PERFORMINGARTSCENTRE
-ENSHRININGCLASSICALPERFORMINGARTSOFSOUTHINDIATHROUGH ARCHITECTURE ATHESIS Submittedby K.M.ROOBASRI 2017701560 Inpartialfulfilmentfortheawardofthedegree of BACHELOROFARCHITECTURE IN DEPARTMENTOFARCHITECTURE ANNAUNIVERSITY CHENNAI600025 APRIL2022 ANNAUNIVERSITY:CHENNAI600025 SCHOOLOFARCHITECTUREANDPLANNING
HEADOFDEPARTMENT DEAN i
1. 2. Externaljury Supervisor
Itiscertifiedthatthiswork,formingapartofcourseAR7091,SemesterX, B.Arch,entitled“PerformingartscentreEnshriningclassicalperforming artsofSouthIndiathroughArchitecture”,submittedbyMs.K.M.Roobasri, RollNo:2017701560tothedepartmentofArchitecture,SchoolofArchitecture andPlanning,AnnaUniversity,isabonafiderecordoftheworkcarriedoutby herundermysupervision.
Date: Date:
BONAFIDECERTIFICATE
Certifiedfurtheristhatthiswork/report,tothebestofmyknowledge,doesnot formapartofanyotherdissertationorthesisonthebasisofwhichadegreefor conferred,onanearlieroccasion,onthis,oranyothercandidate
DECLARATION
Ithasnotbeenthebasisoftheawardofanyotherdegree,diploma, associateshiporfellowshipunderanyotherinstitution.Acknowledgementof sourcesofinformationcompiledinthesis,hasbeendulymade. KMROOBASRI 2017701560
CHENNAI: STUDENTSIGNATURE DATE:
Ideclarethisthesistitled“PerformingartscentreEnshriningclassical performingartsofSouthIndiathroughArchitecture”at“Koyambedu, Chennai.”isthebonafideworkbyme,undertheguidanceofAr. K.Dhiksha,SchoolofArchitectureandPlanning,AnnaUniversity.
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IalsothankmyfamilyforalltheirsupportthroughtheseyearsLastly,Ithank allmyfellowbatchmates,whostoodbesideandaidedmeinmakingthis projectasuccess.
ACKNOWLEDGEMENTS
BrianTracy
IthankallthefacultymembersoftheDepartmentofArchitectureforthe encouragementandinspirationtoexecutetheproject.
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IamthankfultoExternalPanelMemberAr.K.BALASUBRAMAINIAN, forenrichingmewithhisknowledgeandguidingmewithhisvaluable experienceduringthevariousstagesofmythesisreviewsessions.
IamthankfultoAdvisorAr.K.DHIKSHAforthepatiencesheextended towardsme;offeringherguidanceandimmensesupportduringthisentire semesterandhelpingmecompletethisproject.
Aboveall,IthankGodforthestrengthtopursuethisthesis.
IwouldliketoexpressmygratitudetoProf.Dr.K.R.SITALAKSHMI,Dean, ThesiscoordinatorandProf.R.H.RUKKUMANY,HeadoftheDepartment fortheirsuggestions,encouragements,commentsandconstructivecriticism givenwhichhasmadethisprojectasuccess.
Developanattitudeofgratitude,andgivethanksforeverythingthathappensto you,knowingthateverystepforwardisasteptowardsachievingsomething biggerandbetterthanyourcurrentsituation.
TABLEOFCONTENTS CHAPTER NO. TITLE PAGE NO. 1.INTRODUCTION 1.1General 1 1.2TheatresaccordingtoNATYA SHASTHRAandNATAKATAMIL BOOK 3 1.3Bharathanatyamincurrentscenario 6 2.CASESTUDIES 2.1KalakshethraFoundation 8 2.2Kalaacademy 14 2.3Nrithyagram 20 2.4Koothambalam,SubramaniyaSwami temple 24 3.LITERATURESTUDYANDRESEARCH 3.1MetaphysicalArchitectureintemple Architecture 28 3.2CirculationonBrihadeeswaratemple30 4.SURVEY 4.1SurveyDancers 32 4.2SurveyGeneral 34 5.SITESELECTION 5.1Siteselection 36 5.2SiteAnalysis 38 6.DESIGNPROCESS 6.1Programs 40 6.2ProcessModels 42 6.3ZoningIterations 46 6.4Massing-Zoning-Circulations 48
7.4TempleofMovement 58
75LibraryandMuseum 64 66
7.1SitePlan 52
7THEDESIGN
7.8ExperimentalTheatre
72GroundFloorPlans 54 56
84 7.9MusicClassZone 86
7.7ClassroomsforDance 78
8RefernceandBibiography 98
7.6PerformingSpaces
7.3FirstFloorPlan
7.10Accomodationblock 90 96
7.11IsometricviewofSite
