My Thesis.

GANGA INSTITUTE OF ARCHITECTURE AND TOWN PLANNING

THESIS ON FILM INSTITUTE

SUBMITTED BY: ( SWASTIK ) SEMESTER – 8 th

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THESIS ON

FILM INSTITUTE

IN PARTIAL FULFILLMENT FOR THE AWARD OF THE DEGREE OF BACHELOR OF ARCHITECTURE IN ARCHITECTURE

GANGA INSTITUTE OF ARCHITECTURE AND TOWN PLANNING

(JHAJJAR)

SUBMITTED BY: (SWASTIK) SEMESTER – 8

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CERTIFICATE

This is to certify that the Thesis titled

“FILM INSTITUTE” submitted by “

SWASTIK ” as a part of 5 years Undergraduate Program in Architecture at is a record GANGA INSTITUTE OF ARCHITECTURE AND TOWN PLANNING of work

carried out under their guidance.

DATE

AR. HEM CHAND

AR. AMIT GARG

(THESIS GUIDE)

(DIRECTOR)

AR. BABITA SRIVASTAVA (THESIS GUIDE)

EXTERNAL EXAMINER …………………….

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DECLARATION

I SWASTIK hereby declares that the thesis entitled “FILM INSTITUTE” submitted in the partial fulfillment of the requirements for the award of the degree of B.Arch is my original research work and that the information taken from secondary sources is given due citations and references.

SWASTIK SEMESTER - 08 B.ARCH

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ACKNOWLEDGEMENT

I take this opportunity to acknowledge all those who have helped me in getting this study to a successful present status.

I would like to express my deep sense of gratitude to my guide, “AR. HEM CHAND” and “AR. BABITA SRIVASTAVA” for her valuable suggestions and criticism. He made this possible.

I extend my sincere thanks to my friends; they accompanied me to my site for the study and survey. All my batch mates for extending help and support.

Once again I take this opportunity to thank all those who have directly or indirectly helped me and sincere apologies if I have forgotten to mention any one in particular.

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INDEX 1. Introduction 2. Background of Study 3. History 4. Aim & Objective 5. Statement of the Challenge 6. Importance of the Challenge 7. Background of the Challenge 8. Thesis Statement and Strategies 9. Methodology 10. CASE STUDY 11. SITE ANALYSIS 12. ZONING 13. CONCEPT 14. PLANS & ELEVATIONS 15. SECTION

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FILM INSTITUTE

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INTRODUCTION : 1. Film 2. Film School 3. Film Making

FILM A film, also called as Movie, Motion pictures, Moving pictures, or Photoplay It is a series of still images which is when shown on the screen creates the illusion of moving images. Good film is perfect blend of Aesthetics and Technology. As there are Great books , now there are Great Films.

This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid successions. The process of film making is both an art an an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques by means of CGI and computer animation or by a combination of some or all of these techniques and other visual effects .

• Film is a story recorded as a set of moving pictures to be shown or broadcast to the people either in theaters , multiplexes or in the form of CDs , VCR tapes , etc.

• It is the young medium at least compared to most other media.

• Painting, literature, theatre have existed for thousand years into existence a little more than a century ago.

• Yet in this short span it established as an energetic and powerful art form.

• The techniques involved in film making are on a constant improvement with the various new types that are coming up such as motion pictures, 3D movies , animated movies, etc.

• Film is an optical and celluloid media.

• Films are cultural artifacts created by specific cultures.

• The visual basis of film gives it a universal power of communication.

• Films are of various types such as Animated films, Educational films, Fiction films, Horror films , Documentary films, etc.

FILM SCHOOL Educational Institution dedicated to teaching aspects of film making including subjects such as : 1. Film Production 2. Film Theory 3. Digital Media Production 4. Screen Writing • Film History courses and hands on Technical Training are usually in corporated into most film school curricular.

