National Centre for Arts IGNCA Lawns, New Delhi
THESIS REPORT
Coordinator : Prof. (Dr.) Jaya Kumar Guide : Prof. Amit Hajela, Prof. Shiriesh Malpani
Vaibhav
Sec ‘B’ A/2769/2014
Introduction
India is a culturally diverse nation with numerous traditions, language, arts which have attained recognition at international level, nevertheless still there exist a large treasure of such art forms which are limited within the bounds of their region/ community. These art forms are not only the identity of their community but also a heritage for the nation which needs to be preserved. One way to preserve and spread these art forms is to provide them required exposure, forward it to new generation and train & support artists to carry it forward. Thus, way forward in this direction could be providing required infrastructure for growth and promotion.
Thesis proposition
To design a ‘National Centre for Performing and Visual Arts’ in a strong context of Lutyens Delhi. Around 70 years’ postindependence, the proposed NCA, Delhi in the context of such prominent power structures aims to provide an international platform to all forms of indigenous art forms. The scheme should reflect upon Indian perception of spaces and built articulation to honor those art forms.
Research Outcomes
Due to multiple types of art forms with different requirement, the spaces needs to be adaptive to cater to such needs as and when arised. A particular typology which works well for one kind of performance might not be suitable for other.
Program
Site study
Site Area
46,319 sqm (11.45acre)
Max. Permissible FAR
1.2 (55,580 sqm)
FAR achieved
0.64 (~35775 sqm)
Max. Ground coverage
25% (11580 sqm)
Parking ECS
2 ECS/ 100sqm
Total ECS requirement
694
Surface parking requirement 174 ECS (25%) Basement parking
520 ECS (75%)
Basement area requirement
16672 sqm.
Museum & Gallery
Main theatre
Cultural info. Centre Public facilities
Indian Theatre
The proposed site for NCA is located along the central vista in Lutyens’ Delhi at the junction of Rajpath and Janpath across National Archives. It shares plot with IGNCA.
Admin
Inferences - Case studies
Context study
Site is located in strong context of Lutyens Delhi along Janpath and Rajpath.
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National Centre for Arts, New Delhi
Bharat Bhawan, Bhopal
Jawahar Kala Kala Kendra, Academy, Jaipur Goa
Rabindra Bhawan, Delhi
Each part of the building is distinct yet flows easily one another, which is essential for any public building
The interplay of light , shadow and colors, evoke emotions in the user and invite him to move further.
Sitting in the strong context of NSD & SRCPA this building reponds very strongly to its context
Well resolved circulation. The building looking onto River Mandovi in the context.
Technology
SWOT Analysis Strength
Weakness
Opportunity
Threat
Site is located in capital city of India which gives required exposure to the project. Also being located in heart of city i.e. Lutyens Delhi has its added advantages. Site is well connected by means of public transport with bus stop and metro at waking distance.
Too many trees scattered nonuniformly over the site makes it difficult to provide larger spaces. Thick tree cover between site and Rajpath obstructs the view of Central Vista. Security concerns do not allow direct view of central vista from open terraces
The NCA can respond to IGNCA such that the two building compliments the functionality of each other. Working on an empty site (since existing buildings are proposed to be demolished) has its added benefits in terms of site planning.
Being one of the highest public gathering building along Central Vista, site becomes highly sensitive in terms of security.
Design Outcome
Design stage 1
Design stage 2
Design stage 3
Final Design
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प्रस्तावना भारत एक सांस्कृतिक रूप से विविध राष्ट्र है, जिसमें कई परंपराएं, भाषा,
कार्यक्रम
साइट का अध्ययन
साइट क्षेत्र
46,319 sqm (11.45acre)
का एक बड़ा खजाना मौजूद है, जो उनके क्षेत्र / समुदाय की सीमा में सीमित
मैक्स अनुमन्य FAR
1.2 (55,580 sqm)
हैं। ये कला रूप न केवल उनके समुदाय की पहचान हैं, बल्कि राष्ट्र के लिए एक
एफएआर हासिल किया
0.64 (~35775 sqm)
मैक्स ग्राउंड कवरेज
25% (11580 sqm)
पार्किंग ECS
2 ECS/ 100sqm
करना और उनका समर्थन करना है। इस प्रकार, इस दिशा में आगे बढ़ने से
कुल ईसीएस की आवश्यकता
694
विकास और संवर्धन के लिए आवश्यक बुनियादी ढांचा उपलब्ध हो सकता है।
भूतल पार्किंग की आवश्यकता
174 ECS (25%)
प्रस्ताव
बेसमेंट पार्किंग
520 ECS (75%)
तहखाने क्षेत्र की आवश्यकता
16672 sqm.
कलाएं हैं, जिन्हें अंतरराष्ट्रीय स्तर पर पहचान मिली है, फिर भी ऐसे कला रूपों
धरोहर हैं जिन्हें संरक्षित करने की आवश्यकता है। इन कला रूपों को संरक्षित और फैलाने का एक तरीका उन्हें आवश्यक एक्सपोज़र प्रदान करना है, इसे नई पीढ़ी को अग्रेषित करना और इसे आगे बढ़ाने के लिए कलाकारों को प्रशिक्षित
लुटियंस दिल्ली के एक मजबूत संदर्भ में design नेशनल सेंटर फॉर परफॉर्मिंग एंड विजुअल आर्ट्स ’डिजाइन करना। लगभग 70 वर्षों की स्वतंत्रता के बाद, प्रस्तावित एनसीए, दिल्ली ऐसी प्रमुख बिजली संरचनाओं के संदर्भ में सभी प्रकार के स्वदे शी कला रूपों को एक अंतरराष्ट्रीय मंच प्रदान करना है। इस स्कीम में उन स्थानों की भारतीय धारणा को दर्शाया जाना चाहिए और उन कला
Museum & Gallery Cultural info. Centre
रूपों को सम्मानित करने के लिए आर्टिकुलेशन बनाया जाना चाहिए।
Public facilities
अनुसंधान के परिणाम
Admin
विभिन्न आवश्यकताओं के साथ कई प्रकार के कला रूपों के कारण, इस तरह की जरूरतों को पूरा करने के लिए रिक्त स्थान को अनुकूल बनाने की
Main theatre
Indian Theatre
एनसीए के लिए प्रस्तावित साइट लुटियंस दिल्ली में केंद्रीय विस्टा के साथ राजपथ और जनपथ के राष्ट्रीय अभिलेखागार में स्थित है। यह IGNCA के साथ प्लॉट साझा करता है।
संदर्भ - केस स्टडी
आवश्यकता होती है। एक विशेष टाइपोलॉजी जो एक प्रकार के प्रदर्शन के लिए अच्छी तरह से काम करती है, अन्य के लिए उपयुक्त नहीं हो सकती है।
प्रसंग अध्ययन
साइट जनपथ और राजपथ के साथ लुटियन दिल्ली के मजबूत संदर्भ में स्थित है।
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National Centre for Arts, New Delhi
Bharat Bhawan, Bhopal
Jawahar Kala Kala Kendra, Academy, Jaipur Goa
Rabindra Bhawan, Delhi
भवन का प्रत्येक भाग अलग है फिर भी आसानी से एक दूसरे से बहता है, जो किसी भी सार्वजनिक भवन के लिए आवश्यक है
प्रकाश, छाया और रंगों के परस्पर क्रिया, उपयोगकर्ता में भावनाओं को जागृत करते हैं और उसे आगे बढ़ने के लिए आमंत्रित करते हैं।
एनएसडी और एसआरसीपीए के मजबूत संदर्भ में बैठी यह इमारत अपने संदर्भ में बहुत दृढ़ता से दोहराती है
अच्छी तरह से हल परिसंचरण। संदर्भ में मांडोवी नदी पर बनी इमारत।
प्रौद्योगिकी
स्वोट अनालिसिस Strength
Weakness
Opportunity
साइट भारत की राजधानी शहर में स्थित है जो परियोजना के लिए आवश्यक जोखिम दे ती है। शहर के केंद्र में स्थित होने के नाते यानी लुटियन दिल्ली के अपने अतिरिक्त फायदे हैं। साइट अच्छी तरह से जागने की दूरी पर बस स्टॉप और मेट्रो के साथ सार्वजनिक परिवहन के माध्यम से जुड़ा हुआ है।
साइट पर गैर-समान रूप से बिखरे हुए बहुत से पेड़ बड़े रिक्त स्थान प्रदान करना मुश्किल बनाते हैं। साइट और राजपथ के बीच मोटा पेड़ कवर सेंट्रल विस्टा के दृश्य को बाधित करता है। सुरक्षा चिंताओं को खुले छतों से केंद्रीय विस्टा के प्रत्यक्ष दृश्य की अनुमति नहीं है
NCA IGNCA का जवाब दे सकता है जैसे कि दो भवन एक दूसरे की कार्यक्षमता की तारीफ करते हैं। एक खाली साइट पर काम करना (चूंकि मौजूदा इमारतों को ध्वस्त करने का प्रस्ताव है) साइट योजना के संदर्भ में इसके अतिरिक्त लाभ हैं।
Threat सेंट्रल विस्टा के साथ उच्चतम सार्वजनिक सभा भवन में से एक होने के नाते, साइट सुरक्षा के मामले में अत्यधिक संवेदनशील हो जाती है।
डिजाइन आउटकम
डिजाइन चरण 1
डिजाइन चरण 2
डिजाइन चरण 3
अंतिम नक्शा
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Declaration The thesis titled National Centre for Arts, New Delhi is a requisite of the Bachelors Program in the Department of Architecture, School of Planning and Architecture, New Delhi – 110002, and was completed by the undersigned in January – May 2019. The supervisors were Prof. Amit Hajela (Design ,Research & Technology Guide) and Ar. Shiriesh Malpani (Design and Research Guide). The undersigned hereby declares that this design is his original work and has not been plagiarized in part or full from any source. Furthermore this work has not been submitted for any degree in this or any other University. Vaibhav
A/2769/2014 B. Arch 5th year, Section- B School of Planning and Architecture, New Delhi
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National Centre for Arts, New Delhi
Certificate We certify that the thesis titled National Centre for Arts, New Delhi by Vaibhav enrollment no. A/2769/2014 was guided by us in January – May 2019. On completion of the report and based on the declaration by the candidate herein above, we accept & forward the report to the Department of Architecture, School of Planning and Architecture, New Delhi.
Prof. Amit Hajela
(Design, Research & Technology Guide)
Ar. Shiriesh Malpani
Prof. (Dr.) Jaya Kumar
(Design & Research Guide)
(Coordinator & Studio Director)
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A note to the reader A thesis is a reflection of 5 years worth of hardwork, efforts, failure and dedication. This one is no different. Sincerest efforts were made to make it worth everything like it should be. However, there’s no utopia. This report is a small compilation of my research, findings & design attempts. Most of what I learnt could not be published in this report. Similarly, its possible that you might find some human errors or some loose ends in this report even though efforts were made to make it perfect. In other words, this report is not quite there where it was intended to be. So, if you find any errors in the report or need some clarification, you can write to me at vaibhavgupta.spa@gmail.com. I’d try my best to respond whenever possible. Good luck for your endeavor!
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National Centre for Arts, New Delhi
Acknowledgments I would like to express my foremost gratitude to my guides Prof. Amit Hajela and Prof. Shiriesh Malpani for their consistent guidance, motivation and support in channelizing my thoughts in right direction. I am also thankful to studio director & coordinator Prof. (Dr.) Jaya Kumar for helping us organize our research and providing her valuable inputs on the project. I’m deeply indebted to my seniors Nayan Jain, Shiva Sah and juniors Nitesh Maurya, Ayush, Raghav Mathankar, Sundaram Kumar and Divyansh for their constant and undivided help without whom I’d probably be writing this acknowledgment an year later. I’d like to extend my thanks to Sandeep Raju, Naga Gopi & Vaidehi for their timely support. Finally I’d like to express my deepest gratitude towards my family for their constant support and motivation and my brother Lakshay for all he did for my thesis.
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Table of contents:
[1] Introduction
[2] Areas of Research & Case Studies
• • • • • • • • • • • • • • • •
Introduction Need identification News coverage Intent Proposition Location justification Project brief Research question Aim Objective Scope Limitation Methodology Challenge Conclusion Inference
20 21 22 24 24 25 25 25 26 26 26 27 27 27 27 27
•
Research framework
28
• •
• • • • • • • • • • •
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National Centre for Arts, New Delhi
Typologies for performing spaces Design requirements of Auditorium & concert halls Amphitheater design requirements Conference hall design requirements Design requirements of Museum & Art gallery Performing Arts Visual Arts Bharat Bhawan, Bhopal Jawahar Kala Kendra, Jaipur Kala Academy, Goa Rabindra Bhawan, New Delhi Case example: Kamani Auditorium, New Delhi Case study comparison matrix
30 31 35 36 37 38 44 48 52 56 58 67 72
[3] Program Development & Analysis • • • • • •
Key points Project scope Area program summary Detailed area program Functional diagram Sectional distribution
•
Inferences
76 77 78 79 85 85 85
[4] Site Analysis • • • • • • • • • • • • • • • • •
Location Accessibility Connectivity Site Site Photos Survey Plan Existing site condition History (site) Context analysis Central vista analysis Central vista photos Land use Applicable development controls Climate Vegetation Materiality/ texture study Site attributes
86 87 87 88 89 90 91 92 93 94 96 98 98 99 100 102 103
[5] Technology Study • • • • •
Structural systems Acoustic requirements HVAC load calculation Water requirement calculation Power requirement calculation
106 114 116 118 120
[6] Determinants & Directives • •
Project justification SWOT analysis
[7] Design Development 122 123
• • • • •
Design directives Design exploration Design stage #1 Design stage #2 Design stage #3
124 125 126 128 130
[8] Concept & Design translation • • • • • • • • •
Response to site Response to context Response to program Response to artforms Drawings Context model Model 3D views Jury comments
134 134 135 135 136 146 147 148 149
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List of figures Figure
Content
Source
Page
Fig 1.1
Kathputli (dying artform of India)
Google Images
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Fig 1.2
Dhokhra Handicraft (dying artform of India)
Google Images
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Fig 1.3
Chhau Dance (dying artform of India)
Google Images
Fig 1.4
The NCPA will come up on the sprawling Indian Express lawns of the Indira Gandhi National Centre for Arts.
