Royal Institute of Performing Arts- An Architectural Thesis by Tashi Dorji

SYNOPSIS INTRODUCTION

FOUR PILLARS OF GNH

For a small country like Bhutan, the preservation and promotion of its

1. Equitable and Sustainable Socio-economic Developments;

unique culture and tradition play an important role in laying the base

2. Preservation and Promotion of Culture

upon which the identity of Bhutanese people and the Kingdom of

3.Conservation of Environment

Bhutan as a sovereign nation is built.

4. Promotion of Good Governance.

NEED IDENTIFICATION The “Royal Institute of Performing Arts” to be built in Paro, first of its kind, will be a living institution, playing a key role in preserving Bhutan’s culture by offering a contemporary outlet for performances of

AREAS OF RESEARCH Primary research: Understanding Performing arts of Bhutan Secondary research: Understanding traditional architecture of Bhutan

traditional music, dance, theatre, educational programs, and other special events.

.THESIS PROPOSITION The thesis proposes an Institute of Performing Arts which would celebrate, enhance and pass on to the future generations, the performing arts and values of Bhutan, which is one of the pillars of GNH (Gross National Happiness),while at the same time act as a window to

CASE STUDIES To understand the functional relation in the Institute of Performing Arts,, the following case studies are selected: 1. Bharat Bhawan, Bhopal (Charles Correa)

2. Kala Academy, Goa (Charles Correa) 3. Nrityagram, Bengaluru (Gerard Da Cunha)

the world and a place for international exchange..

OBJECTIVES

CASE EXAMPLES

1. Royal Textile Academy, Thimphu Bhutan (to understand the

Institute as backbone of the preservation and promotion of culture which is one of the pillars of GNH.

contemporary architecture of Bhutan)

institute as an offering to the Bhutan and its people for its cultural vibrancy and uniqueness.

2. Punakha Dzong, Bhutan (to understand the mask dance performing

Institute as a window to the world and platform for international

space in the monasteries)

exchange -

Will take into consideration of all the four pillars of GNH to make

3. Ogyen Choling, Bumthang Bhutan (to understand the performing

architectural interventions.

space at village level)

SYNOPSIS

SITE DISCRIPTION: Location: Namjo , Paro, Bhutan Latitude: 27°26’ Longitude:89°24’ Altitude: 2275m to 2280m Site area : 24,300sqm(6 Acres)

TECHNOLOGY - Rammed earth wall construction

- Wooden roof structure - Wooden façade system (Rabsel) - Large-span timber structures

Permissible building height : G+3 Permissible Ground Coverage : 40%

REASON TO CHOSE THIS SITE 1. Paro(site) is one of the favourite tourism places in Bhutan and the presence of international airport makes it ideal place for international exchange of culture and knowledge. 2. Paro (site) being the centre of transportation in the country, the institute will act as a centre for the development of performing arts.

PROGRAMME The program of the institute is broadly divided into five main zonal

DESIGN IDEAS -Concept of Dzong(Fortress) as the centre for Performance Arts -Ceremonial Entrance & offering to Royal and the Country -Concept of Mandala and Importance of Centrality

group as follows: 1. Sacred space 2. Institution space 3. Academic space 4. Residential space

5. Public space Site area ( 6 acres) = 24,300 sqm

Total built up area = 17, 409 sqm

SYNOPSIS

ACKNOWLEDGEMENT I am indebted to many people who helped me in making this thesis book on “ ROYAL INSTITUTE OF PERFORMING ARTS” a successful one. I would like to express my sincere thanks and gratitude to my guides, Prof. Moti Bahri and Prof. Rahul Sen for their timely discussion and guidance, and studio director Prof. (Dr.) Jaya Kumar for her kind co-operation , insightful talks and encouragement throughout the semester. My sincere thanks and gratitude to Ar. Pema Gyeltshen , Gandhara Design & Associates , and Ar. Yeshi Samdrup, Department of Culture, for providing relevant resources and research materials on Architecture of Bhutan and Performing Arts of Bhutan. Indeed it is a privilege to get guidance and direction from all of you and thank you all for your generosity. Lastly, but not the least, thanks to all people whom I could not mention names, in helping me in their own ways which finally helped me to complete the project successfully. Thank you all so much for making this thesis possible and thank you for giving me hope with all your unwavering trust and confidence .

Fig 0.1: sketch of Taktsang monastery (source: www.pinterest.com)

ACKNOWLEDGEMENT

iii

TABLE OF CONTENTS PART I-DESIGN INVESTIGATION CHAPTER -1. THE SEARCH (THESIS PROPOSAL)………………………………………………………. 1 1.1 Introduction .……………………………………………………………………………1.1 1.2 Need Identification .…………………………………………………………………..1.2 1.3 Site Selection .…………………………………………………………………………..1.3 1.4 Thesis Proposition ……………………………………………………………………....1.4 1.5 Architectural Interventions ………………………………….……………………….1.4 1.6 Client Profile …………………………………………………………….………………1.5 CHAPTER -2. AREAS OF RESEARCH …………...………………………………………………………. 2 2.1 Performing arts of Bhutan.……………………………………………………………2.1 2.1.1 The Mask Dance (Cham)…………………..……………………………..2.3 2.1.2 Song & Folk Dance (Zhabthra)…………………………………………..2.4 2.1.3 Musical Instruments of Bhutan……………………………………………2.5 2.1.4 Dances in Bhutan: A Traditional Medium of Information ……….….2.6 2.1.5 Spaces for the Performing Arts ……..……………………………………2.7 2.2 Understanding Traditional Architecture of Bhutan ……………………………2.11 a) Dzong (fortress) ………………..………………..…………………………….2.11 b) Temple (Lhakhang) …………..………………..…………………………….2.13 c) Stupa (Chorten)………………..………………..…………………………….2.14

Fig 0.2: Welcome mask dance (source: www.pinterest.com)

d) Vernacular settlement………..………………..…………………………….2.14 e) Vernacular Housing (Yoe-chim) ……………..………………………..…...2.15

TABLE OF CONTENTS

CHAPTER -3. CASE STUDIES AND CASE EXAMPLES………………………………………………. 3 3.1 Parameters of selection of case studies.……………………………………….3.1 3.1.1 Bharat Bhawan, Bhopal.………………………………………………..3.3 3.1.2 Kala Academy, Goa .....………………………………………………..3.9 3.1.3 Nrityagram, Bengaluru..…..…………………………………………...3.16 3.2 Case examples …………….……………………………..……………………….3.22 3.2.1 Royal Textile Academy, Thimphu Bhutan………………………….3.22

3.2.2 Punakha Dzong, Bhutan…………………...………………………….3.25 3.2.3 Ogyen Choling, Bumthang Bhutan……...………………………….3.28 3.3 Case studies matrix..……….……………………………………………….……..3.32 3.4 Learnings……….…………….……………………………………………….……..3.35 CHAPTER -4. AREA PROGRAM………………………………………………………………………. 4 4.1 Area brief & Broad area program……………………………………………….4.1 4.2 Detailed area program.…………………………………………………………...4.2 4.3 Program analysis & Functional relationship.……………………………….…..4.7 4.4 Ground Coverage analysis.………………………………………………….….4.10 4.5 Inferences …………………...……………………………………………………..4.10

Fig 0.3: Furious mask dance (source: www.gopackup.com)

TABLE OF CONTENTS

CHAPTER -5. CITY & THE SITE (SITE ANALYSIS) …………………………………………………. 5 5.1 Information about city (Paro; Bhutan).……………………………………….5.1 5.1.1 Connectivity...………...………………………………………………..5.2 5.1.2 Landmarks and Heritage Sites.….…………………………………..5.3 5.1.3 Climate…………………………...….…………………………………..5.3 5.2 Precinct Level………………………………………………………….…………..5.5 5.2.1 Visual boundary from the site...……………………………………..5.5 5.2.2 Building Types and Vegetation....…………………………………..5.6 5.2.3 Land use in the precinct area.….…………………………………..5.7 5.2.4 Terrain & landform in the precinct aera....………………………..5.8 5.2.5 Topography……………………...……………………………………..5.9 5.3 Site Level Information & Analysis……………………….…………………….5.10 5.3.1 Site Location…………………......………………….………………..5.10

5.3.2 Site Plan Dimensions…………......…………………………………..5.11 5.3.3 Site Context Photos…………...….………………………...………..5.12 5.3.4 Site Level Conditions…………...…………………………………….5.13 5.4 Inferences...………………...……………………………………….…………....5.14

Fig 0.4: Mask dance of Garuda (source: www.pinterest.com)

TABLE OF CONTENTS

CHAPTER -6. THESIS TECHNOLOGY………………………………………………………………. 6 6.1 Structural systems…………………………………………………………………6.1

6.1.1 Rammed earth wall construction ………………………………….6.1 6.1.2 Wooden roof structure…………….………………………………….6.3 6.1.3 Wooden façade system (Rabsel)……….………………………….6.4 6.1.4 Large-span timber structures……..………………………………….6.5 6.2 Sustainability,,,……………………………………………………………………..6.9 6.2.1 Site and sustainability………………………………………………….6.9 6.2.2 Construction in hilly areas..……….…………………………………6.11 6.2.3 Passive solar design (specific to cold region) ..…………………6.13 6.2.4 Trombe walls………………….……..…………………………………6.15 6.3 Safety……………..………………………………………………………………..6.16 6.4 Case example- Druk White Lotus School ...…………………………………6.17 6.5 Services……..……………………………………………………………………...6.22 CHAPTER -7. SWOT ANALYSIS & DESIGN DETERMINANTS.……………………………………. 7 7.1 SWOT analysis ..….………………………………………………………………..7.1 7.2 Design Determinants...…………………………………………………………..7.2 7.2.1. Determinants from the Site Analysis……………………………….7.2

Fig 0.5: Mask dance of Stag and Dog (source: www.pinterest.com)

7.2.2. Determinants for zoning in the site...………………….…………...7.3 7.2.3. Determinants for Site Planning & Movement Systems….……...7.4

TABLE OF CONTENTS

vii

PART II-DESIGN TRANSLATION CHAPTER -8. CONCEPT DEVELOPMENT………………………………………………………………. 8 8.1 Design Ideation...…………………………………………………...…………………8.1 8.1.1. Concept of Dzong(Fortress) as the centre for Performance Arts...8.1 8.1.2 Ceremonial Entrance & offering to Royal and the Country.………8.2 8.1.3. Concept of Mandala and Importance of Centrality……………....8.3 CHAPTER -9. DESIGN DEVELOPMENT…………………………………………………………………. 9 9.1 SKETCH DESIGN STAGE -1…………………………………………’’’………………9.1 9.2 SKETCH DESIGN STAGE -2……………………………………………………………9.2 9.3 DESIGN DEVELOPMENT –I……………………………………………………………9.3 9.3 DESIGN DEVELOPMENT –II...…………………………………………………………9.5 9.3 DESIGN DEVELOPMENT –III..…………………………………………………………9.7

Fig 0.6: Male folk dancer (source: www.pinterest.com)

TABLE OF CONTENTS

viii

LIST OF FIGURES List of Figures

Source

Page No.

Fig 0.1: sketch of Taktsang monastery

www.pinterest.com

iii

Fig 0.2: Welcome mask dance

www.pinterest.com

Fig 0.3: Furious mask dance

www.gopackup.com

Fig 0.4: Mask dance of Garuda

www.pinterest.com

Fig 0.5: Mask dance of Stag and Dog

www.pinterest.com

vii

Fig 0.6: Male folk dancer

www.pinterest.com

viii

Fig 1.0: Sketch of Bhutanese house

www.pinterest.com

1.0

Fig 1.1: Bhutan political map

www.dreamstime.com

1.1

Fig 1.2: His Majesty the king & Her Majesty the queen of Bhutan

www.hellomagazine.com

1.1

Fig 1.3: Founder of GNH-Fourth king of Bhutan(1972)

www.akg-images.fr

1.1

Fig 1.4: Vibrant culture of Bhutan

www.compassandfork.com

1.2

Fig 1.5: Site & important precincts

google maps

1.3

Fig 1.6: Paro international airport & Paro Dzong

www.yatra.com

1.3

Fig 1.7: Site location & photos

Author

1.3

Fig 1.8: Four Pillars of GNH

www.gnhcentrebhutan.org

1.4

Fig 1.9: Timeline of RAPA

Author

1.5

Fig 1.10: Logo of RAPA

www.raonline.ch

1.5

LIST OF FIGURES

List of Figures

Source

Page No.

Fig 2.0: sketch of festival in Bhutan

www.stuartwhitelaw.com

2.0

Fig 2.1: Zhabdrung Ngawang Namgyal

History of Bhutan

2.1

Fig 2.2: First king Ugyen Wangchuck

www.thefamouspeople.com

2.1

Fig 2.3: Different forms of preforming arts

RAPA Thimphu

2.1

Fig 2.4: Chart showing different forms of preforming arts in Bhutan

Author

2.2

Fig 2.5: Different mask dances of samsara

Author

2.3

Fig 2.6: Different mask dances of higher beings

www.unesco-ichcap.org

2.3

Fig 2.7: Different mask dances of deities

www.unesco-ichcap.org

2.3

Fig 2.8: Performance of Zhabthra in olden days

RAPA Thimphu

2.4

Fig 2.10: Performance of Dangrem

Dorji 2013

2.4

Fig 2.11: Performance of Gorgom

Dorji 2013

2.5

Fig 2.12: Layap dance

RAPA Thimphu

2.5

Fig 2.13: Merak- Sakteng dance

RAPA Thimphu

2.5

Fig 2.14: Drangyen

Music of Bhutan research centre

2.5

Fig 2.15: Artist playing Drangyen

www.bhutanhomestay.com

2.5

Fig 2.16: Chiwang

Music of Bhutan research centre

2.6

Fig 2.17: Dong- Lim

Music of Bhutan research centre

2.6

Fig 2.18: Yangchin

Music of Bhutan research centre

2.6

Fig 2.19: Shawa Shachyi

Music of Bhutan research centre

2.6

LIST OF FIGURES

List of Figures

Source

Page No.

Fig 2.20: Anthropometry of mask dancer

Author

2.7

Fig 2.21: Anthropometry of mask dancers

Author

2.7

Fig 2.22: Area coverage for the mask dance performance

Author

2.7

Fig 2.23: Monks practicing mask dance

www.dailybhutan.com

2.8

Fig 2.24:Final performance of mask dance

www.journey2theheart.com

2.8

Fig 2.25: Sitting dimensions of viewers

Author

2.8

Fig 2.26: Sitting in the veranda

Author

2.8

Fig 2.27: Anthropometry of Zhungdra dancer

Author

2.9

Fig 2.28: Zhungdra performance

www.kamakhyabhutan.com

2.9

Fig 2.29: Area coverage for the Zhungdra dance performance

Author

2.9

Fig 2.30: Anthropometry of Boedra dancer

Author

2.10

Fig 2.31: Boedra performance

bhutanculturalatlas.clcs.edu.bt

2.10

Fig 2.32: Area coverage for the Boedra dance performance

Author

2.10

Fig 2.33: Classification of Bhutanese Architecture

Bhutanese Architectural guidelines, 2014

2.11

Fig 2.34a: Plan of Simtokha Dzong- Example of fortified monasteries

Bhutanese Architectural guidelines, 2014

2.11

Fig 2.34b: View of Simtokha Dzong- Example of fortified monasteries

Bhutanese Architectural guidelines, 2014

2.12

Fig 2.35: General layout of the Dzongs of Bhutan

Author

2.12

Fig 2.36a: Plan of a typical Bhutanese Lhakhang

Bhutanese Architectural guidelines, 2014

2.13

Fig 2.36b: Elevation & Section of a typical Bhutanese Lhakhang

Bhutanese Architectural guidelines, 2014

2.13

LIST OF FIGURES

List of Figures

Source

Page No.

Fig 2.37: Khamsum Yulley Namgal Chorten, Punakha, Bhutan.

www.polkacafe.com

2.14

Fig 2.38: Khangzha chorten at Dochula, Bhutan.

bhutantraveloperator.com

2.14

Fig 2.39; Gangtey village with temple(yellow roof structure

www.dailymail.co.uk

2.14

Fig 2.40: Gangtey village layout.