• Technical Training may inculde : 1. Instruction in the use and operation of Cameras 2. Lighting Equipments 3. Film or Video Editing Equipments and Softwares 4. Other Recievant Equipments • Film Schools may also Include Courses and Training in Subjects such as : 1. Television Production 2. Broadcasting 3. Audio Engineering 4. Animation

FILM MAKING Film Making is the Process of Making a Film, from an Initial Story Idea or Comission, through Script Writting, Shooting, Editing, Directing and Distribution to an Audience. Typically, it involves a large number of people, and takes from a few months to several years to complete.

• Pre-Production 1. Story in sequence, treatment, shooting script, dialogues, songs.

2. Casting of charachters.

3. Art director- scenario decription, set-designer, models, costumes.

4. Selection of the location.

5. Music director, musical treatment, rehersals, songs, music, dance. In Short during pre-production the arrangements are made which are necessary for a film to go on sets and start with actual process of film shooting.

• Production 1. The final shooting script building sets, studio work, photography, sound recording, negative developing, prints, trials.

2. Editing, post synchronizing, final copy, pre released trails.

In Short during production the actual process of film shooting takes place.

• Post-Production It involves final work such as editing, processing, dubbing and mixing.

In Short during post production the final changes to the film are given. Finally mixing of visual and audible reels are done. The Final primt is known as " Married Print " as it has both visual and the soundtrack in it. Later all goes to the marketing department.

BACKGROUND OF STUDY : 1. Problem 2. History PROBLEM India, despite having a diverse culture, is united by cricket and movies. The Indian films especially play a major role in bringing people together by its content and narrative. Also, movie theaters are a place where people from different culture and religion gather and share common interests.

Bring the Largest Democarcy in the world with more than 1.2 billion population, the reach of the film industry is limited to only 45 million. This is quite low comapring when one compares it with the middle class population of the country, which is as high as 300 million. The movies need to reach out more as they are now a part of indian culture and more people to countribute to it.

One of the major reasons for its limitation in reach is the lack of Cinema screens in the country. The United States of America, having less than a quarter of indian population has four times as many screens. To reach upto the level of Hollywood, Indian film industry needs at least 16 times its current number of Theater screens.

Furthermore, it is difficult for a newcomer to enter the film field without any inner connections. Opportunities are presented on merit. This leads to a large number of film students to struggle initially to make a mark.

Students lack practical knowledge as what they learn in school is drastically different from what they do in the actual profession ( based on the interviews with film students and professionals in india ) , which makes their entry even more difficult. This is due to the way the Education System has been Structured in the country which has created a huge gap between theory and practice.

The lack of opportunity for new people to get into this field limts its growth in terms of content, quality, and reach, based on the hypothesis, if this is overcome, the reach of the indian film industry could be expanded at least twice as much in the next ten years.

HISTORY -

Indian Culture and Movies India is one of the earliest civilizations and the largest democracy in the world with a population of over 1.2 billion people. People here are segregated culturally by religion and these individual cultures unite through festivals and celebrations like Christmas, Diwali, Holi, Eid, etc. The culture and people are so diverse that more than the democratic government , the two things that unite the county are cricket and films .

History of Cinema • History of Indian Cinema is marked by screening of a short film by luminaries brother's cinematography in 1896 at bombay .

• The first more toward dramatic film was forwarded by R.C. Torney along with N.G Chitra for the film " Shree Pundalik " in 18 may, 1912 in mumbai.

Next major film by D.G. Phalke " the Harischandra " in 1913. He is called as a " Father of Indian Cinema" .

• The 30's is the decade of social protest in the history of Indian Cinema .

The 30's saw sweeping changes to the Industry.

• Three major film centres were developed in Bombay, Calcutta, and Madras.

Calcutta and Madras were known for their regional films and Bombay was known for making films geared for National distribution.

The first full length Indian feature film " Raja Harishchandra " . • It is the silent Indian film directed and produced by" Dadasaheb Phalke " in 1913. • The film had all male starcast, as no women was available for playing female lead in the film, so the men played all the roles, and was 40 minutes long .

