the binding agent for all the three sites.

Figure 5.20 : Concept sketch

5.6 Layout development

Figure 5.21 : Concept sketch, Setbacks

Figure 5.22 : Concept sketch, Pathway

Figure 5.23 :Concept sketch,Focal Points

• Setbacks according to local guidelines The development authority of Goa, prescribes certain norms for setbacks within the vicinity. Hence before any layout could be drawn the first things identified were the setbacks. The setbacks spell out 12 m for road facing sides and 7 m for the front, sides and rear.

• The pedestrian boulevard

The pedestrian boulevard that crosses the whole site will be major feature on the site and the functions that will be arranged will have to respond to it. The various functions will not only give way to, but also define the boundaries of this boulevard.

5.6 The Design The following pages show the sheets of the design development.

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Chapter 5: References • • • • •

• • • •

• •

M. Mohan Mathews (2001). India, Facts & Figures. Sterling Publishers Pvt. Ltd. pp. 134–. ISBN 978-81-207-2285-9. Retrieved 31 October 2012. Gulzar; Govind Nihalani; Saibal Chatterjee (2003). Encyclopaedia of Hindi Cinema. Popular Prakashan. pp. 98–. ISBN 978-81-7991-066-5. Retrieved 31 October 2012. “Key highlights of the 46th International Film Festival of India”. PIB. Retrieved 30 November 2015. “A Festival Showcasing Talent of Lights, Camera and Action! – International Film Festival of India – 2011”. Retrieved 31 October 2012. Saverio Giovacchini; Robert Sklar (1 December 2011). Global Neorealism: The Transnational History of a Film Style. Univ. Press of Mississippi. pp. 179–. ISBN 9781-61703-122-9. Retrieved 31 October 2012. Jawaharlal Nehru (1972). Selected works of Jawaharlal Nehru. Orient Longman. p. 311. ISBN 978-0-19-563745-8. Retrieved 31 October 2012. Jump up ^ “International Film Festival Of India 2017 | Goa Film festival | IFFI Awards | Onmanorama”. OnManorama. Retrieved 2017-11-18. Capra, Frank. The Name Above the Title: An Autobiography Vintage Bools, New York, 1985, p. 43 “Report of the Commissioner for linguistic minorities: 50th report (July 2012 to June 2013)” (PDF). Commissioner for Linguistic Minorities, Ministry of Minority Affairs, Government of India. p. 113. Archived from the original (PDF) on 8 July 2016. Retrieved 26 December 2014. “The Goa, Daman and Diu Official Language Act, 1987” (PDF). daman.nic.in. U.T. Administration of Daman and Diu. Retrieved 17 May 2015. Reports of the finance commissions of India: First Finance Commission to the Twelfth Finance Commission: the complete report. India. Finance Commission. Academic Foundation. 2005. p. 268. ISBN 81-7188-474-1. “Liberation of Goa”. Government Polytechnic, Panaji. Archived from the original on 28 September 2007. Retrieved 17 July 2007. Pillarisetti, Jagan. “The Liberation of Goa: an Overview”. The Liberation of Goa:1961. bharat-rakshak.com. Archived from the original on 9 August 2007. Retrieved 17 July 2007.