Ar. T. Penjor (MWHS)

2.15

Fig 2.41 : Gangtey village elevation

Ar. T. Penjor (MWHS)

2.15

Fig 2.42: Floor plan & Section of vernacular house

Tempa Gyaltshen 2011

2.15

Fig 3.0: Sketch of memorial chorten Bhutan

www.tfod.in

3.0

Fig 3.1: Bharat Bhawan location

google maps

3.3

Fig 3.2: Bharat Bhawan sectional drawing

aasarchitecture.com

3.3

Fig 3.3: View toward the lake

www.archdaily.com

3.3

Fig 3.4: View of the connection of courts

www.archdaily.com

3.3

Fig 3.5: Bharat Bhawan circulation

www.archdaily.com

3.4

Fig 3.6: Bharat Bhawan Plan

www.andrew.cmu.edu

3.4

Fig 3.7: Bharat Bhawan Section XX’

www.archdaily.com

3.4

Fig 3.8: Coffer slab inside gallery

www.archdaily.com

3.8

Fig 3.9: Brick masonry

www.archdaily.com

3.8

Fig 3.10: Entrance steps

www.archdaily.com

3.8

LIST OF FIGURES

xii

List of Figures

Source

Page No.

Fig 3.11: Lively amphitheater

www.archdaily.com

3.8

Fig 3.12: Sectional view of experiential space

www.archdaily.com

3.8

Fig 3.13: Kala Academy location

google maps

3.9

Fig 3.14: Kala Academy views

worldarchitecture.org

3.9

Fig 3.15a: An overlap of movement patterns in Kala Academy through the weekdays and weekend.

charlescorreafoundation.org

3.10

Fig 3.15b: An overlap of pause patterns in Kala Academy through the weekdays and weekend.

charlescorreafoundation.org

3.10

Fig 3.15c: An overlap of rest patterns in Kala Academy through the weekdays and weekend.

charlescorreafoundation.org

3.10

Fig 3.16: Basic functional distribution of Kala Academy

pdfslide.net_kala-academy-goa

3.11

Fig 3.17: Site plan of Kala Academy

architexturez.net

3.11

Fig 3.18: Zonal Section of Kala Academy

pdfslide.net_kala-academy-goa

3.12

Fig 3.19: Kala Academy views

charlescorreafoundation.org

3.12

Fig 3.20: First floor plan of Kala Academy

architexturez.net

3.12

Fig 3.21: Interior view of auditorium

architexturez.net

3.14

Fig 3.22: D.M kala Mandhir section

architexturez.net

3.14

Fig 3.23: Amphitheatre od Kala Academy

pdfslide.net_kala-academy-goa

3.15

Fig 3.24: Section through Amphitheatre

pdfslide.net_kala-academy-goa

3.15

LIST OF FIGURES

xiii

List of Figures

Source

Page No.

Fig 3.25: Interior view of the black box

pdfslide.net_kala-academy-goa

3.15

Fig 3.26: Interior view of the Preview theatre

pdfslide.net_kala-academy-goa

3.15

Fig 3.27: Nrityagram location

google maps

3.16

Fig 3.28: Accessibility of Nrityagram

www.pinterest.com

3.16

Fig 3.29: Site plan concept sketch

Nikita Verma 2014 [edited by author]

3.17

Fig 3.30: Stairs in the Gurukul courtyard

www.pinterest.com

3.18

Fig 3.31: Gurukul Plan

Nikita Verma 2014 [edited by author]

3.18

Fig 3.32: Gurukul section

Nikita Verma 2014 [edited by author]

3.18

Fig 3.33: Campus views

www.nrityagram.org

3.19

Fig 3.34: Amphitheatre view and plan

Nikita Verma 2014 [edited by author]

3.20

Fig 3.35: Site section through amphitheater

Nikita Verma 2014 [edited by author]

3.20

Fig 3.36: Service block interior

www.nrityagram.org

3.21

Fig 3.37: Service block Plan

Nikita Verma 2014 [edited by author]

3.21

Fig 3.38: Plans of textile museum

Gandhara Designs

3.22

Fig 3.39: Master Plan of Royal Textile Academy

Gandhara Designs

3.22

Fig 3.40: Elevation of textile museum

Gandhara Designs

3.22

Fig 3.41: Section of textile museum

Gandhara Designs

3.23

Fig 3.42: Views of facade of textile museum

Gandhara Designs& author

3.23

Fig 3.43: Steel roof truss for the roofing

Gandhara Designs

3.24

LIST OF FIGURES

xiv

List of Figures

Source

Page No.

Fig 3.44: Steel roof truss with attached wooden elements

Gandhara Designs

3.24

Fig 3.45: Section of the building with cavity wall

Gandhara Designs

3.24

Fig 3.46: Courtyard view of Punakha dzong

www.thousandwonders,net

3.25

Fig 3.47: View of Punakha dzong from river side

www.lonelyplanet.com

3.25

Fig 3.48: Ground floor plan of Punakha dzong

DCHS,Bhutan

3.26

Fig 3.49a: Section DD’ of Punakha dzong showing Dungkhang

DCHS,Bhutan

3.27

Fig 3.49b: Section AA’ of Punakha dzong showing three courtyards for different purposes

DCHS,Bhutan

3.27

Fig 3.50: Site plan showing Manor and surrounding village

Choden & Roder, 2012

3.28

Fig 3.51: Ground floor plan of the manor

Choden & Roder, 2012

3.28

Fig 3.52: Section XX’ of the Manor

Choden & Roder, 2012

3.28

Fig 3.53: Courtyard flooring

www.tripadvisor.com

3.29

Fig 3.54: View of Manor and surroundings

www.oling.bt

3.29

Fig3.55: Plan,section & elevation of the Utse

Choden & Roder, 2012

3.29

Fig3.56: Plan,section & elevation of the Tsug Lhakhang

Choden & Roder, 2012

3.30

Fig3.57: Plan & section of the Shagkor

Choden & Roder, 2012

3.30

Fig3.58: Plan,section & elevation of the Chamkhang

Choden & Roder, 2012

3.31

Fig 3.59: View of courtyard with Tsug Lhakhang

www.tripadvisor.com

3.31

Fig 3.60: View of courtyard with Tsug Lhakhang & chamkhang

www.tripadvisor.com

3.31

LIST OF FIGURES

List of Figures

Source

Page No.

Fig 4.0: Sketch of a Bhutanese house

www.stuartwhitelaw.com

4.0

Fig 4.1: Broad area distribution

Author

4.7

Fig 4.2: Detailed functional distribution

Author

4.7

Fig 4.3: Sacred space inter- relationship

Author

4.8

Fig 4.4: Public space inter- relationship

Author

4.8

Fig 4.5: Academic space inter- relationship

Author

4.8

Fig 4.6: Residential space inter- relationship

Author

4.9

Fig 4.7: Institution space inter- relationship

Author

4.9

Fig 4.8: Overall spaces inter- relationship

Author

4.9

Fig 5.0: Sketch of a Bhutanese terrain

www.stuartwhitelaw.com

5.0

Fig 5.1: Location of Paro Dzongkhag in Bhutan

www.worldatlas.com

5.1

Fig 5.2: Paro Dzongkhag land use

Land use and land cover 0f Bhutan 2016

5.1

Fig 5.3: International flight route from Paro

www.tourtobhutan.com

5.2

Fig 5.4: Domestic flight route in Bhutan

www.firefoxtours.com

5.2

Fig 5.5: Vehicular connection to heritage site and cities

Author

5.2

Fig 5.6: Road connections to nearby towns

www.denzongleisure.com

5.2

LIST OF FIGURES

xvi

List of Figures

Source

Page No.

Fig 5.7: Average High and Low Temperature of Paro

www.weather-atlas.com

5.3

Fig 5.8: Average Hourly Temperature of Paro

weatherspark.com

5.3

Fig 5.9: Average rainfall days of Paro

www.weather-atlas.com

5.4

Fig 5.10: Average rainfall of Paro

www.weather-atlas.com

5.4

Fig 5.11: Average daylight/sunshine of Paro

www.weather-atlas.com

5.4

Fig 5.12: Sunrise & Sunset with Twilight of Paro

weatherspark.com

5.4

Fig 5.13: Visual boundary of site

Google earth[ extracted by author

5.5

Fig 5.14: Landmarks around site

Google earth & author

5.5

Fig 5.15: Building Types and Vegetation in the precinct

Paro municipal corporation[edited by author])

5.6

Fig 5.16: Land use in the precinct area in the precinct

Paro municipal corporation[edited by author])

5.7

Fig 5.17: Terrain and landform in the precinct area

Google maps[edited by author])

5.8

Fig 5.18a: Contours with elevational colour coding

Author[extracted from surfer 15

5.9

Fig 5.18b: 3D Topographical Surface

Author[extracted from surfer 15

5.9

Fig 5.19: Site location

google map

5.10

Fig 5.20: Site location with context

Paro municipal corporation[edited by author])

5.10

Fig 5.21: Site Plan Dimensions

Paro municipal corporation[edited by author])

5.11

Fig 5.22: Site Context Photos

Author

5.12

Fig 5.23: Site local conditions, micro-climate & site sections

Author

5.13

LIST OF FIGURES

xvii

List of Figures

Source

Page No.

Fig 6.0: Sketch of a temple in Bhutan

www.architectpainterjoshi.blogspot.com

6.0

Fig 6.1: White and red soil

DCHS, 2016

6.1

Fig 6.2: Lump test

DCHS, 2016

6.1

Fig 6.3: Foundation of rammed earth

DCHS, 2016

6.1

Fig 6.4: Foundation of rammed earth for earthquake resistance

DCHS, 2016

6.1

Fig 6.5: Layering of different layers of lift interlocking each other

Author

6.1

Fig 6.6: Formwork of a lift with dimensions

DCHS, 2016

6.2

Fig 6.7: Junction formwork of a lift

DCHS, 2016

6.2

Fig 6.8: Plan of placement of rods

SATREPS, 2019

6.2

Fig 6.9: Section of placement of rods

SATREPS, 2019

6.2

Fig 6.10: Use of dowel and wedges with rammed earth

SATREPS, 2019

6.2

Fig 6.11: dowel and wedges

SATREPS, 2019

6.2

Fig 6.12: connection of wooden beams with wall

SATREPS, 2019

6.2

Fig 6.13: Roof angle and roof overhang

Bhutanese Architecture Guidelines 2014

6.3

Fig 6.14: Roof forms types

Bhutanese Architecture Guidelines 2014

6.3

Fig 6.14: 3D view of the traditional roof with Jamthok

Bhutanese Architecture Guidelines 2014

6.3

Fig 6.15: Nomenclature of different elements of the traditional roof truss

Bhutanese Architecture Guidelines 2014

6.3

Fig 6.16: Details of parts of the Rabsel

Bhutanese Architecture Guidelines 2014

6.4

Fig 6.17: Details of measurement of different parts of the Rabsel

Bhutanese Architecture Guidelines 2014

6.4

LIST OF FIGURES

xviii

List of Figures

Source

Page No.

Fig 6.18: Typical truss node with slotted-in plates and dowels

Crocetti 2016

6.6

Fig 6.19: Ratio between member depths and truss depth to reduce the influence of bending moments.

Crocetti 2016

6.6

Fig 6.20: (a) Truss node with external steel plates and bolts and (b) truss node with slotted-in plates and dowels.

Crocetti 2016

6.6

Fig 6.21: Arch with tension tie, on columns.

Crocetti 2016

6.7

Fig 6.22: (b) the horizontal thrust is taken directly by the abutment and foundation; (c) the horizontal force is taken by a tie rod in the slab.

Crocetti 2016

6.7

Fig 6.23: Preliminary design guidance for three different arch types

Crocetti 2016

6.7

Fig 6.24: Possible arch base details of arches: (a) with end plate and hinge pin; (b) with nail plates and hinge pin; (c) with end U-shaped plate, hinge pin and side lugs.

Crocetti 2016

6.7

Fig 6.25: Hinged ridge joint. (a) with dowelled steel plate, end plate and hinge pin; (b) with end plate, rocker ribs and side lugs; (c) with dowelled end plate, rocker ribs and side lugs.

Crocetti 2016

6.8

Fig 6.26: One of the Standard Exhibition Halls

Crocetti 2016

6.8

Fig 6.27: Cross-section of the Standard Hall

Crocetti 2016

6.8

Fig 6.28: Left: One of the two geodesic dome structures in Brindisi, Italy during erection. Right: a detail of a node of the dome.Photo Rubner Holzbau.

Crocetti 2016

6.8

Fig 6.29: Micro-climate & site conditions.

Author

6.9

Fig 6.30: Sun path and building orientation.

Author

6.9

Fig 6.31: Orientations of each blocks of functions

Author

6.10

Fig 6.32: Cut and fill method .

DCR 2016

6.11

LIST OF FIGURES

xix

List of Figures

Source

Page No.

Fig 6.33: Split level & stilt construction .

DCR 2016

6.11

Fig 6.34: Typical Hillside Development Impacts on Runoff

www.water.gov.my

6.11

Fig 6.35: Typical Slope Failure due to Infiltration

www.water.gov.my

6.12

Fig 6.36: Retaining Walls &Recommended Property Drainage System

www.water.gov.my

6.12

Fig 6.37: Winter sun angle

DCR 2016

6.13

Fig 6.38: Passive solar components .

www.greenbuildingadvisor.com

6.13

Fig 6.39: Building orientation & functional location

Tendulkar 2017

6.14

Fig 6.40: Winter overshadowing in the spacing of building

Google image

6.14

Fig 6.41: Avoidance of overshadowing

Google image

6.14

Fig 6.42: Passive solar design.

Francis D. K. Ching

6.15

Fig 6.43:A conventional Trombe wall during winter and summer

amet-me.mnsu.edu

6.15

Fig 6.44: Details of a Trombe wall

amet-me.mnsu.edu

6.16

Fig 6.45: Fire staircase details

NBC 2016

6.16

Fig 6.46: Wind flow analysis of Druk white school

amet-me.mnsu.edu

6.17

Fig 6.47: Materials used at the site of Druk white school

Galeazzi 2009

6.17

Fig 6.48: Section of the nursery with courtyard

Galeazzi 2009

6.17

Fig 6.49: Section through typical classroom explaining the passive solar techniques

amet-me.mnsu.edu

6.18

Fig 6.50: Working of the Trombe walls

amet-me.mnsu.edu

6.18

LIST OF FIGURES

List of Figures

Source

Page No.

Fig 6.51: Passive solar heating in Druk white school

amet-me.mnsu.edu

6.19

Fig 6.52: Water supply plan

www.solaripedia.com

6.20

Fig 6.53: Gravity feed water system

amet-me.mnsu.edu

6.20

Fig 6.54: Ventilation improved pit latrines

amet-me.mnsu.edu

6.20

Fig 6.55: Exploded view of the new library building under construction

Galeazzi 2009

6.21

Fig 6.56: Exploded view of typical school block

amet-me.mnsu.edu

6.21

Fig 6.57: Construction details

amet-me.mnsu.edu

6.21

Fig 7.0: Sketch of Drugyel Dzong Paro Bhutan

www.urbansketchers.org

7.0

Fig 7.1: Landmarks & site location

Google earth & author

7.2

Fig 7.2: Contour, topography and vies of the precinct

Author

7.2

Fig 7.3: Site local conditions & micro-climate

Author

7.3

Functional disposition on the site

Author

7.3

Fig 7.5: Possible vehicular entry

Author

7.4

Fig 7.6: Possible pedestrian entry

Author

7.4

Fig 8.0: Sketch of Dzong in Bhutan

www.dwangchuk.blogspot.com

8.0

Fig 8.1: Punakha Dzong plan Western Bhutan

Bhutanese Architecture guidelines, 2014

8.1

Fig 8.2: General layout of fortress(Dzong)

Author

8.1

LIST OF FIGURES

xxi

List of Figures

Source

Page No.

Fig 8.3: Conceptual expression of open and built

Author

8.2

Fig 8.4: Roof form in harmony with nature

Author

8.2

Fig 8.5: Concept of ceremonial entrance

Author

8.2

Fig 8.6: Conceptual Plan of open and built focusing the centrality

Author

8.3

Fig 8.7: Buddhist mandala

www.mandalas.life

8.3

Fig 8.8: Plan of Simtokha Dzong

Bhutanese Architecture guidelines, 2014

8.3

Fig 9.0: Sketch of Gasa Dzong Paro Bhutan

www.urbansketchers.org

9.0

Fig 9.1: Sketch design – 1 Plan

Author

9.1

Fig 9.2: Sketch design – 2 Plan

Author

9.2

Fig 9.3: Design Development – I plan & conceptual 3D

Author

9.3

Fig 9.4: Design Development –I conceptual 3D

Author

9.4

Fig 9.5: Design Development –I Model

Author

9.4

Fig 9.6: Design development- II Site Plan

Author

9.5

Fig 9.7: Design development- II Site section

Author

9.6

Fig 9.8: Design development- II Model

Author

9.6

Fig 9.9: Design development- II Part section

Author

9.6

Fig 9.10: Design development- III Site Plan

Author

9.7

Fig 9.11: Design development- III Conceptual 3D

Author

9.8

LIST OF FIGURES

xxii

LIST OF TABLES List of Tables

Source

Page No.