Fig 1.5
Representational image of performers
21 22
Financial Express online 23
Fig 2.13
Trees acting as noise barrier
NPTEL online resources 35
Fig 2.14
Sound reflection in amphitheatre
NPTEL online resources 35
Fig 2.15
Sound transmission in amphitheatre
NPTEL online resources 35
Fig 2.16
Conference hall with podium-seating typology
Google Images
36
Fig 2.17
Conference room
Google Images
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Fig 2.18
Possible routes for art galleries
Time Saver Standards
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Fig 2.19
Viewing angles
Time Saver Standards
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Fig 2.20 Viewing angles
Time Saver Standards
37
Time Saver Standards
37
Fig 2.22 Viewing angles
Time Saver Standards
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Fig 2.21
Spotlights are best placed in sync with natural light
Auditorium functional layout
Time Saver Standards
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Fig 2.23 Bomalattam
Google Images
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Fig 2.2
Auditorium seating design for best viewing
Time Saver Standards
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Fig 2.24 Shadow puppet
Google Images
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Different typologies in Auditorium seating layout
Time Saver Standards
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Fig 2.25 Glove puppet
Google Images
Fig 2.3
38
Fig 2.26 Chador badoni
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Fig 2.4
Curvature for rows of seats
Time Saver Standards
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Fig 2.27 Kathputli
Google Images
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Fig 2.5
Viewing angles in auditorium
Time Saver Standards
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Fig 2.28 Shadow puppet
Google Images
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Fig 2.6
Sectional view of auditorium functionality
Time Saver Standards
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Fig 2.29 String puppet
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Fig 2.30 Togalu
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Fig 2.7
Desired viewing angles from balcony
Time Saver Standards
33
Fig 2.31
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Fig 2.8
Sectional view of auditorium functionality
Time Saver Standards
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Fig 2.32 Tamasha
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Fig 2.33 Bhavai
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Fig 2.9
Auditorium stage design
Time Saver Standards
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Fig 2.34 Mudiyettu
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Fig 2.10
Preferred angle for seat arrangement
Time Saver Standards
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Fig 2.35 Dashavatar
Google Images
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Fig 2.11
Greek amphitheatre
Google Images
35
Fig 2.36 Dhaanu jatra
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Fig 2.12
Built mass acting as noise barrier
NPTEL online resources 35
Fig 2.37 Therukoothu
Google Images
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Fig 2.1
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National Centre for Arts, New Delhi
Swang
Fig 2.38 Rasleela
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Fig 2.65 Jabro
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Fig 2.39 Krishna parijatam
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Fig 2.66 Oja pali
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Fig 2.40 Koodiyattam
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Fig 2.67 Ranapa
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Fig 2.41
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Fig 2.68 Purulia chaau
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Fig 2.42 Bhangra
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Fig 2.69 Hagalu Vesha
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Fig 2.43 Bihu
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Fig 2.70 Jaggahalige
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Fig 2.44 Cham
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Fig 2.71
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Fig 2.45 Dalshone
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Fig 2.72 Padhar
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Fig 2.46 Gaudiya nritya
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Fig 2.73 Pulikkali
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Fig 2.47 Sattriya
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Fig 2.74 Thirayattam
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Fig 2.48 Gnungmala
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Fig 2.75 Sohrai
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Fig 2.49 Giddha
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Fig 2.76 Patachitra
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Fig 2.50 Rumtek chaam
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Fig 2.77 Chalchitra
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Fig 2.51
Bahuwa
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Fig 2.78 Gond
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Fig 2.52 Khukuri
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Fig 2.79 Kangra
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Fig 2.53 Deodhani
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Fig 2.80 Kohbar
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Fig 2.54 Kathak
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Fig 2.81
Madhubani
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Fig 2.55 Gombhira
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Fig 2.82 Madhubani
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Fig 2.56 Kagyed
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Fig 2.83 Mandana
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Fig 2.57 Jhumar
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Fig 2.84 Miniature
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Fig 2.58 Pandav nritya
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Fig 2.85 Madhubani
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Fig 2.59 Nati
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Fig 2.86 Maru gurjara
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Fig 2.60 Namgen
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Fig 2.87 Pahari
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Fig 2.61
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Fig 2.88 Patachitra
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Fig 2.62 Khatok chenmo
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Fig 2.89 Phad
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Fig 2.63 Raibenshe
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Fig 2.90 Pichwai
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Fig 2.64 Ho ajina
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Fig 2.91
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Bagurumba
Yak chaam
Onapottam
Pithora
13
Fig 2.92 Aipen
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Fig 2.93 Thangka
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Fig 2.94 Warli
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Fig 2.95 View of Bharat Bhawan, Bhopal
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Fig 2.96 View of Jawahar Kala Kendra, Jaipur
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Fig 2.97 View of Kala Academy, Goa
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Fig 2.98 View of Rabindra Bhawan, New Delhi
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Fig 2.99 View of Rabindra Bhawan, New Delhi
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Fig 2.100 View of Bharat Bhawan, Bhopal
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Axonometric sectional view of Bharat Fig 2.101 Bhawan
https://www.archdaily. com/791942/adclassics-bharatbhavan-charles-correa
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Fig 2.102 Entrance of Bharat Bhawan
Author
49
Fig 2.103 View from courtyard of Bharat Bhawan
Author
49
Fig 2.104 Plan of Bharat Bhawan
https://www.archdaily. com/791942/adclassics-bharatbhavan-charles-correa
Fig 2.105 Functional relationship in Bharat
https://www.archdaily. com/791942/adclassics-bharatBhawan bhavan-charles-correa
Fig 2.112 View of Jawahar Kala Kendra, Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Schematic plan of Jawahar Kala Kendra, Fig 2.113 Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Navagraha - it was primary concept Fig 2.114 behind planning of Jaipur city
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Fig 2.115 Plan of Jawahar Kala Kendra, Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Fig 2.116 View of Jawahar Kala Kendra, Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Axonometric view of every zone in Fig 2.117 Jawahar Kala Kendra, Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Fig 2.118 View of Jawahar Kala Kendra, Jaipur
http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india
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Fig 2.119 View of Kala Academy, Goa
Google Images
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Fig 2.120 Plan of Kala Academy, Goa
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Functional relationship in Kala Academy, Fig 2.121 Goa
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Fig 2.107 View of Bharat Bhawan
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Fig 2.108 Structural grid in Bharat Bhawan
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Fig 2.109 Sectional view of Bharat Bhawan
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Circulation flow diagram of Bharat Fig 2.110 Bhawan
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Fig 2.106 View of Bharat Bhawan
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Fig 2.111 Longitudinal section of Bharat Bhawan
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Fig 2.122 Structural grid in Kala Academy, Goa
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Fig 2.123 Plan of Kala Academy, Goa
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Fig 2.124 View of Rabindra Bhawan, New Delhi
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Context plan of Rabindra Bhawan, New Fig 2.125 Delhi
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Ground plan of Rabindra Bhawan, New Fig 2.126 Delhi
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First floor plan of Rabindra Bhawan, Fig 2.127 Delhi
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Roof plan of Rabindra Bhawan, New Fig 2.128 Delhi
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Fig 2.129 Section of Rabindra Bhawan, New Delhi
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Fig 2.130 Section of Rabindra Bhawan, New Delhi
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Zonal analysis of Rabindra Bhawan, New Fig 2.131 Delhi
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Fig 2.132 Massing of Rabindra Bhawan, New Delhi
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Fig 2.133 Facade elevation and section
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Structural system of Rabindra Bhawan, Fig 2.134 New Delhi
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Shadow analysis of Rabindra Bhawan, Fig 2.135 New Delhi
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Ground plan of Kamani Auditorium, New Fig 2.136 Delhi
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Fig 2.137 Balcony plan of Rabindra Bhawan
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Auditorium stage plan of Rabindra Fig 2.138 Bhawan
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Fig 2.139 Plan of green room in Rabindra Bhawan
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Fig 2.140 Stage bar system
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Fig 2.141 Stage bar system
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Section of Kamani Auditorium, New Fig 2.142 Delhi
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Fig 2.143 Auditorium light system
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Fig 2.144 View of Rabindra Bhawan, New Delhi
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Fig 2.145 View of NCPA, Mumbai
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Fig 2.146 View of Bharat Bhawan, Bhopal
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Fig 2.147 View of Kala Academy, Goa
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Fig 2.148 View of Jawahar Kala Kendra, Jaipur
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Fig 2.149 View of SUPVA, Rohtak
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Fig 2.150 View of MoMA, New York
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Fig 2.151 Plan of Rabindra Bhawan, New Delhi
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Fig 2.152 Schematic plan of NCPA, Mumbai
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Fig 2.153 Plan of Bharat Bhawan, Bhopal
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Fig 2.154 Plan of Kala Academy, Goa
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Fig 2.155 Plan of Jawahar Kala Kendra, Jaipur
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Fig 2.156 Plan of SUPVA, Rohtak
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Fig 2.157 Plan of MoMA, New York
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Fig 4.11
Nursery between IGNCA Kala Nidhi and Rajpath
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Fig 4.12
View of IGNCA Kala Nidhi from Rajpath
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Fig 4.13
View of southern face of site
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Fig 4.14
Small dargah built in buffer between site and Rajpath Author
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Fig 4.15
Land between site and Rajpath is often used as parking
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Fig 4.16
Vehicular entry to buffer with board reading ‘No Parking’
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Fig 3.1
Area distribution pie chart for NCA
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Site Survey Plan
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Fig 3.2
Function connection for NCA
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Fig 4.18
Site vegetation cover
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Fig 3.3
Function distribution for NCA
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Fig 4.19
Storm water & sewer pipeline
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Fig 4.20 Street lamp & poles
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Fig 4.21
book 'Concepts & Respones' by Razia Grover
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Winning scheme for IGNCA proposed Fig 4.22 by Ralph Lerner
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Fig 4.1
Location of Zone-D8 in Delhi map where site is located Author
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Satellite image showing location of site with context
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Site with context and metro connectivity Google Maps imagery 87
Fig 4.23 Currently existing built structures on site IGNCA office
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Fig 4.4
Site with trees and immediate context
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Fig 4.24 Demarcation of NCA in IGNCA plot
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Fig 4.5
Mati Ghar designed by SHiFt Architects on the site
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Fig 4.25 Figure ground plan of New Delhi
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Fig 4.6
CV Mess building
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Figure ground plan of Central Vista, New Fig 4.26 Delhi Google Earth imagery 94
Fig 4.7
Vernacular mud and thatch house as an installation
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Typology study of Central Vista, New Fig 4.27 Delhi
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Fig 4.8
Amphitheatre (Rangabhoomi)
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Fig 4.9
Media Centre on site
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View of Central Vista from Rashtrapati Fig 4.28 Bhawan
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Fig 4.29 3D view of Central Vista
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IGNCA Kala Nidhi building from Man Fig 4.10 SIngh Road 16
National Centre for Arts, New Delhi
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Original scheme of Lutyens Delhi
View of Central Vista towards Fig 4.30 Rashtrapati Bhawan Fig 4.31
Park beside National Archives used as public space
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Space between building & Rajpath acts Fig 4.52 as active public space
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Fig 4.53 Master Plan of Delhi 2021
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Fig 4.54 Master Plan for Zone D
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Fig 4.55 Temperature & Rainfall graph
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Fig 4.56 Wind speed & direction
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Fig 4.32 View of National Archives from Rajpath
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Fig 4.33 National Archives
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Fig 4.34 Shastri Bhawan from Rajpath
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Fig 4.35 Krishi Bhawan
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Fig 4.36 Krishi Bhawan from Rajpath
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Central Secreteriat Metro entry with Fig 4.37 Krishi Bhawan behind it
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Fig 4.38 Rail Bhawan
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Fig 4.57 Wind data
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Fig 4.39 Rail Bhawan from Rajpath
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Fig 4.58 Trees on site
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Fig 4.40 View of North block
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Fig 4.59 Tree mapping on site
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Fig 4.60 Facade of Jaipur House
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Rail Bhawan, Krishi Bhawan & Udhyog Fig 4.41 bhawan from North Block
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Fig 4.42 Vayu Bhawan as seen from Rajpath
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Fig 4.62 Facade of National Archives
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Fig 4.43 Udhyog Bhawan
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Facade of Ambedkar International Fig 4.63 Centre
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Facade of Jaipur House
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Facade of North Block, Central Fig 4.64 Secretariat
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Fig 4.45 Ministry of External Affairs JLN Bhawan
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Fig 4.65 Facade of IGNCA
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Fig 4.46 JLN Bhawan as seen from Rajpath
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Fig 4.66 Facade of National Museum
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Fig 4.47 Main Entrance of JLN Bhawan
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Fig 4.67 Facade of National Museum
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Fig 4.48 National Museum
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Fig 4.68 Facade of IGNCA
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Fig 4.49 National Museum Entry
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Fig 4.50 National Museum as seen from Rajpath
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Fig 4.51
Patches of unkempt land along central vista
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Fig 5.1
Auditorium section and column joint detail
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Auditorium roof section
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Auditorium roof structural plan
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Large span structural systems
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Basement structural system
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Comparison of different structural systems
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Comparison of different structural systems
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Coffer slab system
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Wood acoustic panel
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Water balance diagram
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Energy balance diagram
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Fig 7.1
Design directives
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Fig 7.2
Design exploration
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Design exploration
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Design exploration
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Design stage 1
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Design stage 1 physical model
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Design stage 1 physical model
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Design stage 1 physical model
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Design stage 2
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Design stage 2 physical model
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Design stage 2 physical model
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Design stage 2 physical model
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Design stage 3 physical model
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Design stage 3 physical model
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Design stage 3 physical model
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Design stage 3 physical model
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Design stage 3 physical model
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Design stage 3 physical model
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Fig 7.20 Design stage 3 physical model
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Fig 7.21
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Design stage 3 physical model
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Fig 8.2
Ground level plan for NCA
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Fig 8.3
First floor plan for NCA
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Fig 8.4
Second floor plan for NCA
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Fig 8.5
Third floor plan for NCA
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Fourth floor plan for NCA
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Fifth floor plan for NCA
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Basement plan for NCA
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Fig 8.9
Basement plan for NCA
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Fig 8.10 Elevations
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Sections
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List of abbreviations used AHU
Air Handling Unit
BOH
Back of the House
CIC
Cultural Information Centre
CV
Central Vista
CVC
Central Vista Committee
DDA
Delhi Development Authority
DUAC
Delhi Urban Arts Commission
ECS
Equivalent Car Space
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ELSS
Electrical Sub Station
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FCU
Fan Coil Unit
Context model [1:2000]
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FOH
Front of the House
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Context model [1:2000]
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GOI
Government of India
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Context model [1:2000]
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HVAC
Heating, Ventilation & Air Conditioning
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Context model [1:2000]
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IGNCA
Indira Gandhi National Centre for Arts
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Context model [1:2000]
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LBZ
Lutyens Bungalow Zone
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Context model [1:2000]
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MEP
Mechanical, Electrical & Plumbing
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model [1:500]
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MICE
Meeting, Incentive, Conventions & Exhibitions
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model [1:500]
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MPD
Master Plan for Delhi
Fig 8.20 model [1:500]
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NCA
National Centre for Arts
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model [1:500]
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NCPA
National Centre for Performing Arts
Fig 8.22 model [1:500]
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NDMC
New Delhi Municipal Corporation
Fig 8.23 model [1:500]
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RCC
Reinforced Cement Concrete
Fig 8.24 3D views
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Fig 8.25 3D views
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Fig 8.26 3D views
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Fig 8.27 3D views
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Introduction
1 Introduction
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India is a culturally diverse nation with numerous traditions, language, art forms associated with different regions and communities. Indian civilization has been the origin of some of the most incredible art forms know to the mankind. These art forms span across various domains— from dance to music, from painting to sculpture. Although, many forms of indigenous classical arts have attained recognition at national and international level, nevertheless still there exist a large treasure of such art forms which are limited within the bounds of their region/ community. These art forms are not only the identity of their community but also a heritage for the nation. They’ve been treasured in every nook and corner of the country where the artists are struggling very hard to preserve them. However as a nation, India still lacks in providing required platform for their promotion and preservation. Thus, one way forward to preserve and spread these art forms is to provide them required exposure by forwarding it to new-generation, train & support artists to carry it further.
Need Identification As India moves in the direction of becoming the next superpower—driven by advancement in technology—there are certain things that India is leaving behind - its culture, traditions, heritage and arts. The invaluable Indian art forms are losing its sheen and artists are moving on to some other source of earning for the survival. (https://incredibleindianartform.com/dying_art_ forms/)We’ve already lost many art forms and much of the remaining is on verge of extinction. There is an immediate need for people to understand the importance of local arts and culture. Unfortunately in India the traditional Art forms are largely under-appreciated in the mainstream due to high influence of western culture. These art forms exist in niche. The office of Development Commissioner (Handicrafts), Government of India has released a list of 35 traditional crafts which are endangered. List can be found at http://handicrafts.nic.in/pdf/List_Of_ Identified_As_Endangered_Craft.pdf (the list is limited to Crafts and not other forms of arts like dance, music, painting, etc. However it gives an idea of current situation)
Examples of endangered artforms in India Saving this treasure of art forms is need of the hour and government is taking steps to promote and facilitate them. A budget of Rs 2843.22 crore (2017-18) is allocated to ministry of culture for the same. (https://www.indiaculture.nic. in/aboutus-finance-budget) One of the main reason for such condition is that India is majorly lacking in providing adequate infrastructure for institutes which aim to promote and preserve traditional art by bringing them to masses. Thus the need for providing a national centre for arts arises which is capable to provide a platform for traditional art forms to mark their value internationally.
Fig 1.1 - Kathputli (dying artform of India)
Fig 1.2 - Dhokhra Handicraft (dying artform of India)
Fig 1.3 - Chhau Dance (dying artform of India)
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News Coverage Country’s biggest performing arts centre to come up in city at Rs 350 crore (Source: Indian Express, May 13, 2017 https://indianexpress.com/article/cities/delhi/countrys-biggest-performing-arts-centre-to-come-upin-city-at-rs-350-crore-4653470/)
Delhi’s NCPA will be constructed across an area of 10 to 11 acres and will be bigger than the centre in Mumbai which is spread over seven acres. The national capital will soon be competing with Mumbai to play host to artistes from across the globe, with the Union Ministry of Culture giving its nod to set up a National Centre for Performing Arts (NCPA) in Delhi.
Sources in the ministry said the NCPA will come up on the sprawling lawns of the Indira Gandhi National Centre for Arts (IGNCA) — barely 1.5 km from the capital’s cultural hub that houses Sahitya Kala Akademi, National School of Drama and the Sangeet Natak Akademi. Being touted as the biggest centre in the country, sources said the Ministry wants to provides a space for cultural activities and ensure performing arts gets a boost both nationally and internationally. While the first premier NCPA is at Mumbai’s Nariman Point, a second centre has been proposed in Thiruvananthapuram. Delhi’s NCPA will be constructed across an area of 10 to 11 acres and will be bigger than the centre in Mumbai which is spread over seven acres. The ministry has allocated a budget of Rs 350 crore for the project, which is scheduled to be completed in three years. Sources said the centre is set to have a huge auditorium with state-of-the-art facilities and technology. An expert panel has been asked to study various stage structures and halls in other countries to ensure that the architecture projects a balance between folk and regional performance art, and international performance art. “Famous performance art spaces, such as those in France and the USA, have been studied. We will look at other models as well. The Delhi NCPA will outshine even international performing art centres. The IGNCA is setting up various committees to work out the basic model and blueprint in consultation with renowned artists and experts, which will be led by our ministry,” a senior official said. As many organisations have been stressing on the need to emphasise on performing arts, the ministry believes the centre will give a space to artistes to showcase their talent.
Fig 1.4 - Exhibition at IGNCA. Representational image
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National Centre for Arts, New Delhi
Delhi to get India’s biggest performing arts centre; here’s all you need to know about it
Delhi aiming to provide a space for cultural activities. According to sources, the centre is said to outshine even international performing art centres. Here is all you want to know about it:
(Source: Financial Express Online, May 13, 2017 https://www.financialexpress.com/india-news/delhi-to-get-indias-biggest-performing-arts-centreheres-all-you-need-to-know-about-it/666638/)
– The report said that according to sources in the ministry, the NCPA will be constructed on the lawns of the Indira Gandhi National Centre for Arts (IGNCA), which is barely located 1.5 kilometres from Delhi’s cultural hub housing Sahitya Kala Akademi, National School of Drama and the Sangeet Natak Akademi.
Delhi will soon get a huge performing arts centre to host national and international artists, as the Union Ministry of Culture has given its nod to set up a National Centre for Performing Arts in the national capital Delhi will soon get a huge performing arts centre to host national and international artists, as the Union Ministry of Culture has given its nod to set up a National Centre for Performing Arts (NCPA) in the national capital, reported The Indian Express. The first premier NCPA is at Mumbai’s Nariman Point and the second centre has been proposed in Thiruvananthapuram. Now, the ministry has issued directives to come up with another centre in
– With the aim to provide a space for cultural activities and ensure performing arts gets a boost both nationally and internationally, the Delhi’s NCPA will be constructed across an area of 10 to 11 acres, said sources. It will be bigger than the centre present in Mumbai which is spread over seven acres. – Being touted as the biggest centre in the country, the ministry has allocated a budget of Rs 350 crore for the project, reported The Indian Express. It is scheduled to be completed in three years. – The report quoted sources as saying the centre is set to have a huge auditorium with state-of-the-art facilities and technology. – In order to maintain the standard of the centre, an expert panel has been asked to study various stage structures and halls in other countries. The panel has been asked to ensure that the architecture projects a balance between folk and regional performance art, and international performance art. – Several famous performance art spaces, including those in France and the USA, have been studied along with looking at other models as well. He stated that the Delhi NCPA will outshine even international performing art centres, according to Indian Express quoting a senior official. Furthermore, the IGNCA is setting up various committees to work out the basic model and blueprint in consultation with renowned artists and experts, which will be led by our ministry, he said.
Fig 1.4 - Dance performers. Representational image
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Intent There exists a few institutions in India which focuses on promoting & preserving Indian arts. One such institute is Indira Gandhi National Centre for Arts (IGNCA) which was launched on 19th November, 1985 by the late Prime Minister Shri Rajiv Gandhi. The site allocated was at junction of Rajpath and Janpath along ‘Central Vista’ in New Delhi. The institute was imagined as the largest in India for the purpose it serves. However, till 2017 only a small part of the proposed scheme was built. Thereupon, Union ministry of Culture proposed a ‘National Centre for Arts’ in one part of site along with expansion of existing IGNCA infrastructure. The proposed NCA is projected as largest centre for performing & visual arts in country leaving behind NCPA, Mumbai. Thus, intent of this thesis is to propose a scheme for NCA, Delhi which respects its context and significance by doing proper research and analysis to correctly understand the needs and expectations associated with it.