DADA SAHEB PHALKE (April 30, 1870 - February 16, 1944)was an Indian producer-director-screenwriter, known as the father of Indian cinema. Starting with his debut film, Raja Harishchandra 1913, now known as India's first full-length feature, he made 95 movies and 26 short films in his career span of 19 years, till 1937.

Some of the Screenshots of " Raja Harishchandra " film :

• In 1940's - 1950's, the films occurred with concentration on vibrant song and dance.

• The emergence of ' playback singing ' took place.

• Music became an important ingredient in india cinema.

• South indian cinema gained prominence throughout india with the release of S.S.Vasan's ' Chandralekha ' .

• " Kisan Kanya "was a 1937 hindi feature film directed by Moti B. Gidvani. It is largely remembered by indian public on account of it being " India's First Colour Film ".

• After the 1970's, the technological developments in the movie industry has been very rapid. With the introduction of visual effects, video cassettes, CDs, etc. The industry increased its popularity to a global level. Today the visual effects in the movies have reached a whole new level with animation movie industries using motion capture technology.

AIM : Topic Statement This thesis aims to design a film institute that merges the theory and practice of film making by creating spaces that facilitate experiential learning. A mixed use program is introduced with Studios and theaters that create a self-sustaining complex. This will also have Theater spaces and plazas for the public to experience films as a finished form as well as in the process of making.

Devising a programme that activates it Physically, Functionally, Psychologically and Socially this could give rise to New Architectural Typology.

Physically through Form , Functionally through Programme , Socially through Space created and Psychologically through Services .

Institutional Aim The project aims to bridge the gap between theory and practice of Filmmaking and thereby improve the Indian film industry in terms of creative thinking and technical knowledge. and also, To promote all aspects of the Film, Video, Audio, Animation, and Performing Arts media to foster Education and Awareness among Students and the Community .

OBJECTIVE :

• To encourage interest in and study of films as a form of art and as a medium of information and education.

• To create awakening and promote new, deserving talent in respective fields of film art.

• Creation of wealth through the filmmaking.

• Creation of employment.

• To encourage education and research through publications and training.

STATEMENT OF THE CHALLENGE :

Architecture should not just be a setting forr events to take place and space in which things happen, rather it should be a part of the experience. How the buildings comes together and what it is made of, is crucial to how the building is actually experienced. Architecture through the use of light, space and materials must engage the use actively to create a truly experiential space.

Hence, space must be created that inspires which allows the person to remember and absorb. According to Briana, E.R., a former student of new school of architecture and design " To experience the space in a qualitative way, there needs to be a right amount of stimuli ; too much would create an over whelming experience and too little will make space perceived as dull. " The relationship between space, a human figure, scale and motion within a particular environment should provide a very fluid motion of people within the building to create an emotional and physical reaction.

Since the Thesis is About Creating an Experiential envionment for students and public to experience and absorb the indian film industries, analyzing this aspect would be very benificial.

The main issue face by the aspiring film makers and filmmaking students in india is the lack of practical or experiential knowledge gained by the physically experiencing the process and lack of opportunities to get them involved. Another problem is the lack spaces with the infrastructure to equip advanced production technology so that the entire production could take place under 1 single roof.

These problems could be tackled by giving them the opportunities to physically and visually experience the actual film making by building a space which could act as a tool in teaching film making rather than a box where learning happen within.

Space has to be designed in a way looking at all the infrastructure and facilities required for the professional practice.

The design should draw the real professionals of companies to use it by buying or renting it an being a part of the whole teaching and learning experience.

At the same time design has to create and experiential way of learning for the students studying in and around this space to make them feel like they are a part of every aspect of their study and practice. This would help in an educational reform by creating environments which would enhance their learning experiences and creativity by the acquisition of practical and experiential knowledge.

IMPORTANCE OF THE CHALLENGE :

A successful education system is necessary for a profession like the film making.