Table 3.1: Focus of the case studies & case examples

Author

3.2

Table 3.2: Programmatic content of Bharat Bhawan, Bhopal

Nikita Verma 2014

3.5

Table 3.3: Programmatic content of Kala Academy, Goa

pdfslide.net_kala-academy-goa [compiled by author])

3.13

Table 4.1: Broad area program of the project

Author

4.1

Table 4.2: Detailed area program of the project

Author

4.2

Table 4.3: Ground coverage analysis

Author

4.10

Table 6.1: Standard and minimum wall top thickness

DCHS, 2016

6.1

Table 6.2: Minimum and maximum sizes of different elements of roof and façade

Bhutanese Architecture Guidelines 2014

6.4

Table 6.3: Specific strength and specific stiffness

Crocetti 2016

6.5

Table 6.4: Travel distance from dead end

BBR 2002

6.16

Table 6.5: Water requirement calculations

Author

6.22

LIST OF TABLES

xxiii

CHAPTER-1. THE SEARCH (THESIS PROPOSAL) 1.1 Introduction ………………………………………….

1.2 Need Identification ………………………………... 1.3 Site Selection ……………………………………….. 1.4 Thesis Proposition ………………………………….. 1.5 Architectural Interventions ………………………. 1.6 Client Profile …………………………………………

Fig 1.0: Sketch of Bhutanese house (Source: www.pinterest.com)

1.1 INTRODUCTION Bhutan, a small landlocked country, is a sovereign nation and is blessed with a rich assortment of varied culture, traditions, lifestyles, and beliefs which all are finely based on Buddhist principles. Diverse as it may seem, the Bhutanese socio-cultural fabric is well interlaced and harmonised mainly due to the common threads of simple social, communal and spiritual values that the people share. The main strength of Bhutan lies primarily in her rich culture heritage, the socioeconomic characteristics are based on culture heritage which promote nation discipline. The customs, religious practice, dance and habits of dress and food are something unique. For a small country like Bhutan, the preservation and promotion of its unique culture and tradition play an important role in laying

the base upon which the identity of Bhutanese people and the Kingdom of Bhutan as a sovereign nation is built.

Fig 1.2: His Majesty the king & Her Majesty the queen of Bhutan. (Source: www.hellomagazine.com)

Fig 1.3: Founder of GNH-Fourth king of Bhutan(1972) (Source: www.akg-images.fr)

The promotion of Culture is one of the four pillars of the Bhutan’s unique development philosophy of ‘Gross National Happiness’. The Royal Government of Bhutan emphasizes the need to conserve and preserve the culture heritage for the benefit of younger generations as national immortal treasure. With the vision and command of His Majesty the King, RAPA (Royal Academy of Performing Arts) in Thimphu was institutionalised in 2015 and planning of new campus was proposed in 12th five year plan. The opening of RAPA as an institution also marked the sixtieth birth anniversary of His Majesty the Fourth Druk Gyalpo Jigme Singye Wangchuck and the birth anniversary of Her Majesty The Gyaltsuen, Jetsun Pema Wangchuck,

Fig 1.1: Bhutan political map (Source: www.dreamstime.com)

INTRODUCTION

1.1

the base upon which the identity of Bhutanese people and the Kingdom of Bhutan as a sovereign nation is built.

Fig 1.2: His Majesty the king & Her Majesty the queen of Bhutan. (Source: www.hellomagazine.com)

Fig 1.3: Founder of GNH-Fourth king of Bhutan(1972) (Source: www.akg-images.fr)

Fig 1.1: Bhutan political map (Source: www.dreamstime.com)

INTRODUCTION

1.1

1.3 SITE SELECTION Bhutan is considered as one of the favourite tourism places in the world and culturally rich country. On top of that Paro(site) is one of the favourite tourism places in Bhutan and the presence of international airport makes it ideal place for international exchange of culture and knowledge.

Paro (site) being the centre of transportation in the country, with three domestic flight connection and direct vehicular connections to other cities, the institute will act as a centre for the development

performing arts which will be further decentralized to other districts in the future with the scholars trained in the institute.

The site is 300meters North-West from the main Paro town and is easily accessible through the road network. This makes it ideal place for engagement of the local people and servicing, Moreover, Availability of amenities both natural and man-made such as Pa Chhu, Dzong Museum and mountain peaks which would add to the quality of space.

Fig 1.6: Paro international airport & Paro Dzong(Source: www.yatra.com)

SITE

Town Area

Paro Dzong

Fig 1.5: Site & important precincts(Source: google maps)

Fig 1.7: Site location & photos(Source: Author)

SITE SELECTION

1.3

1.4 THESIS PROPOSITION

1.5 ARCHITECTURAL INTERVENTIONS The project would be based on Four pillars of GNH, which is the governing philosophy of development in Bhutan, to create a sustainable

The thesis proposes an Institute of Performing Arts which would celebrate, enhance and pass on to the future generations, the performing arts and values of Bhutan, which is one of the pillars of GNH (Gross National Happiness),while at the same time act as a window to the world and a place for international exchange.

and prosperous campus. 1. Sustainable and equitable socio-economic development: Incorporation of other forms of culture like textile, carpentry, etc to sustain each other and socio-economic development of nearby place. 2. Conservation of the environment: Sustainable development at the site and building level.

• The thesis proposes an institute of performing arts which will act as backbone of the preservation and promotion of culture which is one of the pillars of GNH (Gross National Happiness)

3. Preservation and promotion of culture:

• The building as an institute will be an offering to the Bhutan and its people for its cultural vibrancy and uniqueness which trains the youth for strong cultural continuity.

4. Good Governance:

Use of traditional architecture and vernacular materials. Enhancement of traditional performing arts and culture, creating windows to the world.

Well structured system of institute which takes into consideration both the traditional values of governance and modern ways.

• The institute will act as a window to the world and platform for international exchange of unique culture of different places. • It will blends the beautiful performing arts and folk dance traditions and values of Bhutan into the architectural spaces and celebrate it through making of spaces. • The project will take into consideration of all the four pillars of GNH (Gross National Happiness) to make the campus prestigious place for both the learners who would train there and outsiders who would come for international exchange. Fig 1.8: Four Pillars of GNH (Source: www.gnhcentrebhutan.org)

THESIS PRPOSITION

1.4

performing arts which will be further decentralized to other districts in the future with the scholars trained in the institute.

Fig 1.6: Paro international airport & Paro Dzong(Source: www.yatra.com)

SITE

Town Area

Paro Dzong

Fig 1.5: Site & important precincts(Source: google maps)

Fig 1.7: Site location & photos(Source: Author)

SITE SELECTION

1.3

2. AREAS OF RESEARCH 2.1 Performing arts of Bhutan - Mask dance(cham) - Song and folk dance (zhabthra) - Musical instruments

- Dances in Bhutan: A Traditional medium of information - Spaces for the Performing Arts

2.2 Understanding Traditional Architecture of Bhutan - Dzong (fortress) - Temple (Lhakhang) - Stupa (Chorten) - Vernacular settlement - Vernacular Housing (Yoe-chim)

Fig 2.0: sketch of festival in Bhutan (source: www.stuartwhitelaw.com)

2.1 Performing arts of Bhutan A country’s identity is defined by its culture and tradition. Among the

However, the Bhutanese performing arts, like every other facet of

most visible aspects of these features is the tradition of performing arts.

Bhutanese culture, were given further enhancement with the 1907

A country’s performing arts reflect its core principles and values. That

establishment of the Wangchuck Dynasty, which is not only known for its

is why in Bhutan the various types of its performing arts are truly

benevolent rule, but also for great patronage of art and culture. These

representative of its diverse, yet inclusive Buddhist values and ethos.

forms of intangible arts have been greatly consolidated and enhanced through the reigns of successive monarchs. Today, the performing arts

From mask dance to traditional songs, all the performing arts form part

are the defining features of Drukyul, ‘The Land of the Thunder Dragon’.

of the tradition that has moulded the Bhutan’s identity since the teaching of enlightenment was brought to the country in the 8th

Traditionally, the performing arts are categorised into gar cham (mask

century by the Indian Buddhist sage, Padmasambhava, known in

dance) and lu (song). However, it can be categories as shown in the fig

Bhutan as Guru Rinpoche.

2.4.

Furthermore, the system of governance which was developed in the 17th century under Bhutan’s unifier, Zhabdrung Ngawang Namgyal (1594–1651) was also based on Buddhist principles. In celebrations, the Zhabdrung

sponsored

lavish

state

ceremonies

signifying

the

Fig 2.3: Different forms of preforming arts (source: RAPA Thimphu ) Fig 2.1: Zhabdrung Ngawang Namgyal (source:History of Bhutan )

Fig 2.2: First king Ugyen Wangchuck (source: www.thefamouspeople.com)

PERFORMING ARTS OF BHUTAN

2.1

2.1.1 The Mask Dance (Cham) Gar cham or mask dance is a tradition that has prevailed for as long as the country’s history. Gar literally means the movement with some twisting of the body while cham means movement of hands and legs. Therefore, gar cham means dance performed by combination of twist of body and movement of hands and legs. Mask dances are normally performed during an annual ritual called

As an art form, dance may appear to be similar to any other performing arts, but the Bhutanese mask dances not only provide joy and happiness, but also enable the spectators to acquire spiritual merit and liberation from the worldly woes. At the mundane level, the mask dances entertain people and at the same time reaffirm the devotion and commitment of human beings to lead morally sound and honest lives.

tshechu, which means the 10th Day, considered to be the birth day of

Bhutan’s patron saint, Padmasambhava, commonly known as Guru Rinpoche. Tshechu and gar cham are not only splendid theatrical performances of the highest order, they also have significant spiritual and cultural connotations. For the lay onlookers whose perceptions are obscured by delusions, watching the mask dancers perform their roles as symbolic manifestations of higher beings and deities, enables them to appreciate the values of human life and encourages them to pay homage to the sublime beings. These dances are but dramatization of the teachings of enlightened spiritual masters for the benefit of sentient beings of the three realms.

Fig 2.5: Different mask dances of samsara (source: Author)

Fig 2.6: Different mask dances of higher beings (source: www.unesco-ichcap.org)

Fig 2.7: Different mask dances of deities (source: www.unesco-ichcap.org)

PERFORMING ARTS OF BHUTAN

2.3

2.1.2 Song & Folk Dance (Zhabthra)

a) Zhabdro dangrem (Zhungdra)

Music plays a major role in the daily life and religious rituals of Bhutan.

Zhabdro dangrem is Bhutan’s oldest folk music genre and consists of

Literary documentation of Bhutanese music dates as early as the 2nd century. Zhabthra is a performance combining lu, gar and dro. Lu means song, and gar means bodily movement in an artistic manner, Dro means footsteps. The last two collectively result in the display of ‘chagya’ (movement of hand and gesture, footsteps) in accordance with the tune of the song. Historically, Bhutanese music was comprised of two genres: traditional ballads called zhabdro dangrem or zhungdra, and sacred music performed at religious ceremonies and festivals. The genres have since

expanded to include livelier folk songs called zhabdro gorgom, (including popular Tibetan-style songs called boedra) and native Bhutanese contemporary music, lu-saar (also known as rig-saar).

highly ornamented long phrases sung at slow tempo. Zhungdra

the winter royal residence, are the most well-known examples of this type. Many Bhutanese believe dangrem songs are vehicles for religious expression and even consider them to be the language of the gods and goddesses. In the 2nd and 3rd centuries, dangrem music was primarily performed to worship the gods; dangrem lyrics were mainly devotional in content. For the most part, the songs were composed by great lamas, gaylong (monks), gomchen (lay monks), and geshe (religious scholars). These sages, lamas, and monks sang dangrem songs as part of their spiritual practice. Through oral tradition they passed down dangrem lyrics.

Fig 2.8: Performance of Zhabthra in olden days(source: RAPA Thimphu )

Fig 2.9: Performance of Zhabthra in modern time(source: RAPA Thimphu )

have

been performed since the 17th century at religious festivals in Punakha,

Fig 2.10: Performance of Dangrem (source: Dorji 2013)

PERFORMING ARTS OF BHUTAN

2.4

b) Zhabdro gorgom (Boedra)

2.1.3 Musical Instruments of Bhutan

Zhabdro gorgom is another genre which is found all over Bhutan.

The most well known Bhutanese musical instruments are drangyen

Comparatively lively and rhythmic, gorgom is sung much faster than dangrem, with notes and vocal phrases of shorter duration. Songs are often performed with dance movements, with dancers moving in a circle or sometimes in a line.

(lute), chiwang (also known as pewang, or fiddle), lim (flute), and yangchen (hammered dulcimer), which are all used to accompany traditional songs and dance. However, Bhutan is home to a number of interesting percussive, string, and wind instruments made from local natural materials.

a) Drangyen (lute) The drangyen, or Bhutanese lute, is the oldest and most famous instrument from Bhutan. With its distinctive chusin shaped head (a sea

monster designed to scare away any evil spirits attracted to its beautiful music), meticulously hand-carved body, and haunting, softly melodious sound, the drangyen embodies the unique musical tradition of Bhutan. Fig 2.11: Performance of Gorgom (source: Dorji 2013)

c) Others

Literally, its name means “hear the melody” (dra means “melody” and ngyen means “listen”).

There are also other forms of songs and dances originated from different regions of Bhutan. It includes Bumthap song and dance, Layap song and dance, Merak- Sakteng song and dance to mention few of them.

Fig 2.14: Drangyen (source: Music of Bhutan research centre) Fig 2.12: Layap dance (source: RAPA Thimphu )

Fig 2.15: Artist playing Drangyen (source: www.bhutanhomestay.com)

Fig 2.13: Merak- Sakteng dance (source: RAPA Thimphu )

PERFORMING ARTS OF BHUTAN

2.5

b) Chiwang or Pewang (fiddle)

2.1.4 Dances in Bhutan: A Traditional Medium of Information

A wood stem with two pegs at the top

In the past, the performance of religious dances in public throughout

passes through the centre of the hollow

Bhutan had contributed to the dissemination of values and religious

horn. Two strings then run from the pegs

ideas, and today, they are still used to transmit messages to the public.

down the stem and over a wooden bridge placed in the centre of the horn

In Bhutan, traditional values have always been largely shaped by

before attaching to the stem at the

Buddhist concepts. The dances are performed on auspicious days and

bottom of the horn. A cotton thread in

are parts of festivals which have different names according to the

the middle of the stem is tied around the

places. On these occasions, a whole community, which is usually

strings. The total length of the chiwang is

dispersed throughout a valley, gathers at one place at a given time

around half a meter in length and 4cm in diameter.

and socializes, making a traditional "media event" in contemporary Fig 2.16: Chiwang (source: Music of Bhutan research centre)

jargon.

c) Dong-Lim and Ba-jing (flute)

Through a religious event and in an entertaining way, knowledge is

Bai-jing consists of a simple cylindrical

imparted to the public who are often not highly

bamboo tube of uniform bore closed at

cannot read, or have no time to immerse themselves in arduous

one end. It is about 2 and a half feet in

religious texts.

educated and

length and broad in width. Various

notes and micro-tones are produced by

This point is illustrated by taking some

opening and closing of the finger-holes.

examples among the most popular

Fig 2.17: Dong- Lim (source: Music of Bhutan research centre)

religious dances. One of them in

d) Yangchin—dulcimer

and the Hounds (Shawo Shachyi) -

Yangchin

percussion

particular, the dance of the Stag also called popularly Acho Pento

stringed

instrument which consists about 20 steel

after

strings

servant-, carry a strong message,

trapezoidal resonate sound board made

reflecting the Buddhist concepts of

from wood. The yangchin is played with a

retribution,

pair of bamboo beaters having rubber

compassion.

heads.

typically

stretched

over

Fig 2.18: Yangchin(source: Music of Bhutan research centre)

the

name

of the

forgiveness

hunter's

and Fig 2.19: Shawa Shachyi(source: Music of Bhutan research centre)

PERFORMING ARTS OF BHUTAN

2.6

2.1.5 Spaces for the Performing Arts a) Spaces for Mask Dance (Chham) Mask dance is performed by a group of an individuals with specific mask

and costume which usually measures from 1.5m – 2 m in diameter while rotating as shown in the fig: 2,20. The

total

area

required

for

the

performance of the mask dance can be

calculated

using

the

above

dimension depending upon type of mask dance and number of people

Fig 2.20: Anthropometry of mask dancer(source: Author)

required for the performance. The most people involved in the typical mask dance of Bhutan is 16 performers

with

each

covering

space of 2m diameter. They perform in circle with required 0.5m gap between them. Hence the maximum area required for the performance is calculated

the

circular

area

covered by the 16 performers.

Area covered by individual mask dancer Minimum area required for the 16 performers

2m buffer is required between the viewers and the performers and the Fig 2.21: Anthropometry of mask dancers(source: Author)

Extra area for the performers

seats of the views starts after the

2m buffer between performers and the viewers

buffer area (sitting area requirements

Sitting space for the viewers

are discussed later).