Proposition To design a ‘National Centre for Performing and Visual Arts’ in a strong context of Lutyens Delhi which was created by the British govt. to impose their power & prominence through built expression. The strong use of geometry as an indicator for levels for hierarchy and dominance in built form was induced. Post-independence, the structures were inherited by Indian govt. However the use of hierarchical distribution remained the same. Around 70 years’ post-independence, the proposed NCA, Delhi in the strong context of such prominent power structures aims to provide an international platform to all forms of indigenous art forms. Thus the scheme should reflect upon Indian perception of spaces and built articulation to honor those art forms. At the juxtaposition of these two contrary styles is where the scheme finds its true manifestation.
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National Centre for Arts, New Delhi
Location justification The city of Delhi presently houses only one major Cultural Hub i.e. Mandi House. However, one cultural hub for such a vast city is inadequate. On top of that, it too lack in many aspects, the primary being lack of public interaction spaces, no dedicated pedestrian paths and insufficient parking infrastructure. According to Delhi Development Authority (DDA) master plan 2021, the city should ideally have 90 cultural hubs, out of which 60 were projected to be developed by 2016. However, no noticeable development in the field is observed yet. Being the capital of the nation, presence of an International level center for Indian becomes of absolute importance. It is therefore an obligation for the city to provide required infrastructure to expand patronage and reinforce the importance of such indigenous art forms at national level
Project Brief
Research Question
What is the paradigm to develop & showcase Indian art forms at international scale through built manifestation?
As an attempt to serve the issue raised above, National Center for Arts (NCA) was proposed by Union Ministry of Culture in 2017. Proposed site of the project is Indira Gandhi National Centre for Arts (IGNCA) lawns located on junction of Rajpath and Janpath within strong context of National School of Drama, Sahitya Kala Akademi and the Sangeet Natak Akademi. The proposed NCA is projected to be the largest in India after existing NCPA in Nariman Point, Mumbai & a proposed NCPA in Thiruvananthpuram. Imagined as a national-level stage for performing arts, the center was first proposed in 1985 in the same location by the then Prime Minister of India Rajiv Gandhi. In an international competition organized for the same Prof. Ar. Ralph Lerner secured the winning position with his entry serving as a masterplan for the site. However, the project never saw completion and only a small part of the proposed scheme was built. So, 30 years after the competition, the project was again proposed in 2017 with an intent to create a scheme for National Center for Arts (NCA).
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Aim To design a scheme for proposed NCA by adding the provision for Display/ exhibition of Visual arts along with Performing arts. The scheme has to be designed such that it respects the context of colonial architecture while being sensitive to the spaces to cater to needs of traditional performers and artefacts. Located along the Central Vista, the aesthetics and form needs to be very sensitive to the urban fabric of the place.
Objective The project looks to create a scheme for NCA while considering the aspects listed above. So the objectives are: • To deeply understand the quality and type of spaces required for different types of art-forms. • To understand the architecture prevalent in the location of origin of such art-forms. • Create a scheme that gives required attention to needs of performers & artists along with visitors. The project has to pay its regards to the physical context of the location it is situated it and its importance at national level.
Scope The scope of project includes developing a scheme to cater the spatial needs of proposed NCA. Apart from that, extensive research shall be carried out to understand the requirement of space for different art forms and finding the ‘Indian’ value associated with each of the spaces.
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National Centre for Arts, New Delhi
Limitation The project design experiences following limitations listed below: • Being located in a prime location along the central vista in Lutyens Delhi, the design is restricted by strict development controls relevant to the area. • Although there are artforms other than performing or visual like martial arts, the scheme caters primarily to the former two.
Methodology
Conclusion •
Currently there’s a gap in India between requirement and availability of NationalInternational scale art centre which needs to be filled soon.
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Due to inadequate exposure and promotion, most traditional artforms in India are on verge of extinction.
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Delhi being the capital city of India provides tremendous opportunities for upliftment in current state of Indian arts. However, currently it itself lacks in providing required infrastructure at that scale.
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In 2017, Union Ministry of Culture proposed a national level centre for arts in IGNCA lawns which is currently underused for the same purpose. The centre is proposed to be largest in the country leaving behind NCPA, Mumbai.
The methodology involved in preparing the proposed scheme is • Perform a historical research of site and program, its relevance and expectations at national and international level. • Deeply understand the requirement of project based on case studies and compare it with proposed area program thus updating the program. • Understand and cater to the need of typological, expression & material continuity.
Challenge To create something that serves as a platform for all sorts of Indian arts and cultural practice at an international level, it becomes imperative for the space to be designed considering the requirements of artifacts, artists and thorough understanding of the context from where they originated. Above that, building something so sensitive to Indian art and craft style in a context of colonial establishment creates a strong juxtaposition in its own. Challenge lies in preserving the urban-scape of the region while creating spaces inspired from local architecture.
Inference To preserve, promote & popularize Indian art forms, a National centre for arts is required. The centre being of National importance should be ideally established in capital of country.
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Research Framework Building Functionality
Areas of Exploration
Research Methodology
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Case studies, site visit of similar projects
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User Identification
Need identification of different users, circulation, behaviour pattern and access permission.
Understanding different perspectives from viewpoint of different users: • Artist/ Performer • National/ International visitor • Administrator • Working Staff • Housekeepers • Security Personnel • VIP guests
Historical Context of site
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History of Lutyens Delhi IGNCA competition, its need & relevence and shortlisted scheme.
Research through papers, books & arcticles on the subject. Book ‘Concepts & Responses’ by Razia Grover to understand more about competition & leading entries.
Site Study
•
Understanding of current site conditions, existing built on site, topographical conditions, existing flora Edge conditions, response to immediate and larger context Architectural language, streetscape Accessibility and connectivity
Site visit, survey plan of site prepared by ‘ABM Engg. & Surveyors’ and relevent data available online.
Finding applicable development controls like max. ground coverage, max. permissible FAR, height restrictions, basement norms, setbacks. Finding applicable clearance needed for project like DUAC, fire dept. clearance etc.
Study of MPD, follow applicable bye-laws for non-residential plots in LBZ. Central vista guidelines and limits prescribed in project brief.
• • •
Development controls
• •
28
Understanding individual components, zoning & functionality of spaces (standalone & interdependent) Hierarchy of privacy (Public spaces v/s limited access) Connection between spaces and movement system for different users Built form & its connection to open spaces, landscaping Fundamental arithmentics related to space requirement & capacity
National Centre for Arts, New Delhi
Context study
Areas of Exploration
Research Methodology
• •
Relevence of International level Arts Centre in capital of India. Response to Central Vista and other prominent institutes in the vicinity like Rashtrapati Bhawan, Ambedkar International Centre, IGNCA building, etc. Understanding the need associated with the project and its challanges
Research through papers, books & arcticles on the subject.
Study of different art forms native to India and their origin Study of the space requirement for display & creation of such artworks. Study of impact of architecture on art-forms (in terms of creation and display/ performance) Elements of traditional architecture prevalent at place of origin of various art forms Means and need of adopting modern technology for display & recreation for art-forms
•
•
Indian Art-forms
• • • • •
Technology Study
Climate (micro & macro)
•
Study of technological aspects (requirement, details, necessity & applicable rules) associated with • Structure of the project • Services (HVAC, MEP) • Sustainable stratigies (Active & Passive) • Safety (Fire hazard/ natural disaster) • Security (Security of people, building & artworks against theft/ vandalism)
•
•
•
• •
Understanding the climate conditions of Delhi like avg. temperation, temperature range over month & year, rainfall pattern, humidity in various seasons, etc Study of sun angles at site and shadow analysis Understanding the climatic requirements and its solutions
•
• •
Case study of modern museums to understand the technical requirement Research through papers, books & arcticles on the subject.
Case study to understand the technical requirement Research through papers, books & arcticles on the subject.
Analyzing climatic data available for city of Delhi Software analysis for sunlight and shadow angle Case study to understand the response to climate
29
Typologies for performing space
2.1 Areas of Research
This chapter is divided in two parts. The first part will deal with the primary areas of research to have the background knowledge to start the design process. The second part will deal with looking at practical examples of similar such projects in the form of case study and understand how similar problem have been tackled in other projects.
30
Performance art involves physical movements and integration with the space. Different viewing angles provides the performer a liberty to express their art as desired. Thus the need of different types of stage and sitting area arises in different forms of performing arts. Some example of possible typologies are explored. A typology which might be well suited for one type of art form might not work for other. Thus different typologies are explored in context of desired usage.
Design requirements of Auditorium & Concert Halls Auditoriums are spaces which can accommodate functions such as : • Theatre/ Drama/ Dance • Music concerts • Instrumental performance • Opera or Ballet • Screening/ Projection • Public speaking An auditorium can be simply broken down into three main functional zones: • Front of the house • Stage and Seating space • Back of the house
Front of the house
Back of the house
The front of the house is dedicated to the audience, the foyer facilities for all the requirements and needs of the audience such as refreshments, info. Desks, toilets. It also acts as the waiting area, distributes and manages the crowd pre and post show. The building should be legible to a user and the facilities should be provided such that they do not hamper the movement of people through the foyer space. A clever way to manage a foyer space is by providing clear signage to help the user to find directions to seat and other facilities.
The back of the house is to accommodate all those activities and people who are responsible for the performance. BOH is required to meet the technical requirements of the production house while remaining hidden from general public. Hence any of the activities in BOH should not intersect with public spaces at any given point.
FOH consists of: • Reception & info. desk • Administrative office • Service lobby • Equipment store • Cloak room • Janitor’s room • Toilet(s) • Refreshment area
It consists of: • Backstage storage • Green room(s) • Toilets • Scenery docks • Backstage gallery
Stage & Auditorium The stage and the audience share very crucial relationship as the interaction between the performance and the audience in any live performance is what determines the success of the design of an auditorium. The optimum array of seating should be provided with consideration of the visual and acoustic clarity for the audience.
Fig 2.1 - Auditorium functional layout
31
Optimum audio clarity depends on: 1. correct reverberation time, 2. absence of echo, 3. correct loudness level at all parts of the hall, and 4. low background noise, Hall function
Vol/ person
Music
5.0 - 5.5 cum
Theatre
4.0 - 5.0 cum
General Purpose
4.0 - 5.0 cum
•
•
Background noise level < 40 to 45 dB (as measured on ‘A’ scale of sound level meter) should be achieved within the hall. The average height may vary from 6 m for small halls to 7·5 m for large halls. Ceiling may be flat but it is preferable to provide a slight increase in the height near the center of hall.
Fig 2.2 - Auditorium seating design for best viewing
32
National Centre for Arts, New Delhi
Fig 2.3 - Different typologies in Auditorium seating layout
•
Fan-shaped plan is preferred due to acoustical considerations.
•
The side walls should be arranged to have an angle of not more than 100 degrees with the curtain line.
•
It is recommended that the distance of the farthest seat from the curtain line should not normally exceed 23 m.
•
Rear Wall- The auditorium rear wall should be either fiat or convex in shape. This should not be concave in shape, but where it cannot be avoided, the acoustical design shall indicate either the surface to be splayed or convex corrugations given in order to avoid any tendency for the sound to focus into the hall. Fig 2.4 - Curvature for rows of seats
•
Side wall - Where the side walls are nonparallel as in the case of a fan-shaped hall. the walls may remain reflective and may be architecturally finished. in any manner required. Where the side walls are parallel they may be left untreated to a length of about 7 m from the proscenium end. Difference between the direct path and the path reflected from side wall shall not exceed 15m.
•
•
Fig 2.5 - Viewing angles in auditorium
Roof and ceiling - In large halls a false ceiling is usually provided below the trusses. The portion of the false ceiling near the proscenium is constructed of reflective material (usually plaster of Paris) and is suitably inclined to help reflections from the stage to reach the rear seats of the hall. The remaining portion of this ceiling is constructed to take acoustical treatment. Concave shaped ceilings (in the form of dome or barrel) should be avoided. The rear portion of the ceiling may be treated with sound absorbing material partly for control of reverberation and partly to prevent build-up of audience noise. Floor - The floor elevation is based on the principle that each listener shall be elevated with respect to the person immediately in front of him so that the listener’s head is about 12 cm above the path of sound which would pass over the head of the person in front of him. It is possible to reduce this to 8 cm, if the seats are staggered. As an empirical rule the angle of elevation of the inclined floor in an auditorium should not be less than 8 degrees.
Fig 2.6 - Sectional view of auditorium functionality
Fig 2.7 - Desired viewing angles from balcony
•
Balcony - Where a balcony is provided, its projection into the hall should not be more than twice the free height of the opening of the balcony recess.
•
Line of sight - The elevation of the balcony seat should be such that line of sight is not inclined more than 30 degrees to the horizontal.
•
The seats should be arranged in concentric arcs of circles drawn with the center located as much behind the center of the curtain line as its (curtain line) distance from the auditorium rear wall.
Fig 2.8 - Sectional view of auditorium functionality
33
Fig 2.9 - Auditorium stage design
•
The angle subtended with the horizontal at the front-most observer by the highest object should not exceed 30 degrees. On this basis, the distance of the front row works to about 3.6 m for drama and it should be 4.5m or more for cinema purposes.
•
The width of a seat should be between 45 cm and 56 cm.
•
The back to back distance of chairs in successive rows of seats shall be at least 85 cm - 106 cm (extra comfort)
•
Seats should be staggered sideways in relation to those in front so that a listener in any row is not looking directly over the head of- the person in front of him. References: • • •
Fig 2.10 - Preferred angle for seat arrangement
34
National Centre for Arts, New Delhi
IS: 2526 - 1963 : Code of practice for Acoustical design of Auditoriums and Conference halls NBC 2016 vol-2 Part 8, Section 4 : Acoustics, Sound Insulation and Noise Control Time Saver Standards for building types, 2nd edition
Amphitheater Design Requirements
should be broken into convex surfaces which in either case should be of at least 90 to 180 cm width.
Fig 2.13 - Trees acting as noise barrier Fig 2.11 - Greek amphitheatre
•
Prevailing noise conditions should not exceed 45 dB on ‘A’ scale.
Fig 2.12 - Built mass acting as noise barrier
•
The amphitheatre should be so located that wind direction is towards the audience from the stage.
•
Facing sun for audience makes it difficult for them to view performances comfortably.
•
Back stage wall should be made reflective and broken into convex shaped surface. Overall shape should be flat in plan; however, if it is desired to be concave, it
Fig 2.14 - Sound reflection in amphitheatre
•
Depth of stage should be arranged to suit individual requirements; where it exceeds 6 m, it is necessary to treat back stage wall acoustically. A ceiling reflector should be provided for directing the sound to the rear seats. This reflector may be hard reflecting surface slanting at a suitable angle towards the audience and fixed over the main sound originating area of the stage.
•
Even if reflectors are provided as recommended sound amplification should be resorted to in case the number of audience exceeds 600 or back ground noise is more than 45 to 50 dB. The loudspeaker system should be so designed that it is capable of providing an average level up to 80 dB over the entire listening area.
Fig 2.15 - Sound transmission in amphitheatre
35
Conference Hall Design Requirements
Fig 2.16 - Conference hall with podium-seating typology
Conference Hall -Basic difference between conference halls and auditoriums, like theaters and cinema halls, lies in the possibility of sound originating, in the former case from any part of the hall. In a conference hall a table or cluster of tables is generally placed in the center of the hall, and persons who are listeners as well as speakers sit around the table. Conference hall may have any shape to suit architectural or any other special requirements. In designing conference halls particular consideration should, therefore, be given to the following requirements. •
Acoustics of the halls should be so designed as to ensure proper conditions for listening, assuming that a person may speak or listen from anywhere in the hall.
•
Optimum reverberation time should be chosen. It may be noted that too long a reverberation time muffles and confuses the speech intelligibility while too short a time prevents build-up of proper level for good listening.
•
Use of sound amplification system should be avoided as far as possible. But where necessitated, because of size or other requirements, low level loudspeakers or head phones should be provided for individual or a group of seats.
•
Absorbent material should be distributed evenly over the wall surfaces of the hall.
Fig 2.17 - Conference room
36
National Centre for Arts, New Delhi
•
Ceiling should not be domed and should not be ‘higher than 6 meters. Acoustical treatment on the ceiling should be confined to peripheral regions only. In the case of larger halls with considerable heights, more area of ceiling would need to be treated,
Design requirement of Museum & Art Gallery The museum/ gallery design is divided into 5 major components• Public / Area having artwork collection Eg : Display Galleries • Non Public / Area having artwork collection Eg : Business centre, meeting room • Public / Area not having collection Eg : spillout, cafeteria, toilets • Non Public / Area not having collection Eg : Office, Security room • Collection storage The following key points must be carefully considered while designing a museum/ art gallery: • The artifacts in art galleries are presented in such a manner that a viewer can see all those in a single round
this means that well lit pictures should be hung 10m away with the top not more than 4.9m above eye level and bottom about 70cm below. •
Smaller pictures should ideally be hanged in such a fashion that the point of emphasis stays at eye level. Fig 2.20 - viewing angles
Fig 2.19 - Viewing angles
Fig 2.21 - Spotlights are best placed in sync with natural light
Fig 2.18 - Possible routes for art galleries
•
Art galleries can have smaller rooms to accommodate same group of work in a room and maximize wall space for paintings.
•
The normal human angle of vision starts at 27 deg above eye level. For standing viewer,
Fig 2.22 - viewing angles
37
Performing Arts
Fig 2.23 - Bomalattam
Fig 2.25 - Glove puppet
Fig 2.27 - Kathputli
Fig 2.24 - Shadow puppet
Fig 2.26 - Chador badoni
Fig 2.28 - Shadow puppet
Performing arts are a form of art in which performers/artists use their voices, bodies often in calibration with other objects to convey their artistic expression. Performing arts include a range of disciplines and typologies which are performed in front of a audience either live or distant in digitally recorded format. The various performances ranges from theatre, music (vocal & instrumental), dance and puppetry. Performers are basically artists performing or participating in the performance to audience. They often use costumes, make-ups, light & sound effects to alter and adapt their appearances according to performance.