Hence, it is important that the education system catches up with the 21st century advancement.

Improving the learning environment for students could enhance thier creative skills.

Students need to be provided with more opportunities and easy networking options.

They also need to experience the actual film making process.

Architecture can help in this reform of education system by creating environments that would help in achieving the same. This could be done by combining film schools to film production studios where there could be intractions with the actual professionals and experiential learning environments.

Spaces can be created to attract the public and the communities to visually experience the films and behind scene process. This in turn could generate interest in them to participate and contribute to it as audience and potential film makers of the future.

Designing a mixed- use development which involves film schools, studios and theaters could energize the film industry in the community both in terms of the education they get ( by closely working with the professionals ) and in terms of generating public awareness and interest.

BACKGROUND OF THE CHALLENGE : Indian Film Industry

India produces the largest number of films annually, the number of films made being 1500 per year on an average, which is almost 3 times as much as the number of films made in the United States. Yet, the reach of the film industry is limited to a very small number.

According to Karan Johar, a renowned filmmaker in Bollywood,"Of the 1.2 billion population of India, movies should reach out to at least 300 million people [the size of lndia's middle class]. But currently, our reach is limited to 45 million. If we figure out how to cover this gap, it will be a game-changer."

The industry needs to reach out to more people and for this new talent need to get into the industry. This could make newcomers more optimistic about getting opportunities and contributing to Indian Cinema.

According to lBT news,

"India does not really have that many cinemas for people to go to - less than 13,000, versus almost 40,000 in the U.S. (a country which has only one-fourth of India's population)".

There need to be more cinema screens and a better drawing factor for more people to see the movies and also contribute to this growing industry.

The annual gross box office revenue produced by all the regional film industries in India comes to around 1.8 billion which is far less compared to its counterparts like Hollywood with an annual gross revenue of over 11 billion and Chinese film industry with over 3 billion. Also, the quality of films made in the country is questionable with its poor production qualities and its lack of technical Knowledge.

Film Education in India Furthermore, the education system of filmmaking has taken a backseat, giving students who have the potential to do well professionally with very few opportunities to get into the actual filmmaking process.

The system of the filmmaking industry in India works in a way in which only the people who have connections within the industry will be presented with opportunities to get involved in the actual filmmaking process, regardless of whether they are talented or even educated in making films.

Hence,it becomes very difficult for talented film students to get into the field. They need to work their way up through networking more extensively than the ones with inside Connections.

Making a more creative environment for teaching,giving them opportunities for a more experiential way of learning filmmaking and more networking opportunities could be a way which could take the students a step closer to being successful and to contribute to the Indian Film Industry.

Looking at the education system of filmmaking and other fields like architecture, fashion designing, product designing, etc, it is observed that the students are lacking in practical knowledge which is required in their field of study. Sometimes, they need to unlearn what was previously taught to them to adapt to the working style in their professional field and start all over again.

Hence, the challenge would be to tackle this by finding ways to give the students the training they need beforehand, which would involve finding ways to bring in professionals and get them involved with the students and vice-versa. This collaboration of the professional practice with professional education by involving experienced professionals to work with the students could prove to be mutually beneficial to both the parties as they are able to get insights and inputs from one another.

Thesis Deals with : • Creating more awareness among the public about the importance of films and filmmaking.

• Creating better education to film students.

• Bringing students closer to production practice.

• Creating easier and equal opportunities for outside talents.

• Providing more theaters and cinema screens.

THESIS STATEMENT AND STRATEGIES :

India has a population of 1.2 billion and it produces the largest number of movies in the world. The reach of the Indian Film Industry is limited to 45 million, despite having a 300 million, middle-class population. This is mainly due to the lack of awareness about movies in the local communities. Movies and theaters could be something that could bring a very diverse population together.