Fig 2.22: Area coverage for the mask dance performance(source: Author)

PERFORMING ARTS OF BHUTAN

2.7

Fig 2.23: Monks practicing mask dance (source: www.dailybhutan.com)

Fig 2.24:Final performance of mask dance (source: www.journey2theheart.com)

b) Sitting space for the viewers (Chham) The viewer usually sit with folded legs

Traditionally, the viewers sits around

with an average dimension of 520mm

the performance on the flat courtyard

x 470mm. The sittings are arranged in

which has flooring of the stone slabs to

rows of 300mm gap between them for

view the performance.

the movement. On

the

other

hand,

big

In the modern design of the dance

performance

plaza,

seen

Dzong(fortress) has veranda of the

designed in the stepped form with the

main building blocks which is used as

same dimensions mentioned above.

the seats for the viewers, especially for

the

seats

can

places

the

the royals and high ranked personals. Fig 2.25: Sitting dimensions of viewers(source: Author)

Fig 2.26: Sitting in the veranda (source: Author)

PERFORMING ARTS OF BHUTAN

2.8

b) Chiwang or Pewang (fiddle)

2.1.4 Dances in Bhutan: A Traditional Medium of Information

A wood stem with two pegs at the top

In the past, the performance of religious dances in public throughout

passes through the centre of the hollow

Bhutan had contributed to the dissemination of values and religious

horn. Two strings then run from the pegs

ideas, and today, they are still used to transmit messages to the public.

down the stem and over a wooden bridge placed in the centre of the horn

In Bhutan, traditional values have always been largely shaped by

before attaching to the stem at the

Buddhist concepts. The dances are performed on auspicious days and

bottom of the horn. A cotton thread in

are parts of festivals which have different names according to the

the middle of the stem is tied around the

places. On these occasions, a whole community, which is usually

strings. The total length of the chiwang is

dispersed throughout a valley, gathers at one place at a given time

around half a meter in length and 4cm in diameter.

and socializes, making a traditional "media event" in contemporary Fig 2.16: Chiwang (source: Music of Bhutan research centre)

jargon.

c) Dong-Lim and Ba-jing (flute)

Through a religious event and in an entertaining way, knowledge is

Bai-jing consists of a simple cylindrical

imparted to the public who are often not highly

bamboo tube of uniform bore closed at

cannot read, or have no time to immerse themselves in arduous

one end. It is about 2 and a half feet in

religious texts.

educated and

length and broad in width. Various

notes and micro-tones are produced by

This point is illustrated by taking some

opening and closing of the finger-holes.

examples among the most popular

Fig 2.17: Dong- Lim (source: Music of Bhutan research centre)

religious dances. One of them in

d) Yangchin—dulcimer

and the Hounds (Shawo Shachyi) -

Yangchin

percussion

particular, the dance of the Stag also called popularly Acho Pento

stringed

instrument which consists about 20 steel

after

strings

servant-, carry a strong message,

trapezoidal resonate sound board made

reflecting the Buddhist concepts of

from wood. The yangchin is played with a

retribution,

pair of bamboo beaters having rubber

compassion.

heads.

typically

stretched

over

Fig 2.18: Yangchin(source: Music of Bhutan research centre)

the

name

of the

forgiveness

hunter's

and Fig 2.19: Shawa Shachyi(source: Music of Bhutan research centre)

PERFORMING ARTS OF BHUTAN

2.6

ii) Spaces for Boedra dance Boedra

generally

performed

circular

movement with an individual occupying a space of 570mm diameter with 250mm gap between the dancers. Arranging this in the circle and depending upon the number of dancers gives the total performance space required for the dance.

The outer square

formed by the minimum circular area need is the used as the optimal space required for the performance of the dance. 1m buffers is kept followed by the sitting space for the viewers.

Fig 2.30: Anthropometry of Boedra dancer (source: Author)

For example, considering 12 dancers, each occupying the space of 570mm diameter, arranged in

circle, the total space covered is a

square of an area 3.74m x 3.74m. ). Hence the total area required for the performance and viewing is calculated using this basic dimensions.

Area covered by individual dancer Minimum area required for the 12 performers Extra area for the performers 1m buffer between performers and the viewers Fig 2.31: Boedra performance (source: bhutanculturalatlas.clcs.edu.bt)

Sitting space for the viewers Fig 2.32: Area coverage for the Boedra dance performance(source: Author)

PERFORMING ARTS OF BHUTAN

2.10

2.2 Understanding Traditional Architecture of Bhutan The traditional architecture of Bhutan is one of the most beautiful features of the ancient culture of Bhutan. The main characteristics of the traditional architecture of Bhutan are harmonious proportion, a design that shows the simple daily lives of the Bhutanese people and the breath-taking landscapes of peaceful valleys and mountains. Bhutanese architecture is broadly classified as Dzongs (fortresses),

a) Dzong (fortress) Dzongs are fortress buildings sited in locations with good views, such as mountain sides and ridges. Dzongs are constructed in the beginning of the 17th Century by the Zhabdrung Ngawang Namgyal who came from Tibet. Buddhist temples were added to the previous fortress function to create a complex. Incorporating military, administrative and Buddhist facilities.

Lhakhangs (temples), Goenpas (monasteries), Chortens (stupas), and housing units which are sprawling over the country. While Bhutanese architecture was heavily influenced by religious beliefs, on the other it is evolved by adaptations to local topography, climatic conditions, local materials and indigenous construction technology.

Fig 2.33a: Taktshang monastery.

Fig 2.33c: Trashichho dzong in Thimphu

Fig 2.33b: Memorial chorten.

Fig 2.34a: Plan of Simtokha Dzong- Example of fortified monasteries (source: Bhutanese Architectural guidelines, 2014 ) Fig 2.33d: Traditional Bhutanese house

(Source: Bhutanese Architectural guidelines, 2014)

ARCHITECTURE OF BHUTAN

2.11

c) Spaces for folk dance i) Spaces for Zhungdra dance Zhungdra which is performed in a single line, standing close to each other,

the average

space of 680mm diameter is required for the movement of the dance for individual dancers. Arranging this in the row and depending upon the

number

dancers

gives

the

total

performance space required for the dance. However, the square space has to consider

since the dance steps rotates around along the central axis.

Fig 2.27: Anthropometry of Zhungdra dancer (source: Author)

For example, considering 12 dancers, each occupying the space of 680mm diameter, arranged in

a row, the total space covered is a

square of an area 8.15m x 8.15m. 2m buffer is required between the viewers and the performers and the seats of the views starts after the buffer area (sitting area requirements are discussed previously). Hence the total area required for the performance and viewing is calculated using this basic dimensions.

Area covered by individual dancer Minimum area required for the 12 dancers 2m buffer between dancers and the viewers Fig 2.28: Zhungdra performance (source: www.kamakhyabhutan.com)

Sitting space for the viewers Fig 2.29: Area coverage for the Zhungdra dance performance(source: Author)

PERFORMING ARTS OF BHUTAN

2.9

ii) Spaces for Boedra dance Boedra

generally

performed

circular

The outer square

formed by the minimum circular area need is the used as the optimal space required for the performance of the dance. 1m buffers is kept followed by the sitting space for the viewers.

Fig 2.30: Anthropometry of Boedra dancer (source: Author)

For example, considering 12 dancers, each occupying the space of 570mm diameter, arranged in

circle, the total space covered is a

square of an area 3.74m x 3.74m. ). Hence the total area required for the performance and viewing is calculated using this basic dimensions.

Sitting space for the viewers Fig 2.32: Area coverage for the Boedra dance performance(source: Author)

PERFORMING ARTS OF BHUTAN

2.10

Fig 2.33a: Taktshang monastery.

Fig 2.33c: Trashichho dzong in Thimphu

Fig 2.33b: Memorial chorten.

Fig 2.34a: Plan of Simtokha Dzong- Example of fortified monasteries (source: Bhutanese Architectural guidelines, 2014 ) Fig 2.33d: Traditional Bhutanese house

(Source: Bhutanese Architectural guidelines, 2014)

ARCHITECTURE OF BHUTAN

2.11

Temple

Village house

Chorten

e) Vernacular Housing (Yoe-chim) Traditional Bhutanese houses are built from a rammed-earth, stone and timber. It is mostly built using materials which is locally available. The reason traditional houses have a strong verticality is that there is only a little flat land as much of it is steeply sloping. Also, building height increases heat retention against the winter cold.

Fig 2.40: Gangtey village layout. (Source: Ar. T. Penjor (MWHS)

Fig 2.42a: Ground floor plan

Most of the traditional houses has

Fig 2.42b; First floor plan

three storeys; ground floor is used for keeping livestock and staple for cattle, first as living space and Attic used as store

second floor for partial living as well

Traditional

family

puja

Bhutanese

room. Second floor

houses

show understanding of their site, Field

Settlement

Main access

and do not go against nature. Settlement

Fig 2.41 : Gangtey village elevation. (Source: Ar. T. Penjor (MWHS)

Field

First floor

These are residences shared by people and livestock until late 1990s.

However,

awareness

with

about

health

Ground floor for cattle

more and

Fig 2.42c; Section

hygiene, separate shelter was (source: Tempa Gyaltshen 2011) made for livestock.

ARCHITECTURE OF BHUTAN

2.15

c) Stupa (Chorten)

d) Vernacular settlement

In Bhutan, chorten is the sacred

Most of the villages in Bhutan are arranged in certain hierarchy and are

spot where it marks the centre

specifically located near religious monuments. Anywhere in Bhutan,

and direction besides its strong

enter main settlement/village starting with chorten or prayer wheel and

symbolic significance. The centre

prayer flags followed by houses flanged on both sides of the footpath.

inspires circumambulation in the

And at the end of the village is monastery or temple where major social

prescribed clockwise direction. It

and cultural activities of villages happens.

is spot where ashes of spiritual masters were buried

and also

spot considered as abode of

nature. The stupa also symbolized the Buddha's freedom from the

Fig 2.37: Khamsum Yulley Namgal Chorten, Punakha, Bhutan. (source: www.polkacafe.com )

chortens

Entry to the village is marked by Chorten.

•

Lhakhang: the most prominent structure is at the end of the village.

•

Houses laid out linearly in an organic manner with height varying

from 1 to 3 stories.

cycles of rebirth.

Notably,

•

marked

accepted boundaries between

•

Settlement pattern: Lhakhang – houses - agricultural land - forest.

•

Village on a hilltop and prominently visible and it stretches over 600 m length.

villages. Chortens, in keeping with the concept of sacred spots,

mark

spots

outside

settlements. The area outside the

settlement

considered dangerous,

limits

was

wild the

and

system

chortens is evidently meant to reassure the traveller of a safe return to the human domain. Once outside the safety of known place, routes

in the

mountains are also marked by chortens, assuring the traveller

Fig 2.38: Khangzha chorten at Dochula, Bhutan. (source: bhutantraveloperator.com)of being on the right path.

Fig 2.39; Gangtey village with temple(yellow roof structure). (source: www.dailymail.co.uk)

ARCHITECTURE OF BHUTAN

2.14

3. CASE STUDIES The case studies have been identified keeping in mind their relevance to various factors that will be considered while designing the institute of performing arts. Few primary case examples are identified to understand the local architecture of Bhutan and the spaces used for the traditional performance purpose.

3.1 PARAMETERS FOR SELECTION

Connectivity & Circulation

Spatial relation and quality of space

Development control regulations

Programmatic content of the building

Site planning at larger scale

Structure, materiality and environmental factors

Functional relationship

Climate and built form

CASE STUDIES PARAMETERS

3.1

FOCUS OF THE CASE STUDIES & CASE EXAMPLES CASE STUDY

FOCUS OF THE STUDY

BHARAT BHAWAN, BHOPAL

- To understand the Connectivity with surrounding and in the site. - To understand the Site planning at larger scale - To understand the Functional relationship of different functions in a performing arts academy. - To understand the Spatial relation and quality of space in horizontal site planning. - To understand the Programmatic content of the building - To understand the Structure, materiality and environmental factors that affects the built form

KALA ACADEMY, GOA

- To understand the Connectivity with surrounding and in the site. - To understand fulfilment of Development control regulations - To understand the Site planning at larger scale - To understand the Functional relationship of different functions in a performing arts academy. - To understand the Spatial relation and quality of space in horizontal site planning. - To understand the Programmatic content of the building - To understand the relationship between Climate and built form

NRITYAGRAM, BENGALURU

- To understand the Site planning at larger scale - To understand the Functional relationship of different functions in a performing arts academy. - To understand the Spatial relation and quality of space in horizontal site planning. - To understand the Programmatic content of the building - To understand the Structure, materiality and environmental factors that affects the built form - To understand the relationship between Climate and built form

CASE EXAMPLE

FOCUS OF THE STUDY

ROYAL TEXTILE ACADEMY, THIMPHU BHUTAN

- To understand the contemporary architecture of Bhutan and how it retains and incorporate the traditional elements .

PUNAKHA DZONG, BHUTAN

- To understand the mask dance performing space in the monasteries and how other spaces are affected.

OGYEN CHOLING, BUMTHANG BHUTAN

- To understand the performing space at village level & vernacular architecture

Table 3.1: Focus of the case studies & case examples (source: Author)

CASE STUDIES PARAMETERS

3.2

3.1.1 BHARAT BHAWAN, BHOPAL Bharat Bhavan is multi art Centre set up to create an interactive proximity between the verbal, visual and performing arts. Bharat Bhavan provides space for contemporary expression, thought, quest and innovation. It is located at the heart of country in Bhopal, capital of Madhya Pradesh. Architect: Charles Correa Site Area: 120,000 sq ft (11,148 sqm) Completion: 1982 Vicinity: The site is located on the upper lake’s front. It is accessed by

Swaminathan Marg

ARCHITECTURE The site is on gently sloping plateau overlooking the lake. The natural contours of the site have been used to create a series of sunken courts and terrace gardens around which number of cultural facilities are

Fig 3.1: Bharat Bhawan location (source: google maps)

organised. Bharat bhavan is uniquely designed with the combination of simple and interesting shapes. The proportions of the building are well ordered, borrowing geometric patterns from the Indian cultures and making it more relevant to context.

Fig 3.2: Bharat Bhawan sectional drawing (source: aasarchitecture.com )

The terraces and courtyards are connected like a progression in space, where complex of the internal streets acts like a village layout. The view of the lake is visible from all possible terraces. Open air amphitheatre is located at the bottom of the site with the lake forming

backdrop while the top lit “cannon” provides the lighting and ventilation to the sunken covered spaces. Fig 3.3: View toward the lake (source: www.archdaily.com )

Fig 3.4: View of the connection of courts (source: www.archdaily.com)

BHARAT BHAWAN; BHOPAL

3.3

CONNECTIVITY & CIRCULATION

FUNCTIONS

Upon entering, the visitor has the choice of following the path of

Different units of Bharat Bhawan include Roopankar (museum of fine

terraces cascading down to the lake, or descending to the three

arts), Rangmandal (a repertory), Antrang (an indoor theatre) and

courtyards which provide access to the majority of the cultural facilities.

Bahirang (an outdoor theatre). Vagarth (a centre of Indian poetry), Anhad (a library of classical and folk music) and an art gallery are

The visitors enter at the highest level and walk down a pedestrian spine,

among other major establishments within the complex. There is also an

flanked by a pattern of courtyards, to reach the various parts of the

Ashram which serves as the residence for guest artists.

complex. Each curve and space defines itself. Each of the part of the building is distinct yet flows easily one another, linked by meandering

paths. The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest

and relaxation.

X’ Fig 3.6: Bharat Bhawan Plan (source: www.andrew.cmu.edu)

Fig 3.5: Bharat Bhawan circulation (source: www.archdaily.com )

Fig 3.7: Bharat Bhawan Section XX’ (source: www.archdaily.com)

BHARAT BHAWAN; BHOPAL

3.4

PROGRAMATIC CONTENT

Table 3.2: Programmatic content of Bharat Bhawan, Bhopal (source: Nikita Verma 2014)

BHARAT BHAWAN; BHOPAL

3.5

Table 3.2: Programmatic content of Bharat Bhawan, Bhopal (source: Nikita Verma 2014)

BHARAT BHAWAN; BHOPAL

3.6

Table 3.2: Programmatic content of Bharat Bhawan, Bhopal (source: Nikita Verma 2014)

23%

Area distribution

3%5% 15% 5%

14% 12% 11%

12%

Art center

Conference facilities

Studio

Library

Galaries

Retails

Restaurant

Auditorium

Theatre

BHARAT BHAWAN; BHOPAL

3.7

STRUCTURE, MATERIALITY AND ENVIRONMENTAL FACTORS

SPATIAL RELATION AND QUALITY OF SPACE

Since the site of the Bharat bhavan is located on the small plateau

The different spaces are connected by the courtyards which act as the

region, retaining walls were built to avoid the landslide. Coffered slabs

main circulation spine for the public, which has entrance from the main

were made to avoid the columns.

road side and goes down the slope towards the lake. The flight of steps at the entrance of the building is experiential, which has taken

Red sand stone was used on the outer façade of the building. Flemish

reference from traditional Indian architecture while implying the sanctity

bond brick masonry as the wall and Ashlar stone masonry was used on

of the pathway.

the outer facade. The auditorium has unique design made up of R.C.C. shell which has a skylight on the top of it providing natural lighting.