Traditional Indian Artforms (Performing) Puppetry
Puppetry is a form of theatre or performance that involves the manipulation of puppets â&#x20AC;&#x201C; inanimate objects, often resembling some type of human or animal figure that are animated or manipulated by a human called a puppeteer. The puppeteer uses movements of her hands, arms, or control devices such as rods or strings to move the body parts of the puppet. The puppeteer often speaks in the voice of the character of the puppet, and then synchronizes the movements of the puppetâ&#x20AC;&#x2122;s mouth with this spoken part. String Puppets
Himachal Pradesh
Kathputli
Rajasthan
Shadow Puppet
Tamil Nadu
Rod Puppet
Orissa
Chador Badoni
Jharkhand
Bommalattam
Tamil Nadu
Sakhi Kandhei Togalu Gombeyaata
Fig 2.29 - String puppet
38
Fig 2.30 - Togalu
National Centre for Arts, New Delhi
Karnataka
Theatre Theatre is a collaborative form of performing art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience.
Bhand Pather
Jammu & Kashmir
Swang
Haryana
Nautanki
Uttar Pradesh
Ragini
Haryana
Rasleela
Haryana
Bhavani
Gujarat
Jatra
Bengal
Maach
Madhya Pradesh
Bhaona
Assam
Tamaasha
Maharashtra
Dashavatar
Goa
Krishnattam
Kerala
Mudiyettu
Kerala
Yakshagaana
Karnataka
Therukoothu
Tamil Nadu
Dhanu Jatra
Orissa
Sonha Bihan
Chattisgarh
Gammatiha
Chattisgarh
Rahas
Chattisgarh
Yakshagana
Telangana
Chindu Bhagavatham
Telangana
Koodiyattam
Kerala
Krishna Parijatha
Karnataka
Kalo
Goa
Dashavatar
Goa
Fig 2.31 - Swang
Fig 2.32 - Tamasha
Fig 2.33 - Bhavai
Fig 2.34 - Mudiyettu
Fig 2.35 - Dashavatar
Fig 2.36 - Dhaanu jatra
Fig 2.37 - Therukoothu
Fig 2.38 - Rasleela
Fig 2.39 - Krishna parijatam
Fig 2.40 - Koodiyattam
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c) Dance
Fig 2.41 - Bagurumba
Fig 2.43 - Bihu
Fig 2.45 - Dalshone
Fig 2.47 - Sattriya
Fig 2.49 - Giddha
40
Fig 2.42 - Bhangra
Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. An important distinction is to be drawn between the contexts of theatrical and participatory dance.
Fig 2.44 - Cham
Fig 2.46 - Gaudiya nritya
Fig 2.48 - Gnungmala
Fig 2.50 - Rumtek chaam
National Centre for Arts, New Delhi
Jhumar
Punjab
Gidda
Punjab
Kathak
Uttar Pradesh
Lu Khangthamo
Sikkim
Gha To Kito
Sikkim
Chi Rimu
Sikkim
Gnungmala Gnunghey
Sikkim
Be Yu Mista
Sikkim
Rumtek Chaam
Sikkim
Yak Chaam
Sikkim
Gaudiya Nritya
West Bengal
Hafiz Nagma
Jammu & Kashmir
Purulia Chhau dance
West Bengal
Rouf/ Wanwun
Jammu & Kashmir
Raibenshe dance
West Bengal
Khatok Chenmo
Ladakh
Laghur Nritya
West Bengal
Kompa Tsum-tsak
Ladakh
Ranapa
West Bengal
Jabro
Ladakh
Dhali
West Bengal
Chaams
Ladakh
Paika Nritya
West Bengal
Chabs-Skyan Tses
Ladakh
Gombhira
West Bengal
Raldi Tses
Ladakh
Bagurumba
Assam
Alley Yaato
Ladakh
Bihu
Assam
Namgen
Himachal Pradesh
Bohuwa
Assam
Nati
Himachal Pradesh
Ojapali
Assam
Kayang Mala
Himachal Pradesh
Deodhani
Assam
Dalshone and Cholamba
Himachal Pradesh
Sattriya
Assam
Shand and Shabu
Himachal Pradesh
Aji Lamu
Arunachal Pradesh
Chhambha
Himachal Pradesh
Chalo
Arunachal Pradesh
Pandav Nritya
Uttrakhand
Hiirii Khaniing
Arunachal Pradesh
Bhangra
Punjab
Lion and Peacock dance
Arunachal Pradesh
Pasi Kongki
Arunachal Pradesh
Soowa
Chattisgarh
Ponung
Arunachal Pradesh
Perini Sivatandavam
Telangana
Popir
Arunachal Pradesh
Kuchipudi
Andhra Pradesh
Naga Dance
Nagaland
Vilasini Natyam
Andhra Pradesh
Ras Lila
Manipur
Andhra Natyam
Andhra Pradesh
Nupa Pala
Manipur
Burrakatha
Andhra Pradesh
Pung Cholom
Manipur
Veeranatyam
Andhra Pradesh
Maibi
Manipur
Butta Bommalu
Andhra Pradesh
Khamba Thoibi
Manipur
Tholu Bommalata
Andhra Pradesh
Cheraw
Mizoram
Dappu
Andhra Pradesh
Bizu
Tripura
Tappeta Gullu
Andhra Pradesh
Lebang Boomani
Tripura
Dhimsa
Andhra Pradesh
Garia
Tripura
Kolatam
Andhra Pradesh
Hai Hak
Tripura
Bagavatha Nadanam
Tamil Nadu
Paika
Jharkhand
Chakkai Attam
Tamil Nadu
Chhau
Jharkhand
Kamandi
Tamil Nadu
Santhal
Jharkhand
Karagattam
Tamil Nadu
Odissi
Orissa
Paampu Atam
Tamil Nadu
Chhau
Orissa
Kathakali
Kerala
Dalkhai
Orissa
Mohiniyattam
Kerala
Saila Tribal Dance
Chattisgarh
Theyyam
Kerala
Karma Tribal Dance
Chattisgarh
Padayani
Kerala
Chandaini Gonda
Chattisgarh
Thullal
Kerala
Lorik Chanda
Chattisgarh
Kummattikali
Kerala
Kari
Chattisgarh
Chakyar Koothu
Kerala
Hareli
Chattisgarh
Kunitha
Karnataka
Raut Nacha
Chattisgarh
Kodagu
Karnataka
Panthi
Chattisgarh
Beesu Samsale & Kamsale Nritya
Karnataka
Fig 2.51 - Bahuwa
Fig 2.52 - Khukuri
Fig 2.53 - Deodhani
Fig 2.54 - Kathak
Fig 2.55 - Gombhira
Fig 2.56 - Kagyed
Fig 2.57 - Jhumar
Fig 2.58 - Pandav nritya
Fig 2.59 - Nati
Fig 2.60 - Namgen
41
Fig 2.61 - Yak chaam
Fig 2.63 - Raibenshe
42
Fig 2.62 - Khatok chenmo
Fig 2.64 - Ho ajina
Fig 2.65 - Jabro
Fig 2.66 - Oja pali
Fig 2.67 - Ranapa
Fig 2.68 - Purulia chaau
National Centre for Arts, New Delhi
Somana Kunita
Karnataka
Suggi Kunita
Karnataka
Bootha Aradhane
Karnataka
Goravara Kunita
Karnataka
Ghode Modni
Goa
Dekhni
Goa
Goff Talgadi
Goa
Shigmo
Goa
Powada
Maharashtra
Banjara Holi Dance
Maharashtra
Lavani
Maharashtra
Koli
Maharashtra
Garba
Gujarat
Raas
Gujarat
Dandiya
Gujarat
Ghoomar
Rajasthan
Bhavai
Rajasthan
Kachi Ghodi
Rajasthan
Rituals/ Performances These are traditional rituals performed in different parts of the country symbolizing cultural, religious, communal values. This performances are often performed in public places like open ground, temples, parks, etc. Kurjan
Rajasthan
Kazhai Kothu
Tamil Nadu
Onapottan
Kerala
Pulikalli
Kerala
Thirayattam
Kerala
Jaggahalige Kunita
Karnataka
Music Music is an art form whose medium is sound organized in time. General definitions of music include common elements such as pitch, rhythm, dynamics, and the sonic qualities of timbre and texture. Music is performed with a vast range of instruments and vocal techniques ranging from instrumental pieces, solely vocal pieces to pieces that combine singing and instruments. There are many types of music which are suited for different occasion, mood and context. Within the arts, music may be classified as a performing art, a fine art or as an auditory art.
Hagalu Veshagaararu
Karnataka
Padhar
Gujarat
Sufiana Kalam
Jammu & Kashmir
Chakri
Jammu & Kashmir
Henzae
Jammu & Kashmir
Ladishah
Ladakh
Jhoori
Himachal Pradesh
Laman
Himachal Pradesh
Samskara
Himachal Pradesh
Baul
West Bengal
Bishnupuri Classical
West Bengal
Kirtan
West Bengal
Shyama Sangeet
West Bengal
Rabindra Sangeet
West Bengal
Nazrul Geeti
West Bengal
Atulprasadi
West Bengal
Dwijendrageeti
West Bengal
Probhati Snageet
West Bengal
Kantageeti
West Bengal
Ganasangeet
West Bengal
Adhunik Gaan
West Bengal
Borgeet
Assam
Oi Nitom
Assam
Kamrupi Lokgeet
Assam
Padi
Orissa
Carnatic
Andhra Pradesh
Karadimajal
Karnataka
Fig 2.69 - Hagalu Vesha
Fig 2.70 - Jaggahalige
Fig 2.71 - Onapottam
Fig 2.72 - Padhar
Fig 2.73 - Pulikkali
Fig 2.74 - Thirayattam
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Visual Arts
Fig 2.75 - Sohrai
Fig 2.76 - Patachitra
Fig 2.77 - Chalchitra
Fig 2.78 - Gond
Fig 2.79 - Kangra
Fig 2.81 - Madhubani
Fig 2.83 - Mandana
44
Fig 2.80 - Kohbar
Fig 2.82 - Madhubani
Fig 2.84 - Miniature
National Centre for Arts, New Delhi
The visual art forms are those in which artist uses different materials as a medium of expression. It varies from 2D art forms like painting, textile, printmaking to 3D like ceramics and sculpting. Modern technologies like videography and audio recording resulting in film making which is intersection of visual & performing arts. Visual arts consists of art forms like ceramics, drawing, painting, sculpture, printmaking, crafts, photography, video and film making.
Traditional Indian Artforms (Visual) Drawing & Painting
It is a form of visual art where an artists depicts something with the help of charcoal, paint or similar tools on a generally flat surface like paper, leaf, cloth, wall or stone. There are a wide varieties of such artforms depending upon the medium of expression viz. pencil/ charcoal/ paint/ mud, etc. They also vary in size from extremely small miniature paintings to larger ones on walls or canvases. Mando
Goa
Terah Taal
Rajasthan
Kangra
Himachal Pradesh
Pahari Painting
Himachal Pradesh
Peeth
Uttrakhand
Aipen
Uttrakhand
Madhubani
Bihar
Thangka Paintigs
Sikkim
Patachitra
West Bengal
Chalchitra
West Bengal
Jadu Patiya
Jharkhand
Sohrai
Jharkhand
Kohvar
Jharkhand
Patachitra
Orissa
Mandana
Madhya Pradesh
Pithora
Madhya Pradesh
Gond
Madhya Pradesh
Warli
Maharashtra
Nirmal
Telangana
Tanjore
Tamil Nadu
Batik
Rajasthan
Miniature
Rajasthan
Pichchavi
Rajasthan
Sculpting In this artform, artist depicts his work by creating a 3 dimensional sculpture. This is widely practiced in India in various medium like stone, metal, clay/ terracotta, wood, etc. Tumba
Crafts
Textile
Craft is a type of work where useful and decorative devices are made completely by hand or by using only simple tools. Usually the term is applied to traditional means of making goods. The term umbrellas a very large spectrum of work ranging from ceramic pottery, bamboo objects, metal jewellery, ivory artifacts, carpet/ mat, furniture making, textile making and many more.
Textile arts simply crafts the uniqueness in a given fiber product either itâ&#x20AC;&#x2122;s natural fiber or synthetic fiber. In this artform, artist depicts his work by incorporating beautiful images and color elements along with an integrity of exquisite designs on different fabrics. Bidri
Telangana
Manasa chali
West Bengal
Carpet weaving
Jammu & Kashmir
Maru Gurjar
Rajasthan
Shawl weaving
Jammu & Kashmir
Phad
Rajasthan
Chamba Rumal
Himachal Pradesh
Pietra Dura/ Prachin Kari
Uttar Pradesh
Phulkari
Punjab
Kantha
West Bengal
Tlieng
Meghalya
Dokra
West Bengal
Godna
Chattisgarh
Dokra
Orissa
Zari
Madhya Pradesh
Dokra
Chattisgarh
Bandhej
Madhya Pradesh
Loha Shilp
Chattisgarh
Banjara needle craft
Telangana
Tangalia
Fig 2.85 - Madhubani
Fig 2.86 - Maru gurjara
Fig 2.87 - Pahari
Fig 2.88 - Patachitra
Fig 2.89 - Phad
Fig 2.90 - Pichwai
Fig 2.91 - Pithora
Fig 2.92 - Aipen
Fig 2.93 - Thangka
Fig 2.94 - Warli
Chattisgarh
Gujarat
45
2.2 Case Studies
Fig 2.95 - View of Bharat Bhawan, Bhopal
Bharat Bhawan, Bhopal
46
Fig 2.96 - View of Jawahar Kala Kendra, Jaipur
Jawahar Kala Kendra, Jaipur
Fig 2.97 - View of Kala Academy, Goa
Kala Academy, Goa
Fig 2.98 - View of Rabindra Bhawan, New Delhi
Rabindra Bhawan, New Delhi
Fig 2.99 - View of Kamani Auditorium, New Delhi
Kamani Auditorium, New Delhi
47
Case Study : Bharat Bhawan, Bhopal
Fig 2.100 - View of Bharat Bhawan, Bhopal Fig 2.101 - Axonometric sectional view of Bharat Bhawan
Year of Completion Site Area Built-up area Architect(s)
48
1982
Overview
10000 sqm
Bharat Bhawan is multi art centre designed by Charles Correa in 1982 set up to create an interactive proximity between verbal, visual & performing arts. It provides space for contemporary expression, thought, quest & innovation. It is located in Bhopal, the capital of Madhya Pradesh.
11150 sqm Charles Correa
Architectural style
Contemporary Indian
Climate Conditions
Humid subtropical climate, with cool, dry winters (avg. 16°C), a hot summer (avg. 30°C) and a humid monsoon season
National Centre for Arts, New Delhi
The site is on a gently sloping plateau overlooking the lake. Natural contours are well integrated with the overall design. The building’s terraces and courtyard with progression through space gives feel of maze or puzzle, where parts are casually revealed and complexity of internal paths acts like village layout.
Concept Based on idea of â&#x20AC;&#x2DC;non-buildingâ&#x20AC;&#x2122; by Charles Correa, only a glimpse of the built is seen from the entrance as if there is no building at all. Due to sloping terrain, building unfolds itself when on walks in gradually levelling down. Series of courts and terrace gardens are inspired from Indian village setting.
Fig 2.102 - Entrance of Bharat Bhawan
Fig 2.103 - View from courtyard of Bharat Bhawan
Spatial Organisation Bharat Bhawan has a series of terrace gardens which cascade down till the lake. The visitors enters at the highest level and walk down the pedestrian spine, flanked by a pattern of courtyards in order to reach different parts of the complex. It house an art gallery, a fine-arts workshop, an open air amphitheater, a studio theatre, an auditorium, a museum of tribal & folk art, libraries of Indian poetry, classical as well as folk music.
Fig 2.104 - Plan of Bharat Bhawan
49
Structure
OAT
The structure of Bharat Bhawan is based on RCC framework. The grid consist of group of 4 columns at distance of 2m. The group is placed at distance of 9m from each other. This structural framework is adopted throughout the building.
terrace
Shop Gallery
Fig 2.106- View of Bharat Bhawan
Library Court
Tribal Court Museum
Theatre Court
Toilet
Admin
Museum
Fig 2.105 - Functional relationship in Bharat Bhawan
Fig 2.107 - View of Bharat Bhawan
Functional Relationship
Sustainability Measures
The zoning is done by providing more open public space towards lake like OAT and open terraces. However, the museum is placed away probably to regulate the exposure to moisture which might harm the artifacts.
Sunken courts are provided to regulate harsh sun during summer and create a micro climate. Shell structures on top brings in light. Use of locally available material is also considered.
50
National Centre for Arts, New Delhi
Fig 2.108 - Structural grid in Bharat Bhawan
Spatial Analysis
Inferences
• The site is on a gently sloping plateau overlooking the lake such that the contours are used in design. • The natural contours have been used to create a series of sunken courts and terrace gardens around which are cultural facilities. • The terraces and courtyards are connected like a progression in space, where complex of internal streets acts like a village layout. • It’s built with the properties of the unbuilt weaved in so intricately that the transition between the open and close space is so smooth that it is one continuous journey through one space to another. • The view of the lake has been explored in the best manner. The view of lake is visible from all possible terraces.
• The inside of the Bharat Bhavan is a medley of courtyards, split-level exhibition spaces, galleries and performance rooms. • 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. • Each of the parts of the building is distinct yet flows easily one another, linked by meandering paths. • An outdoor museum, libraries of poetry and music and a museum find a place here as well, and are designed in such a manner that they draw natural light from three conical skylights. • The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation. • The sunken courtyards at Bharat Bhavan provide shade from the scorching midday sun, while the raised terraces offer refreshing air and space at cooler times of day.
Fig 2.109 - Sectional view of Bharat Bhawan
Fig 2.110 - Circulation flow diagram of Bharat Bhawan
Materiality The material used are red sandstone, brick, sand & exposed concrete. The internal finish is of marble, granite and sand stone, one of most commonly used combinations in the Indian architecture for decades now, keeping the building rooted to its culture. The proportions of the building are well ordered, borrowing geometric patterns from Indian culture making it more relevant to the context.
Fig 2.111 - Longitudinal section of Bharat Bhawan
51
Case Study : Jawahar Kala Kendra, Jaipur
Fig 2.112 - View of Jawahar Kala Kendra, Jaipur
Year of Completion Site Area Built-up area Architect(s)
52
1991 38450 sqm 9000 sqm Charles Correa
Architectural style
Contemporary Indian
Climate Conditions
Hot semi arid climate. Very less rainfall and high temperatures during summer months.