Also, there are barriers to entry in this industry for newcomers and film students, which further reduces its reach and diversity of the films being made. The barriers are associated with poor networking opportunities and an outdated education system. The education is drastically different from the actual practice and the schools lack creative learning environments. Furthermore, there are lack spaces capable of housing the new technologies used for film production.

Consider a Film district which would house a Film Institution and Film Studios together. It could be merged architecturally in a way students can work closely with actual professionals, have better practical knowledge and easier networking opportunities. This is achieved by creating an experiential pattern of spatial arrangement to expose students to real practice.

This district would have theaters, commercial developments like film merchandise, film archives, and outdoor film viewing areas.

The public would also be able to see the process of filmmaing. This could get people interested in movies and the movie business.

This could also be a Space where the community can gather and have celebrations.

This is achieved by creating multiple plazas with a variety of functions along the entire development. There could be food stalls, play areas, amphitheaters , and so on.

The purpose of sucha complex is to reach out to more people in the community to get people interested in films and filmmaking and to provide opportunities for film students to be exposed to the film industry. ...

Such exposure yields two main benefits for the students.

An understanding of how to translate theoretical study into practice along with excellent networking opportunities. As a result of these students' improved education, the huge gap between the theory and practice would be eliminated.

Furthermore, the Indian film industry willI have the potential to compete with its counterparts in small Hollywood and Chinese film industries in terms of creative thinking, technical quality and its outreach.

METHODOLOGY

• Studying the kind of activities that would draw the community to this development.

• Linking these activities to the Indian Film Industry.

• Designing a strong access which would take the public through the entire development.

• Studying the various steps and stages involved in the field of filmmaking and how the design of these spaces would reflect and change in its methodology over the years.

• Finding ways and techniques to mix spaces and to make them well suited to equip the latest technologies for the production.

• Incorporate all the infrastructure for specific programs that needs to take place in the building like editing, sound, etc and finding ways to incorporate a film Institution into this space in away students can physically and visually experience all the process involved. ...

• Creating hierarchy in the arrangement of spaces by using film production process as a precedent.

• Aesthetics and spaces formulated by film techniques.y film techniques.

• Identilying the space relations between the rooms, rooms to the building, building to the site and studying how these space relation could affect the interactions of students, filmmakers, faculty, community public, tourists, etc.

• The above step involves the comparative study of space relations, which could be adjacent spaces, interlocking spaces, spaces linked by a common space, or completely disjointed spaces. This study will give the most suitable relation between spaces based on the programs and experience it creates.

• Interviews will be carried out with local community, film students and filmmakers to understand the kind of environment they would like to be in.

• Observing different kinds of learning spaces and its effects on students.

CASE STUDY National School of Drama , New Delhi National School of Drama (or NSD) is a theatre training institute situated at New Delhi, India. It is an autonomous organization under Ministry of Culture, Government of India. It was set up in 1959 by the Sangeet Natak Akademi, and became an independent school in 1975. In 2005 it was granted deemed university status, but in 2011 it was revoked on the institute's request.

The NSD is housed in Bahawalpur House, 1, Bhagwandas Road, New Delhi. The School is ideally located in Mandi House area which is the Cultural hub of the Capital and can boast of some leading cultural centers. To a name a few, Kamani auditorium, Little Theatre Group (LTG auditorium), Bhartiya Kala Kendra, Sri Ram Centre for Performing Arts, Triveni Kala Sangam are located in the Mandi House area itself.

The School is spread over an area of 8.5 acres out of which the buit up area is 10,645 sqm. Bahawalpur House is also a seat of Kathak Kendra and Tulsi Sadan Library who are occupying a small portion of the complex. However, it was mentioned that the Kathak Kendra shall be moving out to their new campus.

AREA ANALYSIS Total SITE AREA = 8.5 acres which is broadly divided into 3 subdivisions : • ADMINISTRATION AREA = 1.37 acres • CULTURAL and PROGRAMME AREA = 3.56 acres • HOSTEL FACILITY = 1.5 acres FOOTFALL • ADMINISTRATION AREA = 150 workers • CULTURAL and PROGRAMME AREA = 100- 250 children

AUDITORIA The NSD has three auditoria, out of which Abhimanch is the biggest one with a seating capacity of 350. It is fully equipped with modern sound and lighting arrangements which are so vital for performances of plays.