Spill out space with every indoor space creates a conductive atmosphere for cultural activities.

The profound hierarchy in the

The sunken courtyards at Bharat Bhavan provide shade from the

organisation of spaces, is what allows for the transition courtyards to

scorching midday sun, while the raised terraces offer refreshing air and

develop an informality and openness which gives the space its

space at cooler times of day.

character, as a platform for sharing and building up cultural ideas.

Fig 3.8: Coffer slab inside gallery

Fig 3.10: Entrance steps

Fig 3.9: Brick masonry

Fig 3.11: Lively amphitheater

(source: www.archdaily.com )

Fig 3.12: Sectional view of experiential space (source: www.archdaily.com )

BHARAT BHAWAN; BHOPAL

3.8

3.1.2 KALA ACADEMY, GOA Kala Academy plays a pivotal role in forming a niche in the cultural and performing studies of Goa. Kala Academy since its inception as an institution of academics has been a creative and liberal space for innovation and experimentation. The site is flat, except for a gentle slope at the river edge Architect: Charles Correa Site Area: 6.3 acres(25,495 sqm) Site Gradient : Gentle Slope Location: Situated at Campal, Panaji along the banks of river Mandovi. The area has mixed land use with a military hospital across

Fig 3.13: Kala Academy location (source: google maps )

the road, and a cricket ground and a park on either side.

ARCHITECTURE Ar. Charles Correa has given prime importance to the process of moving through the spaces in a building. The built form has been kept

low ranging from one to three floors. This is further enhanced by the use of parapet walls for upper floors, which emphasize horizontally. The 'pergola 'above the entrance, acts as an extension to the foyer of the main auditorium and amphitheatre. Use of wafer slabs and parapet walls are special feature of the building. Extensive use of specially designed seating makes the space user friendly The interior walls are painted with pictures mostly depicting konkanise culture and create illusion. The building acts as a tunnel between the city and the river. Fig 3.14: Kala Academy views (source: worldarchitecture.org )

KALA ACADEMY; GOA

3.9

CONNECTIVITY & CIRCULATION The main circulation of the Kala Academy happens through the centre

The functions are arranged around this central circulation spine. the

spine from entrance to the plaza through lounge towards the sunken

lobby area subtly singles one’s arrival into the building itself by means of

terrace down to the river side.

the pergola first and then the low coffered ceiling. It further reinforces a

Movement patterns through the building are rather fast paced near the

sense of direction through its flow of spaces and the unobstructed focal

entrance and slow down significantly as in the lobby area and further

point, that is a view of the river Mandovi, at the end of the path.

into the premises.

Fig 3.15a: An overlap of movement patterns in Kala Academy through the weekdays and weekend.

Fig 3.15b: An overlap of pause patterns in Kala Academy through the weekdays and weekend.

Fig 3.15c: An overlap of rest patterns in Kala Academy through the weekdays and weekend.

(source: charlescorreafoundation.org)

KALA ACADEMY; GOA

3.10

FUNCTIONAL LAYOUT There are four entries to the site. The coverage is about 40% the pedestrian and vehicular systems are well defined. The site is divided into main building service building, Muktangan, parking area, the exhibition space. The active area includes the cafeteria, the garden and the amphitheatre.

Fig 3.16: Basic functional distribution of Kala Academy (source: pdfslide.net_kala-academy-goa) Fig 3.17: Site plan of Kala Academy (source: architexturez.net)

KALA ACADEMY; GOA

3.11

BUILDING LEVEL ZONING The building is divided into three zones: 1- Public, 2-Adminisration, 3-Academic They are provided at different levels so as to avoid conflict between these zones. The ground floor includes facilities like auditorium, preview theatre, amphitheatre, art gallery, and canteen etc, where public entry is invited. The first and second floors include academic and administration facilities. The circulation has been linked to the zoning and has been segregated

Practice room Upper part of stage

by separating them through levels - ground floor for audience functions and first and second floor for staff and students with a necessary degree of inter linking.

Practice room

Upper part of auditorium

Fig 3.18: Zonal Section of Kala Academy (source: pdfslide.net_kala-academygoa )

Fig 3.19: Kala Academy views (source: charlescorreafoundation.org )

Administration

Waiting

Terrace

Fig 3.20: First floor plan of Kala Academy (source: architexturez.net)

KALA ACADEMY; GOA

3.12

STRUCTURE, MATERIALITY AND ENVIRONMENTAL FACTORS

SPATIAL RELATION AND QUALITY OF SPACE

Since the site of the Bharat bhavan is located on the small plateau

The different spaces are connected by the courtyards which act as the

region, retaining walls were built to avoid the landslide. Coffered slabs

main circulation spine for the public, which has entrance from the main

were made to avoid the columns.

road side and goes down the slope towards the lake. The flight of steps at the entrance of the building is experiential, which has taken

Red sand stone was used on the outer façade of the building. Flemish

reference from traditional Indian architecture while implying the sanctity

bond brick masonry as the wall and Ashlar stone masonry was used on

of the pathway.

the outer facade. The auditorium has unique design made up of R.C.C. shell which has a skylight on the top of it providing natural lighting.

Spill out space with every indoor space creates a conductive atmosphere for cultural activities.

The profound hierarchy in the

The sunken courtyards at Bharat Bhavan provide shade from the

organisation of spaces, is what allows for the transition courtyards to

scorching midday sun, while the raised terraces offer refreshing air and

develop an informality and openness which gives the space its

space at cooler times of day.

character, as a platform for sharing and building up cultural ideas.

Fig 3.8: Coffer slab inside gallery

Fig 3.10: Entrance steps

Fig 3.9: Brick masonry

Fig 3.11: Lively amphitheater

(source: www.archdaily.com )

Fig 3.12: Sectional view of experiential space (source: www.archdaily.com )

BHARAT BHAWAN; BHOPAL

3.8

COMPONENTS

D.M KALA MANDIR (A. C AUDITORIUM)

SPACES

• Seating capacity – 1000 (1300 sqm )

11. Cafeteria

450 sqm

12. Guest Room

53 sqm

13. Art Gallery (150 sqm)

Running Wall Space

48m x 1.5m

Mobile Display

4.2m x 1.5m

14. Car Parking

• Orchestra pit- 7.2 x 2.1 m • Variety of acoustical conditions ranging from speech, plays to sitar recitals and orchestral arrangements • Walls of the auditorium are painted illusions of an old Goan theatre • Stage is 80cm high from the first row. • Raking height varies from 10-20 cm

2000 sqm

Table 3.3: Programmatic content of Kala Academy, Goa (source: pdfslide.net_kala-academy-goa[compiled by author])

Area distribution D.M Kalamandir

Open air auditorium

33%

Black Box

6% 2% 1% 3% 3%

Key plan

Preview Theatre

24%

Fig 3.21: Interior view (source: architexturez.net)

Admin Mini Theatre Rehearsal hall Class room meeting room

Library Cafetaria Art Gallery

Fig 3.22: D.M kala Mandhir section (source: architexturez.net)

KALA ACADEMY; GOA

3.14

MINI OPEN AIR THEATRE

BLACK BOX

• Capacity-300 people.

•

The seating capacity is 200.

•

Area - 175 sqm

•

It is used for experimental productions, music concerts, meetings and

• Used as an outdoor classroom and meeting space • OAT seating has a tread of 85cm and rise of 45 cm depth. • Farthest seat is 6m away and no implication required. • Two aisles run along either end. Width -120cm

amateur performances. It can be used as a recording studio. A control room and a green room provided and also black box lobby is provided.

OPEN AIR AMPHITHEATRE • Seating capacity (no chair) - 2000 • Seating capacity (chair) - 1312 • The amphitheatre is of double herringbone shape. • There is entry from road main lobby and the restaurant area. The stage is raised at 75cm above the ground floor level • Two seating rakes provided. The lower seats have a rise of 30 cm and tread of 100 cm while higher ones have a rise of 45 cm giving adequate sight lines.

Fig 3.25: Interior view of the black box (source: : pdfslide.net_kala-academygoa )

PREVIEW THEATRE • Capacity - 24. • Used during ‘IFFI’ for special screening. • Has got a jury room and projector room attached.

Fig 3.23: Amphitheatre (source: : pdfslide.net _kala-academy-goa )

Key plan

Fig 3.24: Section through Amphitheatre (source: : pdfslide.net_kala-academy-goa )

Fig 3.26: Interior view of the Preview theatre (source: : pdfslide.net_kalaacademy-goa )

KALA ACADEMY; GOA

3.15

3.1.3 NRITYAGRAM, BANGALORE Nrityagram is a community of dancers amidst nature. A place where nothing exists, except dance. It was designed following the vernacular architecture of the region. Nrityagram is an institution that seeks to revive the traditional gurushishya method of training and developed in Indian classical dance. The scheme envisages a complex of several gurukul, each dedicated to a specific dance form. Architect: Gerard Da Cunha Site Area: 9,8 acres(39,660 sqm) Completion: Inaugurated in 1990 Location: North western part of Bangalore about 30 kms from Hebbal

Vicinity: Hessaraghatta village, cut off from main city

Fig 3.27: Nrityagram location (source: google maps)

ARCHITECTURE The buildings are built of mud giving the feel of a village. Open areas have large green cover and many trees dot the place. The design evolves on the site through the act of building. Starting with the yoga hall and temple, the gurukuls are developed along the eastern edge, with the services that support them alongside on the west. The main entry into the axis lies between the yoga centre and the first gurukul. The entire complex is actually a garden. Most of the food from fruits and vegetables to grains and dal even olive trees are grown. There are many sculptures are used as landscaping element.

Fig 3.28: Accessibility (source: www.pinterest.com )

NRITYAGRAM, BENGALORE

3.16

Traditional form of Design • Organic Masterplan with the architecture having origin in traditional forms and construction. • Different types of construction for different Gurukuls • To Avoid disturbances Gurukuls are placed separate and O.A.T kept at end. • Common Dining and Yoga Centre are placed at centre

FUNCTIONS Nrityagram is a Gurukul based residential dance school in list- form of

a dance village. Currently it offers residential courses in Odissi and Kathak and plans to expand its gurukul to the 7 classical dances of India. The gurus and students work together and grow their own food. The gurukul is a place of holistic living. It composes the Odissi Gurukul, Kathak Gurukul, Mohiniattam Gurukul, a temple, yoga centre, Amphitheatre, Admin Block, Guest Cottages, Dormitories and various

Construction •

Wilful agglomeration of stone, mud, tile and thatch.

•

All external walls are mud plastered

•

Three types of roof pattern

•

Flat rough granite slabs

•

Mangalore tile

•

Thatch pitched

Gardens.

Classrooms •

A hall attached with residence is used for teaching-odissi and

mohiniattam gurukuls have closed walls with small window openings only for ventilation and light is from courtyard. •

Kathak Gurukul has semi open arched walls.

Fig 3.29: Site plan concept sketch (source: Nikita Verma 2014 [edited by author])

NRITYAGRAM, BENGALORE

3.17

The Gurukul The design of each gurukul consisted of four elements

Guru’s residence

Male student residence

Female student residence

Practice hall

These 4 elements are gathered around a courtyard, which becomes a central gathering point, with the stairs to the roof placed as an elements to sit on and watch the activity of the practice hall, The use of the stone slab roofs determines the simple rectilinear geometry of the residences and the guru’s house is located such that it has a private spill over to the east. The practice hall requiring a larger span, has a palm thatch roof. Service block has a curved shaped to smoothen the passage of entry, and this geometry led to the decision of a thatched roof

Fig 3.31: Gurukul Plan (source: Nikita Verma 2014 [edited by author])

Fig 3.30: Stairs in the Gurukul courtyard (source: www.pinterest.com )

Fig 3.32: Gurukul section (source: Nikita Verma 2014 [edited by author])

NRITYAGRAM, BENGALORE

3.18

MINI OPEN AIR THEATRE

BLACK BOX

• Capacity-300 people.

•

The seating capacity is 200.

•

Area - 175 sqm

•

It is used for experimental productions, music concerts, meetings and

amateur performances. It can be used as a recording studio. A control room and a green room provided and also black box lobby is provided.

Fig 3.25: Interior view of the black box (source: : pdfslide.net_kala-academygoa )

PREVIEW THEATRE • Capacity - 24. • Used during ‘IFFI’ for special screening. • Has got a jury room and projector room attached.

Fig 3.23: Amphitheatre (source: : pdfslide.net _kala-academy-goa )

Key plan

Fig 3.24: Section through Amphitheatre (source: : pdfslide.net_kala-academy-goa )

Fig 3.26: Interior view of the Preview theatre (source: : pdfslide.net_kalaacademy-goa )

KALA ACADEMY; GOA

3.15

Fig 3.34: Amphitheatre view and plan (source: Nikita Verma 2014 [edited by author] )

Amphitheatre

along

natural

the

built

contour at the bottom of the site with less destruction

the

natural site. It is built of red earth like emerging off the ground sloping with the natural slope. Fig 3.35: Site section through amphitheater (source: Nikita Verma 2014 [edited by author] )

NRITYAGRAM, BENGALORE

3.20

Service block Built like a reverse 2, this structure is the heart

the

village.

The

entire

community eats together here. The

service

common

block

dining

contains

the

kitchen

and

hall,

services and accommodation for the cooks. Its plan is in the form of a reverse 2 One reaches the gurukul by going around the service block to find a Torana which takes further into the gurukul. The element of discovery is

always there in the path and a sense of entry for every gurukul.

Fig 3.36: Service block interior (source: www.nrityagram.org)

Fig 3.37: Service block Plan (source: Nikita Verma 2014 [edited by author])

NRITYAGRAM, BENGALORE

3.21

3.2 CASE EXAMPLES 3.2.1 RTA TEXTILE MUSEUM, THIMPHU BHUTAN Concept Design : Ar. Douglas Soe Lin Client: Civil Society Organization patronised by Her Majesty Queen Mother Sangay Choden Wangchuck

Architecture Consultant : Gandhara Designs Site : 5 Acres Site Location: Thimphu, Bhutan

ARCHITECTURE RTA site is located in the heart of Thimphu city. The building with its traditional facade houses a very functional and modern museum inside.

The

spaces

have

been

designed

taking

into

careful

consideration all the facilities and aesthetics required of a museum

building for example; finishes, colours, lighting, movement, display, and

Fig 3.39: Master Plan of Royal Textile Academy (source: Gandhara Designs)

heating and ventilation system.

Fig 3.40: Elevation of textile museum (source: Gandhara Designs) Fig 3.38: Plans of textile museum (source: Gandhara Designs)

RTA TEXTILE MUSEUM

3.22

FACADE The facade of the building is done in double layers with curtain hall inside and traditional Rabsel on the exterior. This technique of facade is adopted to fulfil the modern need while keeping the traditional architecture intact and to improve the thermal comfort of the space.

Some elements of the Rabsel is constructed using Glass Fibre Reinforced concrete instead of wood as in traditional method.

Glass Fibre Reinforced Concrete Glass Fibre Reinforced Concrete is cement mortar mixed with strands of glass fibres which gives the tensile strength to it. It is used in this project for cornices. The GRFC cornices are pre-fabricated and assembled on site and strapped to the R.C.C slab by a metal framework. Fig 3.41: Section of textile museum (source: Gandhara Designs)

Advantages: • Light Weight (75% lighter) • Versatile (different textures, shape) • High Tensile Strength • Durable • Better Acoustic property compared to concrete • Fire Resistant • Low Permeability

Dis-advantages: • Costlier than concrete • Cannot be made on site, it is prefabricated • Can collapse under stress • Cannot substitute reinforced concrete for heavy load endurance.

Fig 3.42: Views of facade of textile museum (source: Gandhara Designs& author)

RTA TEXTILE MUSEUM

3.23

Guest cottages These round structures, inspired by the yurts of Tibet and Ladakh, have housed some of the greatest maestros of dance and music, who have come to perform at Vasantahabba

Temple Fashioned from the raw mud of Nrityagram and fired after it was built,

the temple is dedicated to space. It is decorated with panels depicting the elements, dance motifs, madras and designs from costumes and ghungroos. Inside is a granite rock scooped out to hold water and a flame that stays lit. Designed and built by Ray Meeker in 1998.