National Centre for Arts, New Delhi
Overview
Fig 2.113 - Schematic plan of Jawahar Kala Kendra, Jaipur
Jawahar Kala Kendra is an arts and crafts centre located in the city of Jaipur. The centre was built in the year 1986 and the construction completed in 1991. The centre was launched by the state government to provide space to the cultural and spiritual values of India and display the rich craft heritage. The centre is dedicated to the late prime minister of India Jawaharlal Nehru. Ideas for the building, sited in an open field near the university in a new part of the city, formed in Correaâ&#x20AC;&#x2122;s mind; but it was not until 1986 that the concept for the building was finalized.
Concept The centre is an analogue of the original city plan of Jaipur drawn by Maharaja Jai Singh- a scholar, mathematician & an astronomer in the mid-17th century. His city plan guided by Shilpa Shastras was based on the ancient Vedic mandala of nine squares or houses which represents nine planets. Due to presence of a hill, one of the squares was transported to the east and two of the squares were amalgamated to house the palace. Based on that, Correaâ&#x20AC;&#x2122;s plan for the Kendra invokes directly the original navagraha or nine house mandala. Similar to original city layout, one of the square is pivoted to create the entrance. The squares are defined by 8m high wall, symbolic of the fortification of wall along the Jaipur old city.
Fig 2.114 - Navagraha - it was primary concept behind planning of Jaipur city
Fig 2.115 - Plan of Jawahar Kala Kendra, Jaipur
53
Fig 2.116 - View of Jawahar Kala Kendra, Jaipur
Spatial Organisation The building program has been “disaggregated” into eight separate groupings corresponding to the myths represented by that particular planet: for instance, • The library is located ill the square of the planet Mercury which traditionally represents knowledge. • The theatres are in the house of Venus, representing the arts. • The central square, as specified in the Vedic Shastras, is a void: representing the Nothing which is Everything. The flooring pattern in this square is a diagram of the lotus representing the sun.
Fig 2.117 - Axonometric view of every zone in Jawahar Kala Kendra, Jaipur
54
National Centre for Arts, New Delhi
Spatial Analysis
Inferences
The centre has been made in eight blocks housing:
•
The buildings in a contemporary metaphorical replication of the basic plan of the city of Jaipur, based on the vastu pursh mandala.
•
The architect in his attempt to create a brand image for the historical city, has tried to get the essence of the existing form but superficially.
•
The critical sustainable aspect of the traditional architecture of Jaipur has not been tackled well.
•
The place has an amazing interplay of light , shadow and colors, evoking emotions in the user and invite him to move further.
• Museums, • Theatre, • Library, • Arts display room, • Cafeteria, • Hostel • Studio The centre is frequently occupied with artists and arts loving people. Many exhibitions and performances by local artists are displayed at the centre. The annual festivals of classical dance and music are held in the centre. The centre hosts many workshops of dance and music.
•
The spaces flow as an narrative and changes the moods of the user, but the over all circulation lacks of continued covered corridor, which makes the place unusable during summers and rains.
•
The open air theatre is only good to look at, it is enclosed by the high walls which create acoustic and ventilation problems at the time of crowd.
•
The high walls with no fenestration in the facade makes the building enclosed and it does not open up to the city. However within the building the activities are disintegrated but combine to a heterogeneous mixture of various cultural activities happening individually.
Fig 2.118 - View of Jawahar Kala Kendra, Jaipur
55
Case Study : Kala Academy, Goa
Fig 2.119 - View of Kala Academy, Goa
Year of Completion Site Area
1985 25500 sqm
Built-up area Architect(s)
Charles Correa
Architectural style
Contemporary Indian
Climate Conditions
Tropical monsoon climate. Hot & humid climate for most of the year. Receives heavy rainfall throughout the year. Fig 2.120 - Plan of Kala Academy, Goa
56
National Centre for Arts, New Delhi
River River edge
OAT Library
Theatre 1
Sunken Terrace Pantry
Amphitheatre
Lounge
Reception
Gallery
Fig 2.121 - Functional relationship in Kala Academy, Goa
Fig 2.122 - Structural grid in Kala Academy, Goa
Fig 2.123 - Plan of Kala Academy, Goa
57
Case Study : Rabindra Bhawan, New Delhi
Fig 2.124 - View of Rabindra Bhawan, New Delhi
Year of Completion Site Area
1961 12400 sqm
Built-up area Architect(s)
58
Habib Rahman
Architectural style
Post-colonial architecture
Climate Conditions
Monsoon influenced humid subtropical climate bordering a hot semi-arid climate with extreme hot summer and extreme cold winters.
National Centre for Arts, New Delhi
Fig 2.125 - Context plan of Rabindra Bhawan, New Delhi
Overview Designed by Ar. Habib Rahman, Rabindra bhawan was created to house the offices of 3 national academies (Lalit kala Akademi for Plastic Arts, Sangeet Natak Academy for dance, drama & music, Sahitya Academy for literature) which represented Indian culture by word, form & spirit. The building is located at Mandi House circle along the intersection of Feroz Shah road & Copernicus road in New Delhi
Concept Design of building inspired from simplicity of Rabindra Nath Tagore. The building design was a shift from Bauhaus design which was initially rejected by Pt. Jawahar lal Nehru to simple, elegent structure with Indian elements to represent National academies.
Program • • • • • • •
Administrative offices of all 3 academies Exhibition gallery for paintings and sculpture Moderate size theatre Canteen Storage Shops Utilities
Fig 2.126 - Ground plan of Rabindra Bhawan, New Delhi
59
Fig 2.127 - First floor plan of Rabindra Bhawan, New Delhi
60
National Centre for Arts, New Delhi
Fig 2.128 - Roof plan of Rabindra Bhawan, New Delhi
Fig 2.129 - Section of Rabindra Bhawan, New Delhi
61
Fig 2.130 - Section of Rabindra Bhawan, New Delhi
62
National Centre for Arts, New Delhi
Spatial Organisation The building is divided into three major blocks: Administrative building, Gallery & Theatre. The administrative block which is biggest of all occupies prominent amount of space on site. The block resembles english alphabet ‘Y’ in plan which was chosen to maximize the site cover and respond to the urban context. 3 wings in the building place the offices of 3 academies respectively connected by a central core. The
other 2 blocks are place in the pockets created by admin block on site which are placed according to inter-relation with respective wing of admin block. The wing of Lalit Kala Akademi is kept near to galley and Sangeet Natak Academy is kept near to theatre. Each block has individual entry such that the function of one block doesn’t interfere with working of other. Service entry is provided from Feroz Shah road. Large patch of landscaped green is provided between theatre and admin block to accommodate informal outdoor activities. Garden is also used as extended part of Gallery where permanent sculptures have been placed.
Fig 2.131 - Zonal analysis of Rabindra Bhawan, New Delhi
63
Form & Layout All the 3 blocks in Rabindra Bhawan are different in terms of form, layout & articulation depending on functions. Combination of concrete dome & jaali is used to cover central core. Thereâ&#x20AC;&#x2122;s a subtle
curve in facade of building giving it a slight organic & fluid form. Gallery is connected to administrative block through an arched walkway.
Fig 2.133 - Facade elevation and section
Facade Facade of administrative block is made of numerous closely placed windows and 2 rows of continuous thin chajjas emphasizing the horizontality of the building. Gallery block has concrete jaali and brick facade. Blank brick walls of the 1st floor gives illusion of heavy slab resting on delicate base. Fig 2.132 - Massing of Rabindra Bhawan, New Delhi
64
National Centre for Arts, New Delhi
Continuous strip of small windows runs on each floor for daylighting. Exhibition gallery facade is clad with intricate jaali as well as filler wall between 2 columns purely used for aesthetic purposes.
Structural System Composite structure is used for construction of administrative block. Brick masonry load bearing walls are used with combination of RCC framework. The structural grid of the building is divided in two grids of 12ft and 25ft module where the shorter span has two modules of 25ft and longer span of wings have 8/9 modules of 12ft span. The RCC columns are placed in the central part of each wing at the position of intersection of 2 grids and load bearing walls are kept on periphery. The roof slab is projecting 6ft outside the periphery. The RCC dome covers the hexagonal shaft of lift and staircase which is placed on the supports of those walls of shaft and 2 columns of foyer. The structural design of exhibition gallery is also based on 12ft module. However, in this case the entire structure is RCC framework with different filler walls at each level. The columns are placed along periphery and central part creating a service core.
The theatre is designed with combination of many grids forming a complex layout of different dimensions. The dimension of grid changes with dimension. The columns of the sitting area are placed on the intervals of 10ft from center to center and columns of stage and the back stage are placed at an interval of 11ft. The false ceiling above the sitting area is suspended from the 8ft deep pre stress concrete beams which also support the flat slab above the same area. The foyer area of the theatre has a semicircular vaulted slab which is also in module of 11ft above stage area.
Fig 2.134 - Structural system of Rabindra Bhawan, New Delhi
65
Climatic Response Although the orientation of Rabindra Bhawan is largely context driven than climate, micro detailing has been done to respond to different climatic conditions. Facade of administrative block is made of numerous closely placed windows and 2 rows of continuous thin chajjas. The lower row in each case has been placed on cantilever brackets so that it is away from the wall and is not obstructing the breeze (since the building wasnâ&#x20AC;&#x2122;t air-conditioned initially). The angle of sunshades is designed to eliminate the strong morning and afternoon sun owing to harsh summer in Delhi.
Materiality Conventional local materials like brick, stone to provide the building a earth, grounded feel which blends it with its surroundings. The walls of administrative block is made with brick masonry having brick cladding. Random rubble stonework is used at end of each wing with concrete jaali. Concrete dome over the administrative block & chajjas symbolizes the amalgamation of modern with spiritual. The entrance facade of gallery is made of glass door and steel, however all other sides consists of concrete jaali.
Fig 2.135 - Shadow analysis of Rabindra Bhawan, New Delhi
66
National Centre for Arts, New Delhi
Case Example : Kamani Auditorium, New Delhi Overview
Typology
Kamani Auditorium, is a sister body of the Bhartiya Kala Kendra Trust. It is one of the most prestigious Halls in Delhi. It has been host to some of the best National and International dance, music and theatre performances.
The theatre is an early version of modernized proscenium. There is a smooth transition between the stage and the seating hall. Though the orchestra pit is missing.
Connectivity The auditorium is connected well to the city. A public bus stop is situated right outside the auditorium. And the Mandi House Metro station is less than 5 minutesâ&#x20AC;&#x2122; walk away.
Stage The performing area of the stage is as wide as 15m by 14m. It also has about 4m wide wings on both the sides. Although there is no space, other than a meter wide corridor provided at the back. The stage is equipped with 21 flying bars operated through the cable in the wings. There is a fly tower whose height is about 14m.
Seating The total seating capacity of the theatre is 632 seats of which about 140 are provided in the balcony. The seating arrangement is linear, seats are arranged in bays, surrounded by 1.5m of walkway aisle. Seating rows are arranged in offset curves one behind the other, for better view of the stage even from the sides.
Green room Are located below the stage due to area shortages. Two sets of stairs are located on both the wings that connect the green room below to the stage above. Dressing and storage rooms are also located below attached to the common green room. Fig 2.136 - Ground plan of Kamani Auditorium, New Delhi
67
Fig 2.138 - Auditorium stage plan of Rabindra Bhawan
Fig 2.139 - Plan of green room in Rabindra Bhawan Fig 2.137 - Balcony plan of Rabindra Bhawan
68
National Centre for Arts, New Delhi
KAMANI STAGE BAR SYSTEM 9.5"
39'2" (11m93cm)
8'1"
6'1/2" (1m84cm)
MUSIC PIT 46'10" (14m26cm)
1212" (30.4cm)
1
2 - MAIN CURTAIN
2'6"(76cm)
2
3 - 1st LIGHT BAR
21.5" (54cm)
3
4 - SET BAR
20.5" (50cm)
4
1 - MAIN FRILL
5 - FRILL
20.5"(50cm)
6 - 2nd LIGHT BAR
27.5" (70cm)
7 - WORKING LIGHT
21.5" (50.5cm)
8 - SET BAR 9 - FRILL
5
51'2" (15m34cm)
6 7
21.5" (55.5cm)
8
2'5" (70.5cm)
9
34.5" (90cm)
10
10 - SET
11 - 3rd LIGHT BAR 12 - FRILL 13- SET BAR 14 - SET
15 - FRILL 16- SET BAR
27.5" (70cm)
MOTORISED
11
31.5" (80cm)
12
17.5" (40.5cm)
13
23.5"(60.3cm)
14
16" (40cm)
15
27.5" (70cm)
16 17
17 - CYC BAR
19" (40.9cm)
18 - CYC BAR
26" (60.7cm)
19- DRUM
33" (84 cm
19
20- DRUM
12.5"(30cm)
20
MOTORISED
18
Fig 2.141 - Stage bar system
Fig 2.140 - Stage bar system
Fig 2.142 - Section of Kamani Auditorium, New Delhi
69
KAMANI AUDITORIUM LIGHTS FITTED ON THE STAGE AND FOH AREA
167 166 165
155 154 153
164 163 162
152 151 150
S.NO.
3 4
11
2
FOH 2
--
10
--
--
4
14
3
FOH 3
--
--
12
--
--
12
4
LIGHT BAR 1
(B.NO.3)
6
--
--
--
3
9
5
LIGHT BAR 2
(B.NO.6)
6
--
--
--
3
9
6
LIGHT BAR 3
(B.NO.10)
--
4
--
--
3
7
LADDER 1(R)
7
CYCLORAMA LIGHT BAR 1 (17) - TRUSS
--
--
--
8
--
8
BAR NO 3 (TRUSS)
8
LADDER 1 (LEFT)
--
2
2
--
--
4
9
LADDER 1 (RIGHT)
--
2
2
--
--
4
10
LADDER 2 (LEFT)
--
2
2
--
--
4
11
LADDER 2 (RIGHT)
--
2
2
--
--
4
12
LADDER 3 (LEFT)
--
2
2
--
--
4
13
LADDER 3 (RIGHT)
--
2
2
--
--
4
14
LADDER 4 (LEFT)
--
2
2
--
--
4
15
LADDER 4 (RIGHT)
--
2
2
--
--
4
16
LADDER 5 (LEFT)
3
--
--
--
--
3
17
LADDER 5 (RIGHT)
3
--
--
--
--
3
18
WORKING LIGHT - Hallogen (B.NO.7)
--
--
--
--
--
4
19
TORMANTLE (I) - (Stage) Left
--
1
1
--
1
3
20
TORMANTLE (I) - (Stage) Right
--
1
1
--
1
3
21
TORMANTLE (II) - (Hall) Left
--
2
--
--
1
3
22
TORMANTLE (II) - (Hall) Right
--
2
--
--
1
3
18
36
38
8
20
124
LADDER 2(R) BAR NO 6
203
202
201
204
205
206
207
208
TORMENTER (L)
TORMENTER (R)
MUSIC PIT
200 VFOH 1 (L)
212 211 210 209
199 198
200 199 198
197 196
195 194
197 196
195 194
VFOH 2 (L)
VFOH 1 (R) 213
214
215 216
VFOH 2 (R)
219 218 217
220 221 222
VFOH 3 (L)
VFOH 3 (R)
225 224 223
226 227 228
FOH II
FOH III
Light Pannel Pearl 2015
TOTAL :-
LED PAR
LED WASH POWER POINT
Fig 2.143 - Auditorium light system
70
TOTAL
3
156, 157, 158
LADDER 1(L)
PR - 575
--
BAR NO. 11
LADDER 2(L)
LED Wash
8
LADDER 3(R) XLR
XLR
2 1
1 KW PAR
--
BAR NO. 14
LADDER 3(L)
T-11 P.C.
--
LADDER 4(R) 161, 160, 159
1 KW. FRESNEL
FOH 1
LADDER 5(R)
LADDER 4(L)
TYPE OF LIGHT
1
BAR NO. 17 (TRUSS) LADDER 5(L)
LOCATION
National Centre for Arts, New Delhi
1 2
LIGHT CONTROL PANEL - PEARL 2010 MACOSTAR DPR 120, 216 CHANNEL DIMMER MODULE (3003 K) FOR SOFT PATCHING (From 1 - 192 and 201 - 224), (193 - 200 Blank)
*Updated on 01-07-2016
KAMANI AUDITORIUM
Sound and Lighting services
SOUND EQUIPMENT LIST S.NO.
DESCRIPTION
QTY
LOCATION
Sound Equipment fitted in Control Room 1
Mixer 24 Channel - DIGICO S-21
1
Control Room
2
Controller - DBX
1
Control Room
3
Digital Signal Processor (Soundweb London BLU-160)
1
Control Room
4
I Tech Series Amplifier crown 4000 (1250 W Per Channel)
2
Control Room
5
I Tech Series Amplifier crown 6000 (1750 W Per Channel)
2
Control Room
6
Amplifier Crown XTI-6000
2
Control Room
7
Amplifier Crown XLS-402 for SB Control 25 (650 W Per Channel)
2
Control Room
8 9
Amplifier Crown XTI-6002 (1700 W Per Channel) QSC MX 2000a Power Amplifier (650 W Per Channel)
2 3
Control Room Control Room
Hall (LRC)
(1750 W Per Channel)
The hall is acoustically designed, but for convenience sound amplification systems are provided. Stage lighting is done using lights placed in the fly tower, just above the stage and on the false sealing above the audience. These services are controlled by the controllers placed in the control room above the balcony.
Sound Equipment on Stage & in Hall 1
Speaker JBL -VRX 932 LA (800 W)
8
2
Flyable Sub-woofer JBL VRX 918S (800 W)
4
Hall (LR)
3
Surface Sub-Woofer JBL - SRX 718S (800 W)
2
Hall (LR)
4
Speaker EAW Model LA-215 (Monitor) (650 W)
6
Hall (LRB)
5
Speaker JBL SB Control 25 (25 W)
4
Speaker JBL SB Control 25 (25 W)
6
7
Speaker JBL SB Control 25 (25 W)
4
Under Balcony 02 - Foyer, 02 - CafĂŠ Kamani, 02 - Control Room 03 - Green Room, 01 - Manager Room
8
CD player Pioneer Model 350
2
Control Room
9
Headphone SONY MDR 7506
1
Control Room
10
Signal Distributor (Distribution Amplifier) CE 104B
1
Control Room
11
DI Box (Passive)
2
Control Room
12
DI Box - BSS (Active)
4
Control Room
6
List of Microphones 1
Mike SM 58 (Shure)
12
Control Room
2
Mike SM 57 (Shure)
5
Control Room
3
Mike SM 87 Beta (Shure)
3
Control Room
4
Sechnneizer with Switch
2
Control Room,
5
Gooseeneck Mike (AKG)
2
Control Room
6
Gooseeneck Mike - MX418 (Podium) - Shure
2
Control Room
7
Foot Mike - MX391/C
4
Control Room
8
Foot Mike - Crown
4
Control Room
9
Cordless Mike (Shure) ULX-P4
2
Control Room
( Shure )
HVAC The hall uses central air conditioning plant, with a capacity of about 80 tons.