Sammukh is a compact auditorium but small in size with a capacity of 110 seats. Sammukh was constructed in 2003. It is mostly used for rehearsals and performance of plays by the Repertory Company.

The 3rd auditorium Bahumukh is primarily used for rehearsals of plays by the students. In this auditorium, plays are also performed. The auditorium is useful for it poses a challenge to the students because it is an experimental space, small in size and very intimate to audiences. In our view, the three auditoria are sufficient to cater to the training needs of the students and the Repertory Company.

PHOTOGRAPHIC UNIT Most of the student productions and that of the Repertory Company are video-filmed for archival purposes. A systematic preservation of archival holdings has been done. Proceedings of workshops on important subjects which are organized as part of the training programme of the students have also been video-filmed for use in future programmes.

The School has acquired some of the finest still cameras and video systems for the Photographic and Documentation section . This consists of cameras, recording equipments, editing panel, display terminal and other sophisticated equipments.

CARPENTARY WORKSHOP As part of the curriculm, the students are required to learn basic skills in Carpentry also. Accordingły, the School has got a well equipped carpentry workshop with modern machines and tools. The students are given training under the guidance of an expert Stage Technologist who is of the rank of Lecturer.

COSTUME DEPARTMENT This Unit preserves the costumes and properties of all the plays produced by the School students, Repertory Company and TIE (Theater in Education) Company during the past 36 years. Every academic year, the School adds substantially to its collection of costumes and properties . This unit has been provided with modern sewing machines.

SOUND STUDIO A well- equuipped Digital Muti track sound recording studio with state aqof the art technology and facilites, for recording music tracks, lectures, etc. is manned by qualified technical staff. The facilities provided by the Studio are availed of by the students, Repertory Company and TIE Company. lt also attends to audio-video documentation of the productions, lectures by theatre persons, artists, etc. The archives of the Sound Studio s of 3274 video cassettes, 4144 audio cassettes and 200 CDs. LIGHTING STUDIO A well-equipped-lighting studio has been specially designed for teaching purpose. It has got state of the art equipments which are used in the performance of plays in NSD's auditoria, namely, Abhimanch, Sammukh, Bahumukh and Antarmukh. The students have an opportunity to use modern equipment to develop their skills in lightning design. All the auditoria are centrally air-conditioned and are used for training purposes as well as for regular performance of plays.

MUSIC DEPARTMENT As part of their training programme, the students have to leam music as it is an important element in production of plays. Accordingly, the School has a music department headed by a Lecturer (Music) who is assisted by two other artistes.

HOSTELS The NSD has two hostels in its campus. The Boys hostel has a capacity of 40 students, the Girls hostel has a capacity of 26 students. Apart from this, there is a guesthouse which can house six visting faculty. The same guesthouse is also used for Repertory ,etc.

PERFORMING WINGS Repertory Company The professional performing wing of NSD, the 'National School of Drama' Repertory Company was set up in 1964, with an aim to promote professional theatre in India. It first head was Om Shivpuri, followed by Manohar Singh, Ram Gopal Bajaj (Acting Chief), J.N. Kaushal (Acting Chief), Anuradha Kapur (Acting Chief), and Suresh Sharma, Sagar Kamble, Atul Singhai (Animation chief).

Play by the NSD at the Anugoonj, 2011 (cultural festival of the GGSIPU, Delhi)

Today, the Repertory Company, has staged over 120 plays based on the works of about 70 playwrights and featuring around 50 directors in several countries, and various cities across the nation, and has its own festival every year, called Annual Repertory Company Summer Festival, in which it perform new and past plays.In 2004, the repertory celebrated its 40th anniversary with a theatre festival in New Delhi.