Yoga centre Reminiscent of Stonehenge, the Yoga centre is an open structure attached to the temple. This space is also used for in-house performances under an open sky.

Amphitheatre Scooped out of the red earth and built along the lines of Roman amphitheatres, this is one of the most famous structures at Nrityagram. It is here that several thousand people congregate every February for annual Vasantahabba

Fig 3.33: Campus views (source: www.nrityagram.org)

NRITYAGRAM, BENGALORE

3.19

3.2.2 PUNAKHA DZONG; BHUTAN The Punakha Dzong, also known as Pungthang Dewa chhenbi Phodrang (meaning "the palace of great happiness or bliss"), is the

administrative centre of Punakha District in Punakha and residence of the monk body. Punakha Dzong was the administrative centre and the seat of the Government of Bhutan until 1955, when the capital was moved to Thimphu. Constructed by : Zhabdrung Ngawang Namgyel

Completion: 1637-1638 Site Location: Punakha, Bhutan

ARCHITECTURE The dzong is part of the Drukpa Lineage of the Kagyu school of Tibetan Buddhism in Bhutan. It is the second oldest and most majestic dzong in

Fig 3.46: Courtyard view of Punakha dzong (source: www.thousandwonders,net)

Bhutan. It is a six-storied structure with a central tower or utse at an average elevation of 1,200 metres (3,900 ft) with a scenic, mountainous background. The materials used in building the Dzong consisted of compacted earth, stones and timber in doors and windows. The dzong measures 180 metres (590 ft) in length with a width of 72 metres (236 ft) and has three docheys (courtyards). Administrative offices of the dzong, a very large, white-washed stupa and a bodhi tree are located in the first courtyard. The residential quarters of monks are located in the second courtyard, with the utse intervening in between the first and the second courtyards. The third courtyard is at the southernmost end of the dzong where the remains of Pema Lingpa and Ngawang Namgyal are preserved. Fig 3.47: View of Punakha dzong from river side (source: www.lonelyplanet.com)

PUNAKHA DZONG; BHUTAN

3.25

3.2 CASE EXAMPLES 3.2.1 RTA TEXTILE MUSEUM, THIMPHU BHUTAN Concept Design : Ar. Douglas Soe Lin Client: Civil Society Organization patronised by Her Majesty Queen Mother Sangay Choden Wangchuck

Architecture Consultant : Gandhara Designs Site : 5 Acres Site Location: Thimphu, Bhutan

ARCHITECTURE RTA site is located in the heart of Thimphu city. The building with its traditional facade houses a very functional and modern museum inside.

The

spaces

have

been

designed

taking

into

careful

consideration all the facilities and aesthetics required of a museum

building for example; finishes, colours, lighting, movement, display, and

Fig 3.39: Master Plan of Royal Textile Academy (source: Gandhara Designs)

heating and ventilation system.

Fig 3.40: Elevation of textile museum (source: Gandhara Designs) Fig 3.38: Plans of textile museum (source: Gandhara Designs)

RTA TEXTILE MUSEUM

3.22

COURTYARDS AS MASK DANCE SPACES The

second

courtyard

surrounded

monk‘s

residence

and

Dungkhang(music hall) is used for the practice of mask dance while the first courtyard is used for final performance. The floor of the courtyard is of rough stone slabs so that the mask dances doesn’t slip during the performance time.

First courtyard for final performance

Second courtyard for practice

Fig 3.49a: Section DD’ of Punakha dzong showing Dungkhang (source: DCHS,Bhutan)

Fig 3.49b: Section AA’ of Punakha dzong showing three courtyards for different purposes (source: DCHS,Bhutan)

PUNAKHA DZONG; BHUTAN

3.27

3.2.3 OGYEN CHOLING, A Manor in central Bhutan Client: Ashi Kenzang Choden and her siblings. Site area: 12,000sqm

Location Proceeding north in the Tang valley, the manor and Ogyen choling village is flanked on the eastern side of the Tang river. With the river flowing at an altitude of 2730m above sea level, the manor sits almost 200m higher, at 2900 on the hill. This commanding position offers panoramic view of the valley below.

ARCHITECTURE Bhutanese architecture has a very strong homogeneity. From the small farmer house to the largest monasteries and Dzongs, common designs,

Fig 3.50: Site plan showing Manor and surrounding village (source: Choden &

patterns, architectural vocabularies, materials and technologies prevail,

Roder, 2012)

differentiated in the social hierarchy only by the size and function of the building and by more or less elaborate details, depending on the rank

of the owners. Chamkhang The building consists of Utse(public temple) at the centre for the local Utse

people to come and pray. On the eastern side is located the Tsug Lhakhang(private temple) for the landlords family. Chamkhang( dance

Courtyard

house) is on the western side opening towards the courtyard for the

Tsug lhakhang

practice and performance and the building is enclosed by Shakhor( residence) and walls on the fur side. In the olden days, this building was the main social space for the people in the village where the festivals and celebrations are held. The

Shakhor

dance house and courtyards were used by the local dancers for practice and performance of the dances.

X’ Fig 3.51: Ground floor plan of the manor (source: Choden & Roder, 2012 )

OGYEN CHOLING: BHUTAN

3.28

The Utse ( public temple) It is a four storied rectangular building of 17.33m long by 15.30 m wide and 15m high is the main prominent building. The load, bearing walls

surrounds the whole building only on two lower floors with only the back walls rise up to the roof. The front wall and a large part of the side walls thus do not exist at the higher stories, replaced instead by the projecting timber frame of the living quarters.

Fig 3.52: Section XX’ of the Manor (source:Choden & Roder, 2012 )

Fig3.55a: Ground floor plan

Fig 3.55b; Second floor plan

Fig 3.54: View of Manor and surroundings (source: www.oling.bt/ )

Fig 3.53: Courtyard flooring (source: www.tripadvisor.com )

Fig 3.55c; Cross section (section xx’) Key plan

Fig 3.55d; Front(east) elevation

(source: Choden & Roder, 2012)

OGYEN CHOLING: BHUTAN

3.29

Tsug Lhakhang (private temple)

The Shagkor (residence)

Another rectangular building of 17.46m long, 11.68m wide and 10.48m

The two perpendicular wing of

high, is the two storied south facing Tsug lhakhang. Its front wall does

the shagkor have a double role:

not rise above ground floor and only back and half of the lateral wall

first to enclose the courtyard

goes till roof.

physically(to protect from wind)

Though less structurally less resilient towards

and visually, and second, to

provide

earthquake compared to Utse, the two back corners

provides

effective

space

for

services, storage and habitation.

structural

bracing in case of earthquake. It is used as the main family shrine.

additional

Key plan

Both wings are two storied. The east wing forms the front of the manor which gives symmetrical view in the elevation. Fig 3.57b; Section

Fig 3.56a; Ground floor plan

Fig 3.56b; First floor plan Key plan

Fig 3.56c: Cross section (xx’)

Fig 3,56d: South elevation

(source: Choden & Roder, 2012 )

Fig 3.57a: Ground &upper floor plan (source: Choden & Roder, 2012)

OGYEN CHOLING: BHUTAN

3.30

The Chamkhang(the dance house) The dance house is a two storey building, its rear wall aligned with the current western enclosure wall of the courtyard. Opening into the courtyard , its ground floor consist of a single room with wooden flooring, walls on three sides and two wooden piles on the front, supporting the upper storey through the traditional bolsters and cornice.

The ground floor opens towards the courtyard and functions as the place for musicians and artist during performance time. The performers

wait

here

before

they

enter

the

courtyard

for

performance. The first floor has a changing room with attached toilet and a store to

The access to the upper floor is only by staircase from outside. In upper floor, only timber framing is used since stone wall do not rise above

keep the dresses worn during the performance time. It is accessed from outside with a wooden staircase,

ground floor. In upper floor, partition is done by ekra wall and divided into two room.

Fig 3.58a; Ground floor plan

Fig 3.58b: Upper floor plan

Fig 3.59: View of courtyard with Tsug Lhakhang (source: www.tripadvisor.com )

Fig 3.58c: East elevation

(source: Choden & Roder, 2012 )

Fig 3.58d: South elevation

Fig 3.60: View of courtyard with Tsug Lhakhang & chamkhang (source: www.tripadvisor.com)

OGYEN CHOLING: BHUTAN

3.31

3.3 CASE STUDIES MATRIX PARAMETERS

BHARAT BHAWAN, BHOPAL

KALA ACADEMY, GOA

NRITYAGRAM, BENGALORE

INFERENCES

SITE PHOTO

LOCATION

At the heart of country in Bhopal, capital of Madhya Pradesh.

Situated at Campal, Panaji along the banks of river Mandovi.

North western part of Bangalore about 30 kms from Hebbal

ARCHITECT

Charles Correa

Gerard Da Cunha

SITE AREA

120,000 sq ft (11,148 sqm

6.3 acres(25,495 sqm)

9,8 acres(39,660 sqm)

SITE GRADIENT

Gentle Slope towards the lake

Gentle Slope towards the river

Gentle Slope towards the OAT.

1982

1970

1990

Bharat Bhavan is multi art Centre set up to create an interactive proximity between the verbal, visual and performing arts. Bharat Bhavan provides space for contemporary expression, thought, quest and innovation

An institution of academics has been a creative and liberal space for innovation and experimentations. Kala Academy plays a pivotal role in forming a niche in the cultural and performing studies of Goa.

Nrityagram is an institution that seeks to revive the traditional gurushishya method of training and developed in Indian classical dance. A place where nothing exists, except dance

YEAR OF COMPLETION CONCEPT/ DESIGN OBJECTIVES

All with a strong concept and design objectives specific to the type of performing arts and institution it is creating. As a whole it is mostly based on human experience of the space.

CASE STUDIES MATRIX

3.32

PARAMETERS

BHARAT BHAWAN, BHOPAL

CIRCULATION

Upon entering, the visitor has the choice of following the path of terraces cascading down to the lake, or descending to the three courtyards which provide access to the majority of the cultural facilities.

KALA ACADEMY, GOA The main circulation of the Kala Academy happens through the centre from entrance to the plaza through lounge towards the sunken terrace down to the river side.

NRITYAGRAM, BENGALORE

INFERENCES

The main entry into the axis lies between the yoga centre and the first gurukul. The yoga hall, temple, the gurukuls are developed along the eastern edge, with the services on the west of the central circulation axis.

Al three of the site has well defined circulation which runs through the centre of the functions and disperse to the different facilities. The well defined circulation gives into sequence of revelations one move through the spaces.

ARCHITECTURAL DRAWINGS

FUNCTIONS

The building have good sense of context and used it for the enhancing the building complex.

Roopankar (museum of fine arts), Rangmandal (a repertory), Antrang (an indoor theatre),Bahirang Vagarth (a centre of Indian poetry), Anhad (a library of classical and folk music) and an art gallery ,Ashram.

Art Gallery, D.M Kalamandir,OAT,Mini OAT Black box, Rehearsal Room, Meeting Room, Guest Room, Preview Theater, Café, Library, Class Room, Green Room, Administration, Reception, Lounge

The Odissi Gurukul, Kathak Gurukul, Mohiniattam Gurukul, a temple, yoga centre, Amphitheatre, Admin Block, Guest Cottages, Dormitories, service block and various Gardens.

The functions of the building are well situated to form a public hub inside the site to make the place lively and user friendly

CASE STUDIES MATRIX

3.33

PARAMETERS

BHARAT BHAWAN, BHOPAL

SITE PLANNING AND BUILDING ZONING

The site is on gently sloping plateau overlooking the lake. The natural contours of the site have been used to create a series of sunken courts and terrace gardens around which number of cultural facilities are organised.

BUILDING FEATURE AND MATERIALS

Red sand stone was used on the outer façade of the building. Flemish bond brick masonry as the wall and Ashlar stone masonry was used on the outer facade. The auditorium has unique design made up of R.C.C. shell which has a skylight on the top of it providing natural lighting.

KALA ACADEMY, GOA

NRITYAGRAM, BENGALORE

INFERENCES

The site is divided into main building service building, Muktangan, parking area, the exhibition space. The building is divided into three zones: Public, administration,academic which are vertically placed.

Organic Masterplan with the architecture having origin in traditional forms Different types of construction for different Gurukuls To Avoid disturbances Gurukuls are placed separate and O.A.T kept at end. Common Dining and Yoga Centre are placed at centre

The buildings have good sense of context and used it for the enhancing the building complex.

The use of parapet walls for upper floors, emphasizes horizontally. The 'pergola 'above the entrance, acts as an extension to the foyer of the main auditorium & OAT. Use of wafer slab and extensive use of specially designed seating. The building acts as a tunnel between the city and the river.

Wilful agglomeration of stone, mud, tile and thatch. All external walls are mud plastered. Three types of roof pattern • Flat rough granite slabs • Mangalore tile • Thatch pitched The entire complex is actually a garden. There are many sculptures are used as landscaping element.

The use of local material for the buildings make the campus ingrained to the local context and with the performing arts that are taught in the school.

CASE STUDIES MATRIX

All three of the institutes have their own way of using performing arts and human learning there, as the design elements to make the campus experiential and vibrant. 3.34

3.4 LEARNINGS FROM CASE STUDIES & CASE EXAMPLES BHARAT BHAWAN, BHOPAL The use of series od courtyards connected for the circulation makes the space vibrant and lively. The movement down the site natural gradient also give distinct flow to the circulation.

KALA ACADEMY, GOA The main circulation of the Kala Academy happens through the centre from entrance to the plaza through lounge towards the sunken terrace down to the river side. The central circulation gives easy access to the functions and experiential public space at the ground level.

NRITYAGRAM, BENGALORE

CASE EXAMPLES

Grouping of different types of performing arts together with the residence of the teacher and students with a courtyard in the centre for the practice is one of the distinct typology that can be used in the design.

The use of double facade system at RTA can be incorporated in the design for maintaining the traditional facade while gaining the advantages of the modern technology for the thermal comfort and ventilation of the space.

However, the residence need not be the part of the grouping. I can be in the form of classes and studios. Organic Masterplan with the architecture having origin in traditional forms and construction.

Use of top lit cannon not only gives natural light to the spaces but also makes the skyline of the building interesting.

Use of architectural elements like steps, OAT and courtyards at human scale makes the space experiential and good space for the public.

Another learning is that the vertical zoning of the functions. The building is divided into three zones: 1- Public, 2-Adminisration, 3-Academic They are provided at different levels so as to avoid conflict between these zones.

Amphitheatre is built along the natural contour at the bottom of the site with less destruction to the natural site.

The roofing system can also be used to get large span without compromising on the traditional outlook of the facade. The use of series of courtyards for separating different functions in Punakha Dzong can be used to group different functions in the spaces with each opening into an open space. The chamkhang ( Dance house ) of Ogyen Choling give an idea od what kind of spaces are needed for the practice of the old folk dance and mask dances.

LEARNINGS

3.35

4.AREA PROGRAM 4.1 Area brief & Broad area program - Area brief - Broad area program

4.2 Detailed area program 4.3 Program analysis & Functional relationship 4.4 Ground Coverage analysis 4.5 Inferences

Fig 4.0: Sketch of a Bhutanese house (source: www.stuartwhitelaw.com )

4.1 AREA BRIEF & BROAD AREA PROGRAM PROJECT PROFILE

BROAD AREA PROGRAM OF THE PROJECT CATEGORIES

The idea of the institute is to expand its scope beyond just training. It is

SL. NO

to create an environment where students learn, promote and grow

Institution space

with performing arts. Secondly, it will also act as a place for research and conservation of old performing arts. Moreover, it will act as a

TITLE

AREA IN SQM

Admin block

655 sqm

Exhibition/art gallery

350 sqm

Auditorium(300)

1,050 sqm

Theatre

1,500 sqm

students will undergo three years of training with both theory and

Common facilities

practical learnings and selected students to undergo a year extra

window to the world for international exchange of culture. The institute shall cater to 120 trainees, 50 artists and 68 staffs. The

training to become faculty.

The institute will comprised of training centre, admin block, performing space( auditorium & theatre), research centre, library, dance plaza for

the final performance, public facilities such as retails and restaurant,

residence for students and few

faculties and a temple for daily

worship. Since the institute is first of its kind, public entertaining facilities such as

Academic space Public space

Residential

Sacred Space

theatre, dance plaza and auditorium catering to around 1,500 people

Academic block

1,725 sqm

Library & resource centre

380 sqm

Public facilities

735 sqm

Conference facilities

580 sqm

Residential

4,785 sqm

Open Dance plaza

700 sqm

Temple

300 sqm

TOTAL

are included in the program.