Structural system The structural system used for the roofing is mono-pitched metallic trusses. The hall is rectangular with dimensions of about 17m by 32m.
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Case study comparison matrix Project Name & location
Rabinra Bhawan, New Delhi
National Centre for Performing Arts, Mumbai
Fig 2.144 - View of Rabindra Bhawan, New Delhi
Year of Completion Site Area | Built-up area Architect(s)
Bharat Bhawan, Bhopal
Fig 2.145 - View of NCPA, Mumbai
Fig 2.146 - View of Bharat Bhawan, Bhopal
1961
1969
1982
12140 sqm | --- sqm
32000 sqm | --- sqm
10000 sqm | 11150 sqm
Habib Rahman
Philip Johnson, Rustom Patel
Charles Correa
Site Plan
Fig 2.151 - Plan of Rabindra Bhawan, New Delhi
Criteria for selection
72
Located in Delhi, it faces near similar challenge in terms of response to climate & context
National Centre for Arts, New Delhi
Fig 2.152 - Schematic plan of NCPA, Mumbai
An old but very functional centre for performing arts. Prime reason for NCA in Delhi
Fig 2.153 - Plan of Bharat Bhawan, Bhopal
Well integration of public spaces. Use of Indian courtyard typology to address harsh climate.
Kala Academy, Goa
Fig 2.147 - View of Kala Academy, Goa
Jawahar Kala Kendra, Jaipur
State University of Performing & Visual Arts campus, Rohtak
Fig 2.148 - View of Jawahar Kala Kendra, Jaipur
Museum of Modern Arts, New York
Fig 2.149 - View of SUPVA, Rohtak
Fig 2.150 - View of MoMA, New York
1985
1992
2014
1939
25500 sqm | --- sqm
38450 sqm | 20000 sqm
101200 sqm | 44250 sqm
--- sqm | --- sqm
Charles Correa
Charles Correa
Raj Rewal
Yoshio Taniguchi, Philip Goodwin, Edward Stone
Fig 2.154 - Plan of Kala Academy, Goa
Grounded to earth design with vast expanse of greens creating and ideal enviornment for learning
Fig 2.155 - Plan of Jawahar Kala Kendra, Jaipur
Use of locally available material and use of traditional knowledge of vastu to organise spaces
Fig 2.156 - Plan of SUPVA, Rohtak
A very recent example of reinterpreting the spaces as per Indian requirement and use of local material
Fig 2.157 - Plan of MoMA, New York
Universal icon of a well known and well functional museum attracting 2.5M people per year.
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Lalit Kala Akademi (Rabinra Bhawan), New Delhi
National Centre for Performing Arts, Mumbai
Bharat Bhawan, Bhopal
Project Components
Museum, theatre, art gallery, reading & listening library, teaching & research block, music research lab, audio-visual archieves
Theatres, art galleries, amphitheatre, reading & listening library, teaching & research block, music research lab, studio for archival documentation & audiovisual archieves
contemporary art galleries, amphitheatre, a museum of tribal art, an auditorium, a library of Indian poetry, a print shop, and a studio for an artist-in-residence
Climate Conditions
Monsoon influenced humid subtropical climate bordering a hot semi-arid climate with extreme hot summer and extreme cold winters.
Mumbai has tropical, wet & dry climate which is moderately hot and has high levels of humidity. Average temperature is 27.2°C
Bhopal has a humid subtropical climate, with cool, dry winters (avg. 16°C), a hot summer (avg. 30°C) and a humid monsoon season
Sustainable system
Thick load bearing wall adding to thermal insulation. Leuvers on windows to block direct sun and rain
Well ventilated inside spaces. Use of leuvers to break direct harsh sunlight
Well ventilated inside spaces due to shell ‘chatri’, sunken couryards for daytime heat.
Structural system
Concrete frame with load bearing walls
Concrete frame
Coffered Slab on RCC columns with (2m-6m-2m tartan grid) concrete shell atop for ventilation
Facade & fenestration treatment
Exposed brick wall with horizontal leuvers
Stone cladding with leuvers on western face
Stone cladded walls with green terraces
Post-colonial architecture
Then International style
Contemporary Indian architecture
Sitting in the strong context of National School of Drama & SRCPA this building reponds very strongly to its context
An old but very functional centre for performing arts. Prime reason for NCA in Delhi
Proper ventilation is the prime requirement for any institutional building and sealed-box architecture isn’t suitable for India
Architectural style Key Learnings
74
National Centre for Arts, New Delhi
Kala Academy, Goa
Jawahar Kala Kendra, Jaipur
State University of Performing & Visual Arts campus, Rohtak
Museum of Modern Arts, New York
1000 seat Auditorium, preview theatres, art galleries, 2000 seat amphitheatre, canteen, black box, meeting room, rehearsal room, guest room, library, class room
Theatres, courtyard, art galleries, amphitheatre, library, teaching & research block, cafeteria, museum, documentation studio
Auditorium, library, teaching & research block, studio, classroom, cafeteria, common facility zone
Gallery, office, research space, education facility, movie theatre, library, design & book store, restaurant, sculpture garden
Tropical monsoon climate. Hot & humid climate for most of the year. Receives heavy rainfall throughout the year.
Hot semi arid climate. Very less rainfall and high temperatures during summer months.
Hot semi-arid climate with very little rainfall. Average temperature of 25°C
Humid continental. Below freezing temperature during winters
Extensive use of pergola to control micro climate. Well ventilated inside spaces.
Classical rajasthani courtyard typology well suited for harsh climate of the area. Thick wall acts as insulators.
Microclimate created with shading devices & courtyard, insulation on outer wall, glazed window. NW-SE orientation with green buffer
Glazed glass facade to absorb the daytime heat which is suitable for cold climate in NYC.
Concrete frame having 6m x 6m grid, Wafer slab
Concrete frame
Concrete frame
Concrete frame with Steel truss in gallery to create large column-free space
Stone clad & Plaster. Parapets around terrace
Dry cladded red sand stone
Stone cladding with fenestration to allow winter sun
Mostly glass facade with exposed joints and slab
Contemporary Indian architecture
Contemporary Indian architecture
Contemporary Indian architecture
Modernist Architecture
Well resolved circulation. The building looking onto River Mandovi in the context.
Segregation of spaces was done to facilitate seperate utilisation of building at once without comprimising the integrity of flow of movement
Proper seperation in all institute buildings in placement and connectivity connected by centrally placed auditorium & library
The building has highly flexible spaces with special provision for unanticipated art forms which made it the world renowned museum for around a century
75
Key points
3 Program Development & Analysis
The area program is based on the schematic area program for NCA developed by Union Ministry of Culture which isn’t open to public yet. The dimensions are mostly derived from ‘Time Saver Standards’, ‘Neuferts’ & Indian codes. Suitable assumptions have been made wherever required based on case studies and site visits.
76
•
The scope of project is to foremost prepare a design scheme to the brief prepared by Union ministry of Culture, GOI for establishment of NCA in 2017
•
The official brief for the project is kept confidential. Thus, the proposal is prepared on basis of the same which was procured on the condition that it shall be used for academic purpose only and shall not be shared/ published in its original form.
•
The brief laid out the broader requirements for the project. The detailing is done on basis of learnings from case studies and standards.
•
The applicable by laws for the area are referred for the site. However, wherever there’s an ambiguity, the figures in brief are followed.
•
The brief demanded a centre for performing arts. However, a component of visual arts is proposed to serve the need established in chapter 1.
Project scope
Area program summary
The main focus of this program is to create public centre dedicated to performing and visual arts, which would provide a platform to showcase, promote and preserve various artforms in India at national and international level. The spaces should cater to following facilities: •
Exhibition spaces and cultural information centers to showcase the history and development of Indian art styles.
•
Spaces to promote interaction of artists with viewers to promote awareness.
•
•
Cultural info. Centre
Multiple performance spaces of different sizes and kinds to host cultural events of various scale and types.
•
Provide public areas to invite visitors and allow for functions which require larger informal gatherings. Public facilities alongside IGNCA which could be used as shared resource between IGNCA and NCA.
Main theatre
Museum & Gallery
Indian Theatre
Public facilities Admin
Fig 3.1 - Area distribution pie chart for NCA
Site Area
46,319 sqm (11.45acre)
Max. Permissible FAR
1.2 (55,580 sqm)
FAR achieved
0.64 (~35775 sqm)
Max. Ground coverage
25% (11580 sqm)
Parking ECS
2 ECS/ 100sqm
Total ECS requirement
694
Surface parking requirement
174 ECS (25%)
Basement parking
520 ECS (75%)
Basement area requirement
16672 sqm.
Component
Area (sqm)
Amphitheater
203
Performance ground
420
Main theatre
4100
Concert hall
1865
Indian theatre
1128
CIC & conference facility
2450
Museum & Gallery Block
23450
Public facilities
1127
Admin & mgmt.
476
Site services
1078
Residential
20 77
Detailed Area Program No.
Facility
Users
A
Outdoor events
1
Amphi theatre (200 capacity)
Area/ User Unit area Unit Nos. Total area Comments / Source
1
Sitting for Audience
200
0
140 IS 2526:1963
1
Stage
25
1
1
Podium stage
2
1
1
Green Room
12
2
24
2
Changing room
3
4
Yes
Yes
No
Yes
Yes
No
Yes
Yes
No
No
No
No
200-500
12 Separate room for Men & Women No
No
No
200-300
Yes
Yes
Yes
No
No
No
50-150
25 2 For narrator/ anchor
AC Req.
203
Total of 1 2
Ground Ventilation Service Illuminance (lux) Req. Req Req
Open Air Performance space/ Mela ground
2
Audience Gathering space
2
Storage Room
400 As per brief 20
1
Total of 2
420
Total of A
623
Total covered area
56
Circulation & structure (40%)
22 Only for built structures
Total Built area of A
78
Grand Total of A
645
B
Theatre/ Auditorium
1
Main National Theatre (Dance/ Music/ Drama)
1
Front of House Box Office/ Ticketing/ Information counter
2
6
1
6
Yes
No
No
200-500
Cloak Room
2
20
1
20
No
No
No
200-500
No
Yes
No
150-300
Yes
9
No
Yes
No
150-300
Yes
Visitor Washroom
120
No
Yes
No
150-500
Waiting Lounge
162 10% of main hall (IS 2526:1963)
No
Yes
No
150-300
Foyer Security check
78
20 For decoration material, carpet, equipments, chairs, etc.
National Centre for Arts, New Delhi
324 20% of main hall (IS 2526:1963) 6
2
Yes
Yes
No.
Facility
Users
Area/ User Unit area Unit Nos. Total area Comments / Source
Food & Beverage bar 1
500
No
Yes
Yes
Yes
150-300 200-300
3
10
30
No
No
No
200-300
Yes
Green Rooms
12
Performer & Crew lounge
48
2
24
No
No
No
200-500
Yes
1
48
No
Yes
No
150-300
Yes
Storage Room
40
1
40
No
No
No
200-500
120
1
120
No
Yes
No
200-500
Workshop & carpentry
20
1
20
No
Yes
No
150-300
Laundary
20
1
20
No
Yes
No
200-500
Loading / Unloading dock
40
1
40 Time Saver Standards
Yes
Yes
Yes
100-200 (Avoid glare to drivers approaching the bay)
12
1
12
No
No
No
200-500
9
1
9
No
No
No
150-300
Projection room
10
1
10
No
No
No
100-200
Light & sound control room
Rehearsal areas
Costumes collection
Yes
Control Room Security control room
1
AC Req.
Back of House Dressing Room
1
Ground Ventilation Service Req. Req Req Illuminance (lux)
Yes
12
1
12
No
No
No
200-500
Yes
Recording room
6
1
6
No
No
No
150-300
Yes
Manager cabin
8
1
8
No
Yes
No
300-750
Yes
120
No
No
Yes
50-150
Yes
No
No
No
50-150
Yes
Yes
Performance area Stage Sitting for Audience
40
3
1800
0
1620 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963) 3280
Total of 1 2
Theatre (concert hall)
2
Front of House Box Office/ Ticketing/ Information counter Cloak Room
6
1
6
Yes
No
No
200-500
15
1
15
No
No
No
200-500
2
4
Foyer
No
Yes
No
150-300
Yes
6
No
Yes
No
150-300
Yes
Visitor Washroom
70
No
Yes
No
150-500
Waiting Lounge
54 10% of main hall (IS 2526:1963)
No
Yes
No
150-300
Security check
108 20% of main hall (IS 2526:1963)
Yes
79
No.
Facility
Users
Food & Beverage bar 2
Ground Ventilation Service Req. Req Req Illuminance (lux)
AC Req.
250
No
Yes
Yes
150-300
Yes
24
No
No
No
200-500
Yes Yes
Area/ User Unit area Unit Nos. Total area Comments / Source
Back of House Green Rooms
12
2
Performer & Crew lounge
36
1
36
No
Yes
No
150-300
Storage Room
40
1
40
No
No
No
200-500
120
1
120
No
Yes
No
200-500
Workshop & carpentry
20
1
20
No
Yes
No
150-300
Loading / Unloading dock
40
1
40
Yes
Yes
Yes
100-200 (Avoid glare to drivers approaching the bay)
9
1
9
No
No
No
150-300
Projection room
10
1
10
No
No
No
100-200
Light & sound control room
12
1
12
No
No
No
200-500
Yes
Recording room
6
1
6
No
No
No
150-300
Yes
Manager cabin
8
1
8
No
Yes
No
300-750
Yes
75
No
No
Yes
50-150
Yes
No
No
No
50-150
Yes
Yes
Rehearsal areas
2
Yes
Control Room Security control room
2
Yes
Performance area Stage Sitting for Audience
25
3
600
0
540 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963) 1449
Total of 2 3
Theatre 3 (Literature & Public discussion)
3
Front of House Box Office/ Ticketing/ Information counter Cloak Room
6
1
6
Yes
No
No
200-500
15
1
15
No
No
No
200-500
45 20% of main hall (IS 2526:1963)
No
Yes
No
150-300
Yes
3
No
Yes
No
150-300
Yes
70
No
Yes
No
150-500
23 10% of main hall (IS 2526:1963)
Foyer Security check
2
2
Visitor Washroom Waiting Area Food & Beverage bar 3
2029
No
Yes
No
150-300
Yes
100
No
Yes
Yes
150-300
Yes
24
No
No
No
200-500
Yes
Back of House Green Rooms
80
National Centre for Arts, New Delhi
12
2
No.
3
Facility
Users
Area/ User Unit area Unit Nos. Total area Comments / Source
AC Req. Yes
Performer & Crew lounge
30
1
30
No
Yes
No
150-300
Storage Room
25
1
25
No
No
No
200-500
Rehearsal areas
60
1
60
No
Yes
No
200-500
Workshop & carpentry
20
1
20
No
Yes
No
150-300
Loading / Unloading dock
40
1
40
Yes
Yes
Yes
100-200 (Avoid glare to drivers approaching the bay)
9
1
9
No
No
No
150-300
Projection room
10
1
10
No
No
No
100-200
Light & sound control room
12
1
12
No
No
No
200-500
Yes
Recording room
6
1
6
No
No
No
150-300
Yes
Manager cabin
8
1
8
No
Yes
No
300-750
Yes
75
No
No
Yes
50-150
Yes
No
No
No
50-150
Yes
Yes
Control Room Security control room
3
Ground Ventilation Service Req. Req Req Illuminance (lux)
Yes
Performance area Stage Sitting for Audience
25
3
300
0
225 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963)
Total of 3
806
Total of B
5535
Circulation & structure (40%)
2214
Grand Total of B
7748
C
Information & Resource Centre
1
Cultural Resource centre & conference facility Reception Lobby
1128
40
1
40
Yes
Yes
No
150-300
Visitors Orientation
100
1
100
No
Yes
No
300-750
Yes
Cultural Information Centre
400
1
400
No
Yes
No
300-750
Yes
Interpretation area
400
1
400
No
Yes
No
300-750
Yes
Business centre
100
1
100
No
Yes
No
300-750
Yes
Conference room
20
2
40
No
Yes
No
300-750
Yes
Lecture Hall
60
1
60
No
Yes
No
200-500
Yes
Screening room
100
0
60
No
Yes
No
50-200
Yes
Library
100
4
400
No
Yes
No
200-500
Yes
81
No.
Facility
Users
Seminar Halls
75
2
AC Req.
No
Yes
No
300-750
Yes
160
Yes
Yes
No
150-300
Yes Yes
150 1750
Total of 1 2
Ground Ventilation Service Req. Req Req Illuminance (lux)
Area/ User Unit area Unit Nos. Total area Comments / Source
Museum & Gallery block
2450 (Across National Archives diametrically opposite to National museum across central vista)
Public / No collection Reception lobby Box office/ ticketing counter
80
2 6
1
6
Yes
No
No
200-500
Cloak room
20
1
20
No
No
No
200-500
Public toilet
80
1
80
No
Yes
No
150-500
Retail
15
2
30
No
No
Yes
300-750
Yes
Food Counter/ Kiosk
20
2
40
No
No
Yes
300-750
Yes
Permanent Exhibition space
8000
1
8000
No
No
No
50-750 (depending Yes upon light sensitivity)
Temporary Exhibition space
3000
2
6000
No
Yes
No
50-750 (depending Yes upon light sensitivity)
Studio space for Art creation
150
3
450
No
Yes
No
300-750
Yes
Public orientation hall
150
1
150
No
Yes
No
150-300
Yes
Workshop
20
1
20
No
Yes
Yes
150-300
Yes
Packing/ Unpacking dock
40
1
40
No
No
No
150-300
Yes
Loading Dock
40
1
40
Yes
No
Yes
100-200 (Avoid glare to drivers approaching the bay)
6
1
Yes
No
No
50-150
General store
25
1
25
No
No
No
100-200
Museum office
40
1
40
No
Yes
No
300-750
Yes
Conference room
25
1
25
No
Yes
No
300-750
Yes
Security & Protocol offices
10
1
10
No
No
No
300-750
Yes
800
2
1600
No
No
No
50-150
Yes
10
1
10
No
No
No
50-100
Yes
Public / Collection
Non Public / Collection
Receiving
6 (for parcel, newspaper, etc)
Yes
Non Public / No Collection
Secure area Collection storage Computer server room
82
National Centre for Arts, New Delhi
No.