Sanskaar Rang Toli In 1989 NSD established the ‘Theatre-in-Education Company’ (T.I.E), called 'Sanskaar Rang Toli', today it has become India's premier educational resource centres, and coaches children aged 8 to 16 years. The company regularly performs plays for school and adults audiences alike, and has its own yearly theatre festivals, 'Jashn-e-Bachpan' and Bal Sangam.

Bharat Rang Mahotsav Bharat Rang Mahotsav, or the 'National Theatre Festival', established in 1999, is the annual theatre festival of National School of Drama (NSD), held in New Delhi, today it is acknowledged as the largest theatre festival of Asia, dedicated solely to theatre.

ACADEMIC ACTIVITIES • Training in theatrical arts is the primary and major activity of the School. It provide a comprehensive 3-year course of training in Dramatic Arts. The training is based on a thorough, comprehensive, carefully planned syllabus covering various aspect of theatre in which theory is related to practical work in dramatics. All work is ultimately put to test before the public. After successful completion of the course, a Diploma in Dramatics is Awarded to the students.

The Diploma has been recognized by the Government of India for the purpose of recruitment to superior posts and services under the Central Government where specialization in the fleld of dramatics is required. The Association of Indian Universities has also recognized this Diploma as equivalent to M.A. Degree for appointment as teachers in Colleges and Universities and for the purpose of registration for Ph.D. • The academic training covers dramatic literature, aesthetics , theory of acting, mime & movement, martial arts & yoga, music, stage techniques, acting and theatre techniques and design.

• Presenty, the School provides specialization in Acting and Stage Craft. In the 2nd and 3rd years, the students are offered choice in one of them. From the academic sessions commencing in July 2005, the NSD proposes to have two additional specializations, namely, Children Theatre and Play Writing.

• During the winter vacations, are taken on educational study tours to places of historical monuments, cave paintings and miniatures. To name a few, in the past, students were taken to Ajanta and Ellora caves, Daulatabad Fort, Pathan Dam, Bibi Ka Makbara, Bhubaneswar, Puri, Konark and Bhalleshwar Temples in Orissa, Agra, Fatehpur Sikri etc. Studenys are thus exposed to India's rich cuttural heritage which has been a source of perennial inspiration to artistes, dancers, painters, sculptures, etc.

• As part of the practical training, performance of plays by the students starts in 2d year itself. The performance of plays provides them a sound grounding in the various facets of acting and gives them an opportunity to show their skills. The selection of plays for performance is broad based and covers (i) Classical Sanskrit plays by Kalidasa and Bhasa, (ii) plays written by Modern Indian playwrightes as well as classics from west dramatic lectures.

PLANS

SECTIONS

PHOTOGRAPHS of EXHIBITION AREA

PHOTOGRAPHS of SETUP AREA

PHOTOGRAPHS of OFFICE AREA

PHOTOGRAPHS of GREEN AREA

PHOTOGRAPHS of GREEN AREA

PHOTOGRAPHS of BOOK SHOP AREA

SITE ANALYSIS

OVERALL ANALYSIS

Information Related to the Zone K-II Where our Site lies

Total Site Area = 11 acres ( 4 hectares ) Maximum Ground Coverage = 30% Maximum F.A.R permitted = 225% Service Road = 6 metres Front, Rear and Side Setbacks = 12 m , 9 m , 9 m

SUN PATH DIAGRAM

SITE PHOTOGRAPHS with KEY PLANS showing from where Photograph has been taken :

SITE ZONING

SITE PLAN :

OFFICE BLOCK : PLAN & ELEVATION

INSTITUTE BLOCK : FLOOR PLANS

INSTITUTE BLOCK : ELEVATION

THEATRE BLOCK : FLOOR PLANS

THEATRE BLOCK : ELEVATION

CANTEEN BLOCK : PLAN & ELEVATION

THEATRE ( 110 SEATINGS ) : PLAN & SECTION