175 sqm

12,935 sqm

Table 4.1: Broad area program of the project (source: Author)

The program of the institute is broadly divided into five main zonal

Site area ( 6 acres)

= 24,300 sqm

group as follows: 1. Sacred space

Total grand area

2. Institution space

( only 200 sqm of plaza is covered)

= 12,435 sqm

3. Academic space 4. Residential space

Adding 40% for wall and circulation

5. Public space

( 40% of 12,435 sqm)

= 4,974 sqm

Total built up area

= 17, 409 sqm

BROAD AREA PROGRAM

4.1

4.2 DETAILED AREA PROGRAM The areas of the functions are assigned cater to 200 trainees, 50 artists and 68 staffs at present as formulated by RAPA and future projections of the town and people during international exchange of around 1,500 people.

DETAILED AREA PROGRAM

4.2

DETAILED AREA PROGRAM

4.3

DETAILED AREA PROGRAM

4.4

DETAILED AREA PROGRAM

4.5

Table 4.2: Detailed area program of the project (source: Author)

DETAILED AREA PROGRAM

4.6

The ground floor opens towards the courtyard and functions as the place for musicians and artist during performance time. The performers

wait

here

before

they

enter

the

courtyard

for

performance. The first floor has a changing room with attached toilet and a store to

The access to the upper floor is only by staircase from outside. In upper floor, only timber framing is used since stone wall do not rise above

keep the dresses worn during the performance time. It is accessed from outside with a wooden staircase,

ground floor. In upper floor, partition is done by ekra wall and divided into two room.

Fig 3.58a; Ground floor plan

Fig 3.58b: Upper floor plan

Fig 3.59: View of courtyard with Tsug Lhakhang (source: www.tripadvisor.com )

Fig 3.58c: East elevation

(source: Choden & Roder, 2012 )

Fig 3.58d: South elevation

Fig 3.60: View of courtyard with Tsug Lhakhang & chamkhang (source: www.tripadvisor.com)

OGYEN CHOLING: BHUTAN

3.31

FUNCTIONAL RELATIONSHIP

Fig 4.3: Sacred space inter- relationship(source: Author)

Fig 4.5: Academic space inter- relationship(source: Author)

Fig 4.4: Public space inter- relationship (source: Author)

FUNCTIONAL RELATIONSHIP

4.8

Fig 4.6: Residential space inter- relationship(source: Author)

Fig 4.7: Institution space inter- relationship (source: Author)

Fig 4.8: Overall spaces inter- relationship (source: Author)

FUNCTIONAL RELATIONSHIP

4.9

4.4 GROUND COVERAGE ANALYSIS

GROUND FLOOR STRUCTURE

G + 1 FLOOR STRUCTURE

G + 2 FLOOR STRUCTURE

• Site area:

6acre= 24,300 sqm

• Total built up area:

17,400 sqm

• Total built up area:

• Carpet area:

17,400 sqm

• Carpet area:

8,700 sqm

• Carpet area:

5,800 sqm

• Ground coverage:

71%

• Ground coverage:

35%

• Ground coverage:

24%

• Permissible ground coverage:

40%

17,400 sqm

• Permissible ground coverage:

• Total built up area:

6acre= 24,300 sqm

40%

17,400 sqm

• Permissible ground coverage:

Therefore, G+1 can be built

40%

Therefore, G+2 can be built

Table 4.3: Ground coverage analysis (source: Author)

4.5 INFERENCES •

The overall programme has been analysed in three components 1.Public zones – Auditorium, theatre, retail and restaurant, art galleries, open dance plaza. 2.Semi–public zones-academic zone as a Place of earning, Library and Research centre. 3.Private zone-Students Hostels, Staff residences and guest house.

•

The built is comparatively less which will ease the scale and ground coverage, in that way the more space can be dedicated to the general public

•

Mixture of G+1 and G+2 structures are adopted based on the functional need and to give enough ground coverage as well as provide required public and green spaces

GROUND COVERAGE ANALYSIS

4.10

5. CITY & THE SITE (SITE ANALYSIS) 5.1 Information about city (Paro; Bhutan) - Connectivity - Landmarks and Heritage Sites - Climate

5.2 Precinct Level - Visual boundary from the site - Building Types and Vegetation - Land use in the precinct area - Terrain & landform in the precinct area - Topography

5.3 Site Level Information & Analysis 5.4 Inferences Fig 5.0: Sketch of a Bhutanese terrain (source: www.stuartwhitelaw.com )

5.1 INFORMATION ABOUT CITY (PARO; BHUTAN) Paro Dzongkhag(district) (27°11’ to 27°46’ latitude and 89°07 to 89°32’ longitude) lies to the East of Ha and West of Thimphu. It has a geographical area of about 1287.13 km2. The Paro Valley is considered as one of the most beautiful valleys in Bhutan. Pa Chhu(river), which originates

from

Jumolhari

mountain

range

flows

through

the

Dzongkhag. Paro Dzongkhag has an altitudinal range between 2000m to 5600m above sea level and is also considered as country’s most fertile agricultural land. The main agriculture land use types are Chhuzhing (wet land), Kamzhing (dry land) and horticulture.

Fig 5.1: Location of Paro Dzongkhag in Bhutan (source: www.worldatlas.com)

Fig 5.2: Paro Dzongkhag land use (source: Land use and land cover 0f Bhutan 2016)

INFORMATION ABOUT CITY

5.1

5.1.1 CONNECTIVITY

c) Vehicular connections

a) International airline

The city is well connected to the capital city (Thimphu) and other cities. It

Paro

dzongkhag

has

the

is also well connected to heritage sites which is the main driving force for

only international airport of

the tourism in the country.

Bhutan, which connects to other

parts

Asia

Paro to Thimphu - 65 km - 1 hour

south-east

New

Delhi, Paro to Haa - 65 km - 2 hours

Kathmandu, Dhaka, Kolkata and Bangkok.

Paro to Phuentsholing - 175 km 5.5 hours

The flight connection with other SAARC countries acts as

great

international

site

for

exchange

arts and culture.

Paro to Punakha (Via Thimphu) -

the of

Fig 5.3: International flight route from Paro (source: www.tourtobhutan.com)

140 km - 4.5 hours

Fig 5.5: Vehicular connection to heritage site and cities (source: Author)

b) Domestic airline

Domestic flight connection in the country to other dzongkhag for cultural research and learnings. Paro dzongkhag which is in the western part of the country is well connected to eastern, central and southern parts of the country, which makes it ideal location for the institute of the nation.

Fig 5.4: Domestic flight route in Bhutan (source: www.firefoxtours.com)

Fig 5.6: Road connections to nearby towns (source: www.denzongleisure.com)

INFORMATION ABOUT CITY

5.2

5.1.3 CLIMATE

5.1.2 LANDMARKS AND HERITAGE SITES Paro Dzongkhag has beautiful landmarks and heritage sites which are the main place where culture and performing arts flourish. Tiger’s nest is a monastery which houses traditional monastic teaching, Paro Dzong is

Paro lies on 2266 m above sea level The climate here is mild, and generally warm and temperate In winter, there is much less rainfall in Paro than in summer The average annual temperature is 12.4 C in Paro In

the main public & administrative place where festivals are performed,

a year, the average rainfall is 1820 mm

National museum houses important cultural related books and artefacts

a) Temperature

while there are other temples where festivals are performed and archaeological site which houses important traditional architecture

The warm season lasts for 4.4 months, from May 8 to September

21,

average

daily

with

an high

temperature

above

21°C.The cold season lasts for

2.6

months,

from

December 7 to February 26, Taktshang (tiger’s nest) monastery

with an average daily high

Paro Rinpung Dzong

temperature below 13°C. Fig 5.7: Average High and Low Temperature of Paro (source: www.weather-atlas.com)

Paro Ta-dzong (National Museum)

Drukgyel Dzong

Kichu Lhakhang

Paro Airport

Fig 5.8: Average Hourly Temperature of Paro (source: weatherspark.com)

INFORMATION ABOUT CITY

5.3

c) Sun

b) Rainfall

The earliest sunrise is at 5:06 AM on June 9, and the latest sunrise is 1 hour,

The rainy period of

47 minutes later at 6:53 AM on January 12. The earliest sunset is at 5:07

the year lasts for 7.7

PM on November 30, and the latest sunset is 1 hour, 54 minutes later at

months, from March

7:01 PM on July 1.

12 to November 1, with a sliding 31day rainfall of at least 0.5 inches. The rainless

period

the year lasts for 4.3 months,

November March 12.

from

to Fig 5.9: Average rainfall days of Paro (source: www.weather-atlas.com)

Fig 5.11: Average daylight/sunshine of Paro (source: www.weather-atlas.com)

Fig 5.10: Average rainfall of Paro (source: www.weather-atlas.com) Fig 5.12: Sunrise & Sunset with Twilight of Paro (source: weatherspark.com)

INFORMATION ABOUT CITY

5.4

5.2 PRECINCT LEVEL The site is on the opposite side of the Paro Airport with Paro Dzong (fortress), built at the confluence of two rivers, in the middle. It is at a walkable distance from the Paro town on the way towards the Paro Taktsang. The site is surrounded by the paddy fields on the both sides with two/three storied traditional residential building on the sloping sides of the mountain. Modern structures are build along the highway which serves as a hospitality place and restaurants for the travellers.

5.2.1 Visual boundary from the site

Fig 5.13: Visual boundary of site(source: Google earth[ extracted by author])

The visual directionality from the site is in east- west direction which run along the valley and reveals a series of mountains and landmarks of the place.

The site is visible from the villages which are along the sloping face of the mountain looking down to the site which is in the valley. Fig 5.14: Landmarks around site(source: Google earth & author)

PRECINCT LEVEL

5.5

5.2.2 Building Types and Vegetation The precinct area comprises of mixed use buildings and public building in the town area, while there are few buildings for hospitality along the highway. The traditional residential buildings fill the sides of the upper hilly areas. The precinct is conifer species (51.64%) dominant forest type. The broadleaf forest however constitutes only about 0.37%.

Fig 5.15: Building Types and Vegetation in the precinct area (source: Paro municipal corporation[edited by author])

PRECINCT LEVEL

5.6

5.2.3 Land use in the precinct area The dominant land use in the precinct area is wet land which is used for the paddy cultivation while fewer portion are used as dry land. Some land are used for orchards and cardamom cultivation, while the few road side land are identified as institutional land use and town area. Some land are owned by the religious body which is identified as religious land use.

Fig 5.16: Land use in the precinct area (source: Paro municipal corporation[edited by author])

PRECINCT LEVEL

5.7

5.2.4 Terrain & landform The site is in the valley with gentle slope with river on the one side and paddy fields on the other side. The terrain becomes steeper as it goes higher and it is covered with blue pine vegetation.

PARO TOWN

SITE

PA CHHU

TOWN AREA

Fig 5.17: Terrain and landform in the precinct area (source: Google maps[edited by author])

PARO ARIEL VIEW

PRECINCT LEVEL

5.8

5.2.5 Topography The elevational altitude of the site precinct ranges from 2200m to 2860m with very gentle slope in the valley and becomes steeper as it goes up the mountain. The lower valley is used for paddy cultivation as it has fertile soil due to river bed fertile soil and higher hills are used for the settlement purposes. The site Lies in the valley with two mountain range on the either sides and a mountain

range in the eastern side. Pa chhu runs along the side of the site and Wang chhu from Thimphu runs along the other side which confluence at the junction where Paro Dzong is constructed.

Fig 5.18b: 3D Topographical Surface (source: author[extracted from surfer 15]) Fig 5.18a: Contours with elevational colour coding (source: author[extracted from surfer 15])

PRECINCT LEVEL

5.9

5.3 SITE LEVEL INFORMATION & ANALYSIS Location: Namjo , Paro, Bhutan Site area : 24,300sqm(6 Acres) Permissible building height : G+3 Built up area( approx.): 20,000 sqm Ground Coverage : 40%

Set Backs: 2 m in the Front, 3 5 m in the Side, 3 or 5 m at the Rear (For plots abutting the expressway, the minimum front setback shall be 4 5

5.3.1 Site Location The site is located on the highway towards Paro Taktsang with 27°26’ latitude and 89°24’ longitude. The elevational range is from 2275m to 2280m above sea level. Pa chhu flows towards south-east along the side of the site and there is farm road on the other side of the river which connects the Paro town area and the villages on the other side of the river. The context is surrounded by the paddy fields and willow trees along the side of the river. A water fed prayer wheel is on the highway side of the site and hotel Yarkhel on the edge of the site.

m) Client : Royal Academy of Performing Arts (RAPA)

Fig 5.19: Site location (source: google map)

Fig 5.20: Site location with context (source: Paro municipal corporation[edited by author])

SITE LEVEL ANALYSIS

5.10

5.3.2 Site Plan Dimensions

Fig 5.21: Site Plan Dimensions (source: Paro municipal corporation[edited by author])

SITE LEVEL ANALYSIS

5.11

5.3.3 Site Context Photos

Fig 5.22: Site Context Photos (source: Author)

SITE LEVEL ANALYSIS

5.12

5.3.4 Site Level Conditions a) MICRO-CLIMATE •

Wind directio n

The longer side of the site is exposed to the south-west direction inclined 45 degrees.

•

The site get direct sunlight throughout the days of the year.

•

The site slopes towards the south-east and drainage of the site is towards the south-east direction and towards the river.

•

Catchment area

The wind direction is from the south in summer and from north during winter. Wind directio n

Fig 5.23: Site local conditions, micro-climate & site sections (source: Author)

SITE LEVEL ANALYSIS

5.13

b) NATURE OF THE SITE •

The topography of the site is almost flat as compared to its four

e) SITE SETTING •

surrounding areas. •

The site slopes from north- east towards south- west with a gentle

residential buildings with few three storied new buildings. •

slope of 1:40.

•

There is not much built in the area

•

The sire chosen is vividly and largely flat compared to any other place in the area, which is a right place for construction

5.4 INFERENCES

c) VEGETATION There is no trees inside the site as it is mostly grassland

•

The surrounding areas are dominated by the willow tree which is

It is surrounded by the beautiful paddy fields which will enhance the site .

• •

The surrounding structures are single storied or two storied traditional

The site is located between the paddy fields and has a very distinctive or unique natural setting. Therefore the design has to be in harmony with it, or at least not dominate its surrounding

•

common in the Paro district.

The quality of the waterfront along the River Pa chhu should be improved and it can be integrated physically and visually into the study area.

d) EDGE CONDITIONS •

•

A buffer is left on the river side to protect the site from flood and

High visibility from the settlements and town area, study area has the potential role of being a landmark in the area.

calamities due to river. • •

•

The site being near the highway towards Paro Taktsang where tourist

Few more set backs have to be considered on the road side for

mostly travel, has the potential of creating a gateway to the internal

future expansion and development.

exchange of culture,

The design has to respond to the natural terrain and paddy fields which surrounds the site.

•

Since the slope of the site is very gentle, the construction of building in the site can be done easily.

SITE LEVEL ANALYSIS & INFRENCES

5.14

6. THESIS TECHNOLOGY 6.1 Structural systems

- Rammed earth wall construction - Wooden roof structure - Wooden façade system (Rabsel) - Large-span timber structures

6.2 Sustainability - Site and sustainability - Construction in hilly areas - Passive solar design (specific to cold region)

- Trombe walls 6.3 Safety

6.4 Case example- Druk White Lotus School 6.5 Services

- Water requirement calculation - Possible rain water harvesting calculation

Fig 6.0: Sketch of a temple in Bhutan (source: www.architectpainterjoshi.blogspot.com)

6.1 STRUCTURAL SYSTEMS The project would be using vernacular rammed earth walls which are made earthquake resistance, wooden façade system, wooden roofing system for short span and modern large span technology for the structures like auditorium and theatre

6..1.1 RAMMED EARTH WALL CONSTRUCTION a) Earth as a building material The reddish white soil with small pebbles is the best earth to be used as a building material. A month before the construction, the earth is selected and left to sit for a while. If the quality is good, nothing needs to be added to the earth, but if the earth is slimy red, sand is mixed at the site. The water content in the soil is checked by “lump test”

Fig 6.3: Foundation of rammed earth (Source: DCHS, 2016)

c) Wall construction

Fig 6.4: Foundation of rammed earth for earthquake resistance (Source: DCHS, 2016)

Necessary thickness of walls must be 580mm to 900mm in two floored buildings. Height of the floors must be 2.40m to 3.50m. Aspect ratio (height to thickness ratio) must be less than 5.0.

Fig 6.1: White and red soil (Source: DCHS, 2016)

Fig 6.2: Lump test (Source: DCHS, 2016)

b) Foundation The foundation is made of broken stone masonry, on which rammed

Fig 6.5: Layering of different layers of lift interlocking each other (Source: Author)

earth walls are raised. Foundation structures to make a level of structure must be of stone masonry. Necessary width of the foundation must be same as thickness of walls. Height must be 500mm above ground. If the ground condition is

bad, the height must be more than 500mm. Foundation must be connected to walls with anchor bolts for making it safe for the earthquake.