D
Facility
Users Total of 2
16752
Total of C
18502
Circulation & structure (40%)
7401
Grand Total of C
25903
Ground Ventilation Service Req. Req Req Illuminance (lux)
AC Req.
23453
Public Facilities Café
100
2
200
Yes
Yes
Yes
300-750
Yes
Restaurant
200
1
200
Yes
Yes
Yes
150-300
Yes
BookShop
40
2
80
Yes
Yes
Yes
300-750
Regional Food Kiosk
15
4
60
Yes
Yes
Yes
300-750
Cultural merchandise
25
2
50
Yes
Yes
Yes
300-750
CD-DVD outlet
15
1
15
Yes
Yes
Yes
300-750
100
2
200
Yes
Yes
No
150-500
Restroom & facilities
E
Area/ User Unit area Unit Nos. Total area Comments / Source
Total of D
805
Circulation & structure (40%)
322
Grand Total of D
1127
Admin & management block Reception Lobby
20
Yes
Yes
No
150-300
Director(s) room
15
No
Yes
No
300-750
Yes
Meeting Room
25
No
Yes
No
300-750
Yes
Directors secretariat & Mgmt. office
60
No
Yes
No
300-750
Yes
Finance & Accounts dept
60
No
Yes
No
300-750
Yes
Record Room
40
No
No
No
200-500
Yes
HR
20
No
Yes
No
300-750
Yes
Program and box office staff
20
No
Yes
No
300-750
Yes
Security & Protocol offices
10
No
Yes
No
300-750
Yes
Board room
25
No
Yes
No
300-750
Yes
First Aid room
10
Yes
Yes
No
200-500
Yes
Storage
15
No
No
No
200-500
Server Room
20
No
No
No
50-100
Total of F
Yes
340
83
No.
F
Facility
Users
Area/ User Unit area Unit Nos. Total area Comments / Source
Circulation & structure (40%)
136
Grand Total of F
476
Site Services
370
ELSS & Electric room
100
1
100 As per brief
Yes
Yes
Yes
70
1
70 As per brief
Yes
Yes
Yes
Fire Tank & Water tank
200
1
200 As per brief
No
Yes
Yes
HVAC Plant
200
2
400 Special HVAC for Museum
Yes
Yes
Yes
Guard Room
Yes
Yes
Ward
Yes
Yes
DG Set & Panels
G
Ground Ventilation Service Req. Req Req Illuminance (lux)
Total of G
770
Circulation & structure (40%)
308
Grand Total of G
1078
Residential
Grand Total of H
20
Total Built area
H
36431 sqm
Parking (2ECS/ 100sqm) Total Area
35353 sqm
ECS
708
Surface Parking
25%
177 ECS
Basement Parking
75%
531 ECS
Basement Parking Area
32
531
16992 sqm
Surface Parking Area
13
177
2213 sqm
Total Parking Area
84
Excluding Site Services
National Centre for Arts, New Delhi
19205 sqm
AC Req.
Admin
Functional diagram Cultural Information Centre
Indian Theatre
Museum & Art gallery
Main theatre
Concert hall
Amphitheatre
Sectional Distribution
Public facilities
Inferences •
Since cultural information centre consists of functions which acts as support functions for both visual arts gallery and performing spaces like theatre & concert hall, it is best suited in a position where it is directly accessible by both facilities.
•
Open air performing spaces like amphitheatre require silent background. Thus it is well suited in area of site away from roads to keep from traffic noise.
•
Public functions should be placed towards southern face of site to attract visitors from central vista lawns.
Mela ground
Fig 3.2 - Function connection for NCA
Fig 3.3 - Function distribution for NCA
85
Location
4
The proposed site for NCA is located along the central vista in Lutyensâ&#x20AC;&#x2122; Delhi at the junction of Rajpath and Janpath across National Archives. It shares plot with IGNCA. Fig 4.1 - Location of Zone-D8 in Delhi map where site is located
Janpath
Site Analysis Parliament House
National Archives Rajpath
Dr. Rajendra Prasad Road
SITE
IGNCA
National Museum
India Gate
Fig 4.2: Satellite image showing location of site with context
86
550m Central Secreteriat Metro Station 600m
National Archives bus stop
Fig 4.3: Site with context and metro connectivity
Accessibility
The proposed site for NCA can be accessed from 3 sides. It is connected via Dr. Rajendra Prasad road on north and Janpath road on west. Pedestrian access is also possible from southern side. The 4m wide foothpath along the boundary of site facilitates to smooth pedestrian movement.
Connectivity Metro
Bus
The nearest metro station is ‘Central Secretariat’ which is at 550m (7 min walk) along Dr. Rajendra Prasad Road
The nearest Bus stop is ‘National Archives’ on the western face of site on Janpath Road 87
Site N Bunglows Shani Temple
Dr. Rajendra Prasad Road
National Archives
160.36m
Janpath
210.36m
89.47m 50m
IGNCA Kala Kosh & Kala Nidhi
Man Singh Road
241.47m
Raksha Bhawan
152m Dargah
Rajpath
Scale 1:4000
88
National Centre for Arts, New Delhi
Fig 4.4: Site with trees and immediate context
Site Photos
Fig 4.5: Mati Ghar designed by SHiFt Architects on the site
Fig 4.6: CV Mess building
Fig 4.11: Nursery between IGNCA Kala Nidhi and Rajpath
Fig 4.12: View of IGNCA Kala Nidhi from Rajpath
Fig 4.7: Vernacular mud and thatch house as an installation
Fig 4.8: Amphitheater (Rangabhoomi)
Fig 4.13: View of southern face of site
Fig 4.14: Small dargah built in buffer between site and Rajpath
Fig 4.9: Media Centre on site
Fig 4.10: IGNCA Kala Nidhi building from Man SIngh Road
Fig 4.15: Land between site and Rajpath is often used as parking
Fig 4.16: Vehicular entry to buffer with board reading ‘No Parking’
89
Survey Plan
Fig 4.17: Site survey plan
NTS
The site is majorly flat with maximum level difference of .7m as per survey plan. The site is relatively higher towards west side 90
National Centre for Arts, New Delhi
Existing site condition
Fig 4.18: Site vegetation cover
Vegetation cover The site is densely covered with trees and patches of green. There are 527 trees within IGNCA plot out of with 219 falls in area proposed for NCA. The details for trees are given in vegetation section of report.
Fig 4.19: Storm water & sewer pipeline
Storm water & sewer lines The existing storm water (blue lines) and sewer lines (orange) on site indicate that most of storm water which could be collected is sent to sewer drain for now.
EJB
BW
EJB
BW
BW
EJB EJB
Fig 4.20: Street lamp & poles
Electric poles & street lights The street lamps are non-uniformly scattered throughout the site and in its surroundings.
91
History (Site)
Fig 4.21: Original scheme of Lutyens Delhi
1931 The site proposed for NCA was originally concieved for same purpose ‘socio-cultural’ centre in original scheme by Edwin Lutyens.
Mati Ghar
1985 An internation design competition was organised for IGNCA to be built on the site. The winning scheme was proposed by Ralph Lerner, USA.
Media Centre
CVC Mess
Builtup Area Detail
IGNCA Kala Nidhi and Kala Kosh
Fig 4.23: Currently existing built structures on site
1985-2017 Only 1 of 8 buildings proposed by Ar. Ralph Lerner was built on site. However, few other structures like CVC mess, Maati Ghar, EMU & a media center came up over time which weren’t part of original scheme. 92
Fig 4.22: Winning scheme for IGNCA proposed by Ralph Lerner
National Centre for Arts, New Delhi
Fig 4.24: Demarcation of NCA in IGNCA plot
2017 The ‘Union Ministry of Culture’ approves formation of NCA on IGNCA site along with expansion of IGNCA. 11.44 acres of land was allocated for NCA
Context Analysis
Fig 4.25: Figure ground plan of New Delhi
93
Central Vista Analysis
Fig 4.26: Figure ground plan of Central Vista, New Delhi
Symmetry followed along central vista
Symmetry not followed along central vista
Fig 4.27: Typology study of Central Vista, New Delhi
Dominant typology along CV is such that they reflect visual symmetry along the access points
Fig 4.28: View of Central Vista from Rashtrapati Bhawan
94
National Centre for Arts, New Delhi
Rail Bhawan Krishi Bhawan Shastri Bhawan National Archives Ambedkar International Centre Proposed NCA site Bunglows
IGNCA Kala Nidhi & Kala Kosh
Raksha Bhawan
Vayu Bhawan Udhyog Bhawan Ministry of Health & Family Welfare Ministry of Housing & Urban Affairs Ministry of External Affairs JLN Bhawan National Museum
Vigyan Bhawan Project Monitoring Group Vice Presidentâ&#x20AC;&#x2122;s House
Fig 4.29: 3D view of Central Vista
Fig 4.30: View of Central Vista towards Rashtrapati Bhawan
95
Central Vista Photos
Fig 4.31: Park beside National Archives used as public space
Fig 4.32: View of National Archives from Rajpath
10
9
7 8 6 5
Fig 4.33: National Archives
4
3
Fig 4.34: Shastri Bhawan from Rajpath
SITE 2
1
11 20 12
13
14
15 16
18 19 17
21
22
Fig 4.35: Krishi Bhawan
Fig 4.37: Central Secreteriat Metro entry with Krishi Bhawan behind it.
96
Fig 4.36: Krishi Bhawan from Rajpath
Fig 4.38: Rail Bhawan
National Centre for Arts, New Delhi
Fig 4.39: Rail Bhawan from Rajpath
Fig 4.40: View of North block
Fig 4.41: Rail Bhawan, Krishi Bhawan & Udhyog bhawan from North Block
Fig 4.42: Vayu Bhawan as seen from Rajpath
Fig 4.43: Udhyog Bhawan
Fig 4.44: MHFW & MHUA headquarters
Fig 4.45: Ministry of External Affairs JLN Bhawan
Fig 4.46: JLN Bhawan as seen from Rajpath
Fig 4.47: Main Entrance of JLN Bhawan
Fig 4.48: National Museum
Fig 4.49: National Museum Entry
Fig 4.50: National Museum as seen from Rajpath
Fig 4.51: Patches of unkempt land along central vista
Fig 4.52: Space between building & Rajpath acts as active public space
97
Land Use
Applicable Development Controls
The site was always intended to be a place for cultural center since the planning of New Delhi. Even in Master Plan Delhi - 2021, the intended use for site is socio-cultural centre
Being located in LBZ, the DUAC LBZ guidelines 1988, 2015 & MPD 2021 bye laws are applicable. The project is also get CVC, DUAC, NDMC & Fire dept. clearance.
Fig 4.53: Master Plan for Delhi 2021
Fig 4.54: Master Plan for Zone D
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National Centre for Arts, New Delhi
Site Area
46,319 sqm (11.45 acre)
Max. permissible FAR
~120% (55,580 sqm)
Setback
15m on all sides except the side along with IGNCA
Height Restriction
32m (7 floors)
Maximum ground coverage
25% (11580 sqm)
Basement
3 levels permissible for parking
Parking ECS
2 ECS/ 100sqm
Climate Inferences: The climate of Delhi is an overlap between monsoon-influenced humid subtropical and semiarid, with high variation between summer and winter temperatures and precipitation. It experiences temperature ranging from 48°C in summers days to 0°C in winter nights. Average temperature variation within a day is around 20°C. Prevailing wind direction is WWN to EES and months of Jul & Aug experience rainfall over 130mm
Fig 4.55: Temperature & Rainfall graph
Fig 4.56: Wind speed & direction
Fig 4.57: Wind data
99
Vegetation
Tree Neem
15
225
990 Evergreen
The proposed NCA site largely covered with 30 kinds of trees which are scattered throughout. There are 219 trees within the site boundary with girth ranging from 32mm to 2753mm.
Pilkhan
5
380
1845 Deciduous
Pipal
11
510
1720 Deciduous
Putrajinwa
9
145
635 Evergreen
Raijamun
1
700
700 Evergreen
Semal
15
225
990 Deciduous
Shahtoot
11
160
955 Evergreen
Silveroak
24
30
765 Evergreen
Siras
2
350
380 Deciduous
Vankhajoor
1
475
475 Evergreen
Tree
no.
Girth range (mm)
Type
Alstonia
2
160
1115 Evergreen
Ornamental
Amaltas
15
190
540 Deciduous
Ornamental
Ashok
40
130
900 Evergreen
Sacred
Babool
2
335
1050 Evergreen
Negative impact
Banyan
2
1940
2750 Evergreen
Sacred
Bargad
1
450
450 Evergreen
Sacred
Bear
2
285
765 Deciduous
Bottlepalm
5
320
320 Evergreen
Chid
1
225
225 Evergreen
Chiku
1
160
160 Evergreen
Fruit bearing
Eucaliptus
4
575
890 Deciduous
Negative impact
Gular
5
300
925 Deciduous
Jamun
19
190
795 Evergreen
Fruit bearing
Junglijalebi
8
360
640 Deciduous
Fruit bearing
Kachnar
1
525
525 Deciduous
Ornamental
Karanj
1
160
160 Deciduous
Ornamental
Karipatta
1
160
160 Deciduous
Kurejia
2
285
605 Deciduous
Ornamental
Mango
5
65
955 Evergreen
Fruit bearing
Marodfali
8
125
480 Deciduous
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National Centre for Arts, New Delhi
no.
Girth range (mm)
Type
Sacred Fruit bearing Fruit bearing
Fruit bearing
Ornamental
Fig 4.58: Trees on site Transplantable trees Non Transplantable trees
Flowering / fruit bearing trees Sacred / Important trees Environmentally negative trees Other trees Area suitable for construction based on drip line
The site is largely populated with multiple varieties of trees, which are non-uniformly scattered. In a city like Delhi, which is termed as one of the ‘most polluted cities in the world’, trees are of utmost importance as a support system to the city. Thus the site demands the trees to be addressed as ‘Shared Heritage’ and allow each one of them to grow. Trees are also in integral part of urban continuity of Lutyens Delhi.
Fig 4.59: Tree mapping on site
101
Materiality/ texture study
102
Fig 4.60: Facade of Jaipur House
Fig 4.63: Facade of Ambedkar International Centre
Fig 4.66: Facade of National Museum
Fig 4.61: Facade of Jaipur House
Fig 4.64: Facade of North Block, Central Secretariat
Fig 4.67: Facade of National Museum
Fig 4.62: Facade of National Archives
Fig 4.65: Facade of IGNCA
Fig 4.68: Facade of IGNCA
National Centre for Arts, New Delhi
Site attributes/ Inferences Physical
Natural
•
•
• • •
•
Site is located on intersection of Rajpath and Janpath on IGNCA lawns in Lutyens’ Delhi. Site area is 11.44 acres. It shares plot with IGNCA located towards east of site. As per MPD-2021, site is listed as socio-cultural center. Site has access from 3 sides i.e. north, south & west. There’s Janpath on west & Rajendra Prasad Road on north. Buffer land between site and Rajpath on south is currently used as parking. However, a nursery and a small ‘dargah’ has came up recently. Site is predominantly flat with a maximum level difference of .7m according to survey plan.
•
• •
Site has a significant vegetation cover of 219 trees of 30 different kinds which are irregularly scattered over the plot. There’s a dense cover of trees between site and Rajpath blocking direct view of Central Vista from lower levels. High vegetation cover also regulates the micro climate. Currently, the storm water channel on site disposes water to sewer drain.
Contextual
Emotional/ metaphysical
•
•
•
Strong context of Lutyens Delhi offers the scheme an image bearing in mind the urban continuity of that area. Due to security concerns, all the buildings along central vista aren’t allowed to have openable windows, balconies projecting towards CV. Terraces in public building don’t have parapet wall
•
Since the inception of IGNCA, site has always performed as socio-cultural centre. Thus it carries a nostalgic emotion for various artists and citizens. It hosts events throughout the year and people from nearby buildings come to site as a getaway from their routine lives. 103
5 Technology Study
104
Structures • • •
Large span roof for auditorium Basement parking Foundation
Services • • • • •
Acoustics Light & Ventilation HVAC Water balance Power balance
Safety & Security • •
Fire safety Security from theft
Sustainability • •
Passive cooling strategies Vegetation cover
105
Structural systems
Fig 5.1: Auditorium section and column joint detail
106
National Centre for Arts, New Delhi
200 MM DIA STEEL CIRCULAR PIPE RUNNING HORIZONTALLY 100 MM DIA CIRCULAR PIPE BRACING THE HORIZONTAL PIPE TOP PURLIN (100 MM DIA STEEL PIPE) BOTTOM PURLIN (100 MM DIA STEEL PIPE) BRACING MEMBER (75 MM DIA CIRCULAR PIPE SOLID PIPE (100 MM DIA STEEL PIPE FIXED WITH PURLIN, EMBEDDED IN COLUMN) MS ANCHOR PLATE (30 MM THICK FIXED WITH ROD WHICH IS EMBEDDED IN COLUMN) MS HORIZONTAL ANCHOR PLATE (30 MM THICK FIXED WITH ROD WHICH IS EMBEDDED IN COLUMN) RCC COLUMN
100 MM DIA STEEL CIRCULAR PIPE RUNNING HORIZONTALLY
Fig 5.2: Auditorium roof section
100 MM DIA CIRCULAR PIPE BRACING THE HORIZONTAL PIPE TOP PURLIN (100 MM DIA STEEL PIPE) BRACING MEMBER (75 MM DIA CIRCULAR PIPE)
X
X' Fig 5.3: Auditorium roof structural plan
107
In a building, a structural system is a system by means of which load of and on the building is transferred to substructure and thus to earth. Structure system vary in their frames as well as in their resistance methods of force. They form: 1. Form active structure systems: They redirect external forces primarily through the form of its material, such as an arch or cable system. 2. Bulk active structure systems: These structures redirect external forces primarily through the bulk and continuity of its material such as beams and columns. 3. Vector active structure systems: These structures redirect external forces primarily through the composition of tension and compression members, such as truss. 4. Surface active systems: They redirect external forces primarily along the continuity of a surface, such as a plate or shell structure.