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• to: a b c “Goa”. National Informatics Centre(NIC). Archived from the original on 18 December 2008. Retrieved 4 January 2009. • Sakshena, R.N. Goa: Into the Mainstream. p. 5. • Indian Archaeological Society (2006). Purātattva, Issue 36. Indian Archaeological Society. p. 254. • The evolution and history of human populations in South Asia : inter-disciplinary studies in archaeology, biological anthropology, linguistics and genetics. Petraglia, M. D. (Michael D.), Allchin, Bridget. Dordrecht, the Netherlands: Springer. 2007. p. 85. ISBN 9781402055621. OCLC 187951478. • Chakravarty, Kalyan Kumar (1997). Indian rock art and its global context. Bednarik, Robert G., Indirā Gāndhī Rāshṭrīya Mānava Saṅgrahālaya. (1st ed.). Delhi: Motilal Banarsidass Publishers. p. 34. ISBN 9788120814646. OCLC 38936967. • Chakravarty, Kalyan Kumar (1997). Indian rock art and its global context. Bednarik, Robert G., Indirā Gāndhī Rāshṭrīya Mānava Saṅgrahālaya. (1st ed.). Delhi: Motilal Banarsidass Publishers. p. 70. ISBN 9788120814646. OCLC 38936967. • C. R. Srinivasan; K. V. Ramesh; S. Subramonia Iyer (2004). Śrī puṣpāñjali: Recent Researches in Prehistory, Protohistory, Art, Architecture, Numismatics, Iconography, and Epigraphy: Dr. C.R. Srinivasan commemoration volume, Volume 1. Bharatiya Kala Prakashan,. pp. 469 pages (see page4). ISBN 9788180900563. • Sakhardande, Prajal. “7th National Conference on Marine Archaeology of Indian Ocean Countries: Session V”. Heritage and history of Goa. NIO Goa. Retrieved 30 March 2011. • Dhume, Anant Ramkrishna (1986). The cultural history of Goa from 10000 BC – 1352 AD. Ramesh Anant S. Dhume. pp. 355 pages (see pages 100–150). • Dobbie, Aline (2006). India: The Elephant’s Blessing. Melrose Press. pp. 253 pages (see page 220). • Hiremath, K. G. (2003). Recent advances in environmental science. Discovery Pub. House. p. 401. ISBN 9788171416790. OCLC 56390521. • Rubinoff, Arthur G., (1 January 1998). The construction of a political community : integration and identity in Goa. Sage Publications. p. 18. OCLC 38918113. • Rubinoff, Arthur G., (1 January 1998). The construction of a political community : integration and identity in Goa. Sage Publications. p. 19. OCLC 38918113. • Odds stacked against Parrikar, Anil Sastry, The Hindu, 31 January 2005, verified 2 April 2005 91

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• Banerjee, Sanjay (6 June 2007). “Congress set to rule Goa again”. indiatimes.com. Times Internet Limited. Retrieved 5 August 2007. • “North Goa District website”. northgoa.nic.in. Retrieved 16 December 2011. • “Congress Asks Why Is BJP Invited To Form Government in Goa”. www.ndtv.com. Retrieved 27 March 2017. • “Supreme Court to hear Congress plea against Goa governor’s invitation to BJP”. timesofindia.indiatimes.com. Retrieved 27 March 2017. • “Goa’s BJP-led government wins floor test with support from 22 legislators”. timesofindia.indiatimes.com. Retrieved 27 March 2017. • “Wildlife Sanctuaries in Goa”. Archived from the original on 20 July 2008. Retrieved 18 July 2008. • “Ministry of Statistics and Programme Implementation”. Archived from the original on 13 April 2006. Retrieved 7 September 2006. • Mohan, Vibhor (16 September 2008). “Chandigarh’s per capita income is highest in India”. The Times of India. Retrieved 16 December 2011. • Economy of Goa, from goenkar.com verified 2 April 2005. • “Goa not to have any more SEZs”. The Times of India. 13 November 2007. Retrieved 13 November 2007. • “Goa Population Sex Ratio in Goa Literacy rate data”. • “Scheduled Casts & Scheduled Tribes Population”. Census Department of India. Retrieved 5 January 2009. • Commissioner Linguistic Minorities. “42nd report: July 2003 – June 2004”. p. para 11.3. Archived from the original on 8 October 2007. Retrieved 6 June 2007. • “Solving the Language Imbroglio”. Navhind Times. Retrieved 15 October 2008. • “Census of India – DISTRIBUTION OF 10,000 PERSONS BY LANGUAGE”. censusindia.gov.in.

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