Table 6.1: Standard and minimum wall top thickness (Source: DCHS, 2016)

RAMMED EARTH CONSTRUCTION

6.1

Each floor has 4 to 5 lifts. The average dimensions of the lifts are 600mm height, 3000mm length and 600mm width. The number of compaction layers in each lift is greater than eight. The compaction ratio as 50% or

2. The effectiveness of dowels(vertical connectors) and wedges (horizontal connectors) between the lifts

higher. The compaction layers are usually uneven and with variable thickness,

between 50mm and 150mm. Each lift has 5 to 15 layers.

Fig 6.6: Formwork of a lift with dimensions (Source: DCHS, 2016)

Fig 6.7: Junction formwork of a lift (Source: DCHS, 2016)

d) Strengthening rammed earth for earthquake resistance Two methods are used in Bhutan for strengthening the rammed earth construction against the earthquake, 1.The structure is made seismically strong with the help of rods and

Fig 6.10: Use of dowel and wedges with rammed earth (Source: SATREPS, 2019)

ribbons and increasing the strength of the rammed earth.

Fig 6.8: Plan of placement of rods (Source: SATREPS, 2019)

Fig 6.9: Section of placement of rods

Fig 6.11: dowel and wedges (Source: SATREPS, 2019)

Fig 6.12: connection of wooden beams with wall (Source: SATREPS, 2019)

RAMMED EARTH CONSTRUCTION

6.2

6.1.2 WOODEN ROOF STRUCTURE Roof (BBR 2002) Roof pitches should be between 11 degree and 18 degree for profiled metal sheeting or in accordance with technical requirements for other materials.

Fig 6.13: Roof angle and roof overhang (Source: Bhutanese Architecture Guidelines)

Fig 6.14: Roof forms types (Source: Bhutanese Architecture Guidelines)

Fig 6.14: 3D view of the traditional roof with Jamthok (Source: Bhutanese Architecture Guidelines)

Fig 6.15: Nomenclature of different elements of the traditional roof truss (Source: Bhutanese Architecture Guidelines)

WOODEN ROOF STRUCTURE

6.3

6.1.3 WOODEN FAÇADE SYSTEM (Rabsel)

The minimum and maximum sizes of the members are as given in the

Rabsel is a timber framed structure which forms the upper half of the

table below

building. It projects out of the main super-structure and rest on cantilevering wooden joist of the floor below.

Fig 6.17: Details of measurement of different parts of the Rabsel

Fig 6.16: Details of parts of the Rabsel (Source: Bhutanese Architecture Guidelines) Table 6.2: Minimum and maximum sizes of different elements of roof and façade (Source: Bhutanese Architecture Guidelines)

WOODEN FAÇADE SYSTEM

6.4

6.1.4 LARGE-SPAN TIMBER STRUCTURES

6.1.4.2 Structural Types

Timber is a structural material which has excellent strength and stiffness,

a) Trusses

in particular when these properties are expressed in specific terms. By

A truss is a structure comprising one or more triangular units constructed

specific strength and specific stiffness, it is meant the material strength

with straight (or nearly straight) members the ends of which are

and the material Young’s modulus, respectively, divided by its density.

connected at joints referred to as nodes. Timber trusses generally give an

As an example, it can be mentioned that both the specific strength and

economic solution for spans over 25-30 m. For large spans, trusses are

the stiffness in tension and compression parallel to the grain of e.g.

typically spaced at 5 to 12 m centres, normally carrying purlins at 1.2 to

spruce timber are even superior to that of a common carbon steel. For

2.4 m spacings and supporting corrugated sheeting.

this reason, timber is a material which is particularly appropriate for large span structures.

In order to achieve this, the following aspects should be considered: - The number of joints should be kept as low as possible because the workmanship for each joint is expensive, and also the joint slip at each node generally adds to the overall deflection of the truss. - The slenderness of the compression chords and the internal struts must not be excessive. - Local bending of the chords must not be too large. -

The angle between internal diagonals and the chords should be with a given range, typically 45o±10o.

Common truss types Table 6.3: Specific strength and specific stiffness (Source: Crocetti 2016)

6.1.4.1 Environmental benefits

a) Parallel-chord truss b) Pitched trusses c) Bowstring and lenticular trusses

Wood is a renewable material. It requires low amount of energy during production and processing. It can be used in multiple cycles; firstly as timber product, secondly as recycled wood-based panel, and finally for energy production. Timber can be considered a CO2-neutral material, as the emission of CO2 at combustion corresponds to the amount bound by the tree when grown (Frühwald, Welling & Scharai-Rad, 2003).

LARGE SPAN TIMBER STRUCTURE

6.5

General rules for sizing of the members

Details

The

the

Quality, durability and above all manufacture costs of trusses depend to

members should be chosen taking into

a large extent on the choice of the joints used to build the nodes. Trusses

consideration the type of connection,

normally include large number of nodes. It is advisable therefore, to

which will be used for the nodes of the

choose node solutions with the following properties:

truss. In order to increase the load bearing

•

Member centre-lines shall meet at one and the same point in nodes.

capacity

breadth

depth

the

ratio

nodes,

often

•

Has a concentrated lay-out with small extension.

necessary to use a large number of

•

Be easy and fast to assemble.

slotted-in plates; this requires the choice of

•

Appropriate fire resistance, if required.

relatively wide cross sections so that the Fig 6.18: Typical truss node with slotted-in plates and dowels plates can be accommodated.

•

Limit the amount of steel parts.

•

Be of “standard type”, i.e. it should be possible to use the same type

(Source: Crocetti 2016)

The bending stiffnesses of the single members in the plane of the truss should be kept reasonably small in comparison to the bending stiffness of the assembled truss. The presumption that the bending stiffness of the members is small in comparison to the bending stiffness of the assembled truss, is normally fulfilled if the chord depths do not exceed

of connection for as many nodes of the same truss as possible. For trusses consisting of single chords and single web members, the connection types used at the nodes normally include steel plates and dowel-type connections (typically dowels or bolts).

1/7 of the truss depth.

Buckling of compression members Compression

members

and

members

subjected

combined

compression and bending (normally the members in the upper chord of the truss) shall be designed similarly to beam-columns, taking into account the risk of buckling both in the plane of the truss and out-ofplane.

Fig 6.19: Ratio between member depths and truss depth to reduce the influence of bending moments. (Source: Crocetti 2016)

Fig 6.20: (a) Truss node with external steel plates and bolts and (b) truss node with slotted-in plates and dowels. (Source: Crocetti 2016)

LARGE SPAN TIMBER STRUCTURE

6.6

5.3.2 Site Plan Dimensions

Fig 5.21: Site Plan Dimensions (source: Paro municipal corporation[edited by author])

SITE LEVEL ANALYSIS

5.11

Hinged ridge joints transfer horizontal and vertical forces. Moments are transferred only to a limited extent and are generally not taken into account in the design.

Fig 6.25: Hinged ridge joint. (a) with dowelled steel plate, end plate and hinge pin; (b) with end plate, rocker ribs and side lugs; (c) with dowelled end plate, rocker ribs and side lugs. (Source: Crocetti 2016)

c) Special structures Following are the special type of timber structure: - Cable shaped structures and - Spatial (or space) structures

Fig 6.27: Cross-section of the Standard Hall (Source: Crocetti 2016)

ii. The domes in Brindisi Diameter: 143 m (largest in Europe) Rise: 44 m The erection occurred without the need of building a temporary

i. Stuttgart Trade Fair Exhibition Halls, Germany

supporting. This considerably reduce the construction costs. Special

The roof structure of each of the smaller exhibition hall consists of a

joints, which consists of steel plates and inclined self-tapping screws, are

steel SR system in one span, with a span length of 56.5 m. The larger hall

designed to resist bending moments and shear forces that arise during

has a free span of 126.8 m, which is built up by an SR system in two

the construction phase, when the members of the triangulated dome

spans, in the middle supported by a large steel truss.

are cantilevering out

Fig 6.26: One of the Standard Exhibition Halls . (Source: Crocetti 2016)

Fig 6.28: Left: One of the two geodesic dome structures in Brindisi, Italy during erection. Right: a detail of a node of the dome.Photo Rubner Holzbau. (Source: Crocetti 2016)

LARGE SPAN TIMBER STRUCTURE

6.8

6.2 SUSTAINABILITY

According to the sun direction, best orientation of the building is the

6.2.1 SITE AND SUSTAINABILITY

longer side facing south and north for gaining maximum benefit of the

The longer side of the site is exposed to the south-west direction

sun in the cold climate for heating and lighting.

inclined 45 degrees. Hence, the site get direct sunlight throughout the days of the year. The site slopes towards the south-east and

However, based on the plot type, direction of the build form is along the

drainage of the site is towards the south-east direction and towards

longer side of the site which is 45 degree towards the north-west

the river. The wind direction is from the south in summer and from

direction.

north during winter.

Wind directio n

Catchment area Wind directio n

Fig 6.29: Micro-climate & site conditions. (Source: Author)

Fig 6.30: Sun path and building orientation. (Source: Author)

SITE & SUSTAINABILITY

6.9

Build form of combination of both the above situation is adopted to create a passive solar design which will gain maximum advantage of sun as well as respond to the plot type. Series of courtyards opening to the southern side will be used to take in summer wind to cool the spaces during hot summer while build form will act as a wall to protect the campus from cold winter wind blocking it from entering the campus.

Different type of spaces are oriented in specific directions to gain benefit of sun while cutting off the glare and unwanted heating. The residences makes maximum use of southern sun to heat up the Trombe wall for passively heating the space during cold winter. Offices and classrooms will take in indirect sunlight to lit the space during day to reduce the use of artificial light during the working hours.

Fig 6.31: Orientations of each blocks of functions(Source: Author)

SITE & SUSTAINABILITY

6.10

6.2.2 CONSTRUCTION IN HILLY AREAS Building on a sloping site offers many advantages These advantages include opportunities for views and the capture of prevailing breezes

However building on a sloping site may require more site planning and

On slopes, split level & stilt construction shall be encouraged. Proper slope protection measures by construction of retaining walls with adequate provisions for drainage shall be made mandatory.

design consideration to minimize the environmental, visual and amenity impact on neighbouring properties and surrounding landscape. The key to minimizing construction costs on a sloping site is to reduce the amount of earthworks required to level the site through cut and fill and to minimize the number of engineered retaining walls This can be achieved by adopting a house design that suits the sloping site. . a) Construction on slopes (DCR 2016) Plot owners shall be encouraged to adopt the cut and fill method

Fig 6.33: Split level & stilt construction . (Source: DCR 2016)

instead of excessive cutting of slopes to achieve a level ground surface

b) Dealing with surface and sub surface drainage

ideal for construction.

Designing on the sloping site requires special considerations for drainage Good design will minimize future surface and sub surface drainage and maintenance problems common to building on a sloping site.

Fig 6.32: Cut and fill method . (Source: DCR 2016) Fig 6.34: Typical Hillside Development Impacts on Runoff (Source: www.water.gov.my)

CONSTRUCYION IN HILLY AREAS

6.11

It is a common practice, cutting and filling to create a flat land platform

Surface water can usually be diverted away from the building by a

actually produces a poor overland water flow. Due to the flat area,

combination of grading, swales (shallow ditches), detention tanks and

stormwater does not run off the site but ponds on the platform and

storm water pits which are directed to a legal point of storm water

starts to infiltrate into the soil, causing seepage and eventually slope

discharge Surface. The retaining structures must be designed to allow

instability problems.

passage of groundwater without endangering the integrity and performance of the structure.

Fig 6.35: Typical Slope Failure due to Infiltration (Source: www.water.gov.my)

Fig 6.36: Retaining Walls &Recommended Property Drainage System (Source: www.water.gov.my)

CONSTRUCYION IN HILLY AREAS

6.12

6.2.3 PASSIVE SOLAR DESIGN (SPECIFIC TO COLD REGION)

Here are the five bedrock principles of passive solar design for a cold

Building form and building envelope are the most important parameters

climate:

affecting indoor climate. Building form is an important determinant of

•

total heat loss through the whole building envelope in cold climates.

The long axis of the house should be oriented in an east-west direction.

•

The rooms where people will spend most of their time should be

In passive building designs the system is integrated into the building

located on the south side of the house, while utility rooms, bath

elements and materials – the windows, walls, floors, and roof are used as

rooms, closets, stairways, and hallways should be located on the

the heat collecting, storing, releasing, and distributing system. Storage

north side of the house.

of solar energy is a challenge than collecting. Combining strategies

•

together with respect to orientation, form, and other design concepts,

There should be lots of extra glazing area on the south side of the house, and little or no glazing on the north side of the house.

will lead to a sustainable approach. a) Setbacks for Access to Winter Sun(DCR 2016)

•

to shade the south windows during the summer solstice, but to allow

The set backs required for ensuring access to the winter Sun have been

the sun to shine through the south windows on the winter solstice.

calculated, taking the declination of the Sun on Dec. 22nd which is 39 degree of the ground plane.

The roof overhang on the south side of the house should be designed

•

The house should include extra interior thermal mass to soak up some of the solar heat gain that comes through windows on a sunny day.

Fig 6.37: Winter sun angle (Source: DCR 2016)

b) Passive solar design Solar energy is a radiant heat source that causes natural processes upon which all life depends. We can harness its energy by managing some of the natural processes through building design in a manner that helps heat and cool the building. The basic natural processes that are used in passive solar energy are the thermal energy flows associated with radiation, conduction, and natural convection. Fig 6.38: Passive solar components .(Source: www.greenbuildingadvisor.com)

PASSIVE SOLAR DESIGN

6.13

Building level

b. Avoidance of overshadowing:

The ability of a building to make use of solar heat and light will be

The careful spacing of

strongly influenced by its siting in relation both to the sun and to

buildings will help to

adjacent structures A house with a southerly aspect will face the daily

minimize the loss of

path of the sun across the southern sky, maximizing the potential for

solar gain which results

solar gain

if a building’s southern

a. Building orientation: Long east-west plan arrangements increase winter sun-facing skin available to collect radiation. Generally, building oriented along an east-west axis is more efficient for both winter and summer cooling. This orientation allows for maximum solar glazing (windows) to the south for

solar capture for heating. This orientation is also advantageous for

elevation

overshadowed. Other features, such as trees and rising ground also have the potential to cause this problem.

summer cooling conditions since it minimizes east-west exposure to morning and afternoon summer sun light.

c. Building orientation:

Fig 6.40: Winter overshadowing in the spacing of building (Source: Google image)

If a building is sheltered from cold northerly winds and particularly on west facing coasts and slopes from prevailing winds, cold draughts and cooling of the building’s envelope can be reduced. Shelter can be provided by other buildings, walls, vegetation and the local terrain.

Fig 6.39: Building orientation & functional location (Source: Tendulkar 2017) Fig 6.41: Avoidance of overshadowing (Source: Google image)

PASSIVE SOLAR DESIGN

6.14

c) Passive solar heating techniques

6.2.4 TROMBE WALLS

a. Direct gain

Is a wall that warms trapped air, and then circulates it to help heat a

This systems collects heat directly

house. Ideally made out of a material with a fairly high thermal mass

within an interior space. The surface

materials (like bricks or concrete), and are often painted black to

area of the storage mass, which is

improve heat conduction. Trombe walls feature a pane of glass or

incorporated into the space, should

plastic glazing installed a short distance in front of the wall.

be 50 to 66 of the total surface area of the space

Sunlight passes through the

b. Indirect gain It control heat gain at the exterior skin

the

How do Trombe walls work?

building.

The

solar

radiation first strikes the thermal mass which is located between the sun and the living space. The absorbed solar energy moves through the wall by conduction and then to the space by radiation and convection.

glass panel in front of the wall, and is absorbed by the wall. The air in the gap between the wall and the glass is heated

through

conduction. Trombe

walls

normally

have vents both at the top and

c. Sunspace or solarium The sun space having a floor of high thermal mass is separated from the

main living space by thermal storage wall from which heat is drawn as needed.

bottom

the

enclosure. As air is heated,

it passes through the top vent

into

heating

the

home,

house

via

convection. At the same time, cold air is drawn in through the bottom vent to

d. Isolated gain This systems collect and store solar radiation away from the space to be heated. As air or water in collector is

be heated by the sun and rise up again. This creates a cycle of warm air flow.

Fig 6.43:A conventional Trombe wall during winter and summer (Source: amet-me.mnsu.edu)

warmed by the sun it rises to the

Throughout the day, the wall will continuously absorb heat, then at night

served space or is stored in the

when temperatures drop it will release the heat into the building,

thermal mass until needed.

providing warmth and comfort.

Fig 6.42: Passive solar design. (Source: Francis D. K. Ching)