Fig 5.4: Load distribution system
108
National Centre for Arts, New Delhi
Fig 5.5: Large span structural systems
Basement parking Generally for basement parking, column grid chosen is in multiple of width of car bay to maximize parking efficiency
Fig 5.7: Basement parking grid system Fig 5.8: Basement parking
Thus the generally adopted grid is 6m, 8.5m, 11m (assuming 2.5m wide parking bay and 1m wide column)
Fig 5.6: Basement structural system
Where column alignment is not possible, it may be feasible to use transfer beams or angled struts to carry the loads from upper floors through the parking floors to the ground foundation. However, it is desired to minimize these conditions. 109
Large span structural systems
Fig 5.9: Comparison of different long span systems
110
National Centre for Arts, New Delhi
Fig 5.10: Structural grid to accommodate large span spaces
111
Multi-storey structural systems
Fig 5.11: Comparison of different structural systems
112
National Centre for Arts, New Delhi
Fig 5.12: Comparison of different structural systems
Fig 5.13: Coffer slab system
113
Acoustics Requirements References: • IS: 2526 - 1963 : Code of practice for Acoustical design of Auditoriums and Conference halls • NBC 2016 vol-2 Part 8, Section 4 : Acoustics, Sound Insulation and Noise Control Reflecting surfaces shall be so designed as to aid distribution of sound. Those areas which cause objectionable sound reflection and need to be treated with sound absorbents should be earmarked for treatment with sound absorbing material. These areas are 1. Rear wall, 2. Balcony parapet, 3. Areas which may reflect sound back to the stage 4. Concave areas
Sound reflection
Sound absorption
Hard, reflective, nonporous interior building surfaces such as
The materials generally used may be broadly classified into the following categories:
glass wood, plaster, brick concrete absorb 2% to 5% of the sounds striking the surface to reflect 95% or more of the sound. Absorption coefficients are expressed as a percentage of the sound absorbed. A perfect sound absorber is an open window since it permits 100% of the sound to escape and not return.
which have a tendency to focus sound in certain places, and such other areas as will contribute to indirect sound arriving at any point in the hall later than 50 milliseconds after the direct sound. The rest of the sound absorbing material required to be introduced in the room should be distributed over the various remaining surfaces.
•
• • • • • • •
• •
Acoustic plaster (a plaster which includes granulated insulation material with cement) Compressed cane or wood fiberboard, unperforated and perforated Wood particle board Compressed wood wool Mineral/glass wool quilts and mats Mineral/compressed glass wool tiles Composite units of perforated hardboard backed by perforated fiberboard Composite units of perforated board (hardboard, asbestos board or metal sheet) backed by mineral or glass wool quilt or slab Special absorbers constructed of hardboard, teak ply, etc., backed by air. In an average hall, most of the absorption is provided by the audience.
Fig 5.14: Compressed wood fiberboard
Fig 5.15: Wood acoustic panel
Fig 5.16: Sponge with acoustic marking
Fig 5.17: Wood acoustic panel
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National Centre for Arts, New Delhi
Sound amplification system A loudness of speech level of about 60 to 70 dB is required for comfortable listening and good intelligibility provided the ambient noise level is within the acceptable values. This level can be obtained in an acoustically well designed hall provided the volume does not exceed 1400 cum and the maximum distance from the speaker to listener is 23 m, where background noise is high or the hall is large, a sound amplification system becomes necessary.
115
HVAC load calculation
Main National Theatre (Dance/ Music/ Drama)
The HVAC system proposed for scheme is Hybrid Centralised HVAC system. It consists of AHU (Air Handling Unit) & FCU (Fain Coil Unit) with air quality improvers
Box Office/ Ticketing/ Information counter
This system is recommended because: • It allows for varied control of temperature in various rooms and also the option to switch them off separately which leads to lower electric loads. • The quality of air is also improved due to added filter system. • Easier maintenance as cooling towers are consolidated.
Waiting Lounge
Foyer Security check Food & Beverage bar
324 9 162 500 30
Green Rooms
24
Performer & Crew lounge
48
Rehearsal areas Security control room
120 9 12
Rehearsal areas Security control room Light & sound control room
8
Stage
540
Theatre (Literature & Public discussion)
626
Box Office/ Ticketing/ Information counter Foyer Security check
8
Food & Beverage bar
Theatre (concert hall) Box Office/ Ticketing/ Information counter Foyer
1254 6 108
Security check
6
Waiting Lounge
54
Food & Beverage bar
250
Green Rooms
24
Performer & Crew lounge
36
75
Sitting for Audience
Manager cabin
1620
12
Manager cabin
Waiting Area
Sitting for Audience
9 6
6 120
120
Recording room
Recording room Stage
National Centre for Arts, New Delhi
6
Dressing Room
Light & sound control room
116
2998
6 45 3 23 100
Green Rooms
24
Performer & Crew lounge
30
Rehearsal areas
60
Security control room Light & sound control room
9 12
Recording room
6
Manager cabin
8
Stage Sitting for Audience
75 225
Cultural Resource Centre
1710
Computer server room
10
Visitors Orientation
100
Cultural Information Centre
400
Public Facilities
400
Interpretation area
400
Café
200
Business centre
100
Restaurant
200
Conference room
40
Lecture Hall
60
Screening room
60
Admin & Management Block
305
Director(s) room
15
Library
400
Meeting Room
25
Seminar Halls
150
Directors secretariat & Mgmt. office
60
Finance & Accounts dept
60
Record Room
40
HR
20
Program and box office staff
20
Security & Protocol offices
10
Board room
25
First Aid room
10
Server Room
20
Museum & Gallery block Reception lobby Box office/ ticketing counter
16587 160 6
Retail
30
Food Counter/ Kiosk
40
Permanent Exhibition space
8000
Temporary Exhibition space
6000
Studio space for Art creation
450
Public orientation hall
150
Workshop
20
Packing/ Unpacking dock
40
Receiving
6
Museum office
40
Conference room
25
Security & Protocol offices
10
Collection storage
Total
23880
Load calculation Total area to be air-conditioned:
23880 sqm
Assuming 1 Ton of cooling per 12 sqm space (based on assumption that 22 deg. C temp. is desired), total cooling required: 23880 / 12 = 1990 Ton The cooling effect produced is quantified as tons of refrigeration(TR). (Source BEE handbook) 1 TR of refrigeration = 3024 kCal/hr heat rejected. The refrigeration TR is assessed as TR = Q x Cp x (Ti – To) / 3024 Where • Q is mass flow rate of coolant in kg/hr • Cp is coolant specific heat in kCal /kg deg C • Ti is inlet, temperature of coolant to evaporator (chiller) in °C • To is outlet temperature of coolant from evaporator (chiller) in °C. Assuming, coolant as water • Cp = 1KCal/Kg deg C • Ti = • To = Thus for 1990Tn cooling, water requirement Q = 1990 * 3024 / (1 * ) = Kg/hr
1600 117
Water requirement calculation
Rain water harvesting
Technology research
•
Site Area = 46,319 sqm
•
Water run-off coefficient • Roof : 0.85 • Hard Paving : 0.6 • Soft Paving : 0.35
•
Maximum Rainfall in Delhi in a day : 144mm (source : https://www.thehindu.com/news/cities/Delhi/ Delhi-gets-record-breaking-amount-of-rain-in-24-hours/ article14517380.ece)
•
The coefficient for evaporation, spillage, first flush, wastage is considered as 0.8
Roof Area : 11450 sqm. Water Harvested = 11450 * 0.85 * 0.8 * 0.144 * 1000 lt. = 11,21,184 lt. Hard Paved Area : 18581 sqm Water Harvested = 18581 * 0.6 * 0.8 * 0.144 * 1000 lt. = 12,84,318 lt. Soft Paved/ Landscape Area : 16288 sqm Water Harvested = 16288 * 0.35 * 0.8 * 0.144 * 1000 lt. = 6,56,732 lt. Total (max.) water harvested in a day: = 11,21,184+ 12,84,318+ 6,56,732 Fig 5.18: Water balance diagram
=
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National Centre for Arts, New Delhi
30,62,234 lt. OR 3,062.2 cum.
Fresh water requirement (per day)
Landscape water requirement (per day)
Zone
water req. / unit
units
total req. (lt.)
1800 seat audi.
5
1800
9000
600 seat audi.
5
600
3000
300 seat audi
5
300
1500
Art gallery
5
10000
50000
Cultural info. centre
5
1000
5000
Office
25
200
5000
Restaurant /Cafe
55
400
22000
Library
10
200
2000
Total requirement
93,500 lt./ day
Recycled water requirement (per day) Zone
water unit req. / unit
total req. (lt.)
1800 seat audi.
10
1800
18000
600 seat audi.
10
600
6000
300 seat audi
10
300
3000
Art gallery
10
10000 100000
Cultural info. centre
10
1000
10000
Office
20
200
4000
Restaurant
15
400
6000
Library
15
200
2000
Total requirement
Landscape/ grass lawn water requirement = 5 lt./day Soft Paved/ Landscape Area : 16,288 sqm Water Required = 16288 * 5 lt./day = 81,440 lt./ day
Sewage water treatment As a thumb rule, 80% of water utilized by a building ends in sewer. So, total sewage water: = 80% of 2,42,500lt = 1,94,000 lt. Assuming 70% efficiency of STP, water recycled = 70% of 194000lt. = 1,35,800 lt/day
1,49,000 lt./ day 119
Power requirement calculation
Solar power generation
Technology research
Average efficiency of Solar PV panel available in market = 15-17% Annual average solar intensity in Delhi = 4.29 kWh/m2/day
Fig 5.19: Energy balance diagram
Thus average electricity generated per sqm per day using solar PV panel = 17% of 4.29 kWh/m2/day = 0.73 kWh/m2/day Assuming electricity is generated 300 days an year due to climatic conditions, clouds, etc. Thus, annual electricity generation = 300 * 0.73 kWh/m2 = 219 kWh/m2
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National Centre for Arts, New Delhi
Now, total roof area =
11,400 sqm
Building power requirement
Available roof area for installing solar PV panels For a fully air-conditioned institutional building, = 60% of total roof area (remaining the electricity requirement is taken as 15W/sqft. Thus, total power requirement for the building is 40% for circulation & services) = 385080 sqft * 15W = 6,840 sqm = 5776.2 kW Thus, annual total electricity generation = 6,840 * 219 kWh = 14,97,960 kWh Electricity cost for non-domestic use in Delhi (2018-19) = Rs. 8/kWh Total cost saved per year by solar PV panel = Rs. 8 * 14,97,960 = Rs. 1,19,83,680 Cost of 1 kW solar PV panel = ~ Rs. 60,000 Assuming 4hrs of effective solar power generation per day, solar PV panel capacity = 0.73 KWh/m2/4hrs = 0.1825 kW/m2 Cost per sqm = Rs 60,000 * 0.1825 = Rs. 10950/sqm Thus, total cost = Rs. 10,950 * 6,840 = Rs. 7,48,98,000 Annual maintenance cost for solar PV panel = 1% of total cost = Rs. 7,48,980 pa (except for first year) Thus, cost payback period = 6.6 years
Power backup & generator Power backup and generator systems are needed in nearly all buildings to allow smooth functioning in case of power failure/ cut (which is very common in Delhi) However, running entire system on generator might not be economically feasible. Thus, in the scheme, the spaces will be connected to backup assuming minimal utilization (No airconditioning). However, often art galleries have artefacts which are very sensitive to change in temperature and lighting conditions. Thus entire HVAC system along with other equipments needs to be working on backup.
Total area for spaces having artworks (display & storage) = 180300 sqft Thus, power load = 180300 * 15 W = 2704.5 kW Remaining area Thus, power load
= 385080 - 180300 sqft = 204780 sqft = 204780 * 7 W = 1433.460 kW
Total load
= 4137.9 kW
Assuming power factor as 0.8 lagging Generator capacity = 4137.9 / 0.8 kVA = 5172 kVA backup is required
Power requirement for institutional building (only lighting) = 7W /sqft Power requirement for spaces having artworks (display & storage) = 15W /sqft
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Project justification What
6
A National Centre for Arts (Performing & Visual)
Where IGNCA lawns, along Janpath, New Delhi
Why •
There exist a large treasure of such art forms in India which is limited within the bounds of their region/ community. These art forms are heritage for the nation which needs to be preserved by providing them required exposure. However, there’s a gap in India between requirement and availability of National-International scale art centre which needs to be filled soon.
•
Due to inadequate exposure and promotion, most traditional artforms in India are on verge of extinction.
•
Delhi being the capital city of India provides tremendous opportunities for upliftment in current state of Indian arts. However, currently it itself lacks in providing required infrastructure at that scale.
•
In 2017, Union Ministry of Culture proposed a national level centre for arts in IGNCA lawns over an area of 11.45 acre which is currently underused for the same purpose. The centre is proposed to be largest in the country leaving behind NCPA, Mumbai.
Determinants & Directives
122
SWOT Analysis
Strength •
•
• • •
Site is located in capital city of India which gives required exposure to the project. Also being located in heart of city i.e. Lutyens Delhi has its added advantages. Site is well connected by means of public transport with bus stop and metro at waking distance. Good road connectivity Ample green cover regulates the micro climate Site is predominantly flat which makes it easier to work.
Weakness •
• •
•
Too many trees scattered nonuniformly over the site makes it difficult to provide larger spaces. Thick tree cover between site and Rajpath obstructs the view of Central Vista. Security concerns do not allow direct view of central vista from open terraces and balconies. The scheme is required to be limited to a part of IGNCA lawn as demarcated in new proposal for NPA by Union Ministry. Thus there cannot be direct physical connection to the ‘kala nidhi’ which is existing on site.
Opportunity •
•
•
•
The NCA can respond to IGNCA such that the two building compliments the functionality of each other. Working on an empty site (since existing buildings are proposed to be demolished) has its added benefits in terms of site planning and building design. Being a National Centre for Arts, the project can reflect diverse cultures by means of architectural elements and built form. Buffer space between site boundary and sidewalk on Janpath provides an opportunity to create offstreet parking (provided proper security measures are adopted)
Threat •
Being one of the highest public gathering building along Central Vista, site becomes highly sensitive in terms of security.
123
Design directives
7 Design Development
The site has vehicular access from 2 sides (shown in blue) and pedestrian access from all 4 sides
Site provides limited acea for construction due to heavy plantation of trees
The design has 2 major axis connecting both ends of site visually and by means of access as well.
Yellow area in diagram represent zone for performing arts, blue for visual arts and green for public spaces Fig 7.1: Design directives
124
Design exploration
Fig 7.2: Design exploration
Fig 7.3: Design exploration
Fig 7.4: Design exploration
Initial design scheme explored the possibility of interconnection between spaces, their functional relationship and overall structure following the constraints posed by the site.
125
Design stage #1
Fig 7.5: Design stage 1
126
National Centre for Arts, New Delhi
Pros Fig 7.6: Design stage 1 physical model
Fig 7.7: Design stage 1 physical model
•
The scheme very well responded to context in terms of typology of spaces, scale of form and materiality.
•
Position of courtyards gave a character to design. Each function has it dedicated open space which were connected to maintain visitor flow
•
The form seemed balanced in terms of open and built
Cons •
Different functions had different entry making it chaotic for first time visitor.
•
Some spaces were inadequate in terms of volume to accomodate the function within
Fig 7.8: Design stage 1 physical model
127
Design stage #2
Fig 7.9: Design stage 2
128
National Centre for Arts, New Delhi
Pros Fig 7.10: Design stage 2 physical model
•
This scheme retained the overall essence of initial design in terms of organisation of spaces.
•
The built was spread throughout the site making it lighter in the center which could act as public space.
•
The form maintained the hierarchy of access
Cons •
The design still lacked in providing cohesive flow at ground level
•
Volume of spaces were not meeting the demands
Fig 7.11: Design stage 2 physical model
Fig 7.12: Design stage 2 physical model
129
Design stage #3
Fig 7.16: Design stage 3 physical model
Fig 7.14: Design stage 3 physical model
130
National Centre for Arts, New Delhi
Fig 7.13: Design stage 3 physical model
Fig 7.17: Design stage 3 physical model
Fig 7.15: Design stage 3 physical model
Fig 7.18: Design stage 3 physical model
Fig 7.19: Design stage 3 physical model
Fig 7.20: Design stage 3 physical model
•
Functional distribution of spaces and their connections were further refined
•
Courtyards were replaced with atrium in response to Delhi climate
•
Ground level was resolved to allow visitor to experience entire site without having to get out or vice versa
Fig 7.21: Design stage 3 physical model
131
8 Concept & Design Translation
132
Working with all the requirements and expectations from NCA as summarized in previous chapters, this chapter contains the final design drawings. This design is an outcome of continuous effort to improvise and build upon merits of previous scheme with an attempt to minimize the cons.
Fig 8.1: Conceptual diagram showing functional distribution
133
Response to site
Response to context
Trees
CV typology
Currently the site has 219 trees as per survey which are scattered throughout. The design scheme is prepared giving maximum importance to the existing vegetation. In the scheme, 15 trees are transplanted and 11 are removed. Some new trees are added to compensate making a new total of 265.
Buildings around central vista follow a distinctive classical, symmetrical language. However, the design tried to break the monotony while preserving the key elements to maintain the continuity.
Access
The facade of the building is made up of red sand stone and Gwalior stone which forms the prominent architectural expression of the area. The building uses the said material to blend into the urban tissue.
Vehicular access has been provided from Janpath and Dr. Rajendra prasad road. Added access for pedestrians have been provided from IGNCA and central vista
Breaking the hierarchy
Noise Although 2 sides of sites is directly connected with large roads, still there isnâ&#x20AC;&#x2122;t much noise due to low traffic volume. Nevertheless, spaces like mela ground and amphitheater are placed away to reduce noise hindrance
Silent
Public attraction The project is visioned to be the most publically accessible building along CV, thus it is expected to draw visitors from rajpath lawn. Thus outdoor functions like melaground, amphitheater & public park is provided along CV to attract visitors
Climatic conditions Being located in Delhi, the design is required to address issues like extreme sun during summers, extreme winters and high rainfall. Thus, responses to discussed climatic issues are provided in various forms throughout the design 134
National Centre for Arts, New Delhi
Material continuity
The building along CV like Rashtrapati Bhawan, Secreteriat buildings followed a concentric system of dominance through hierarchy where different people were limited to a certain tier. However, NCA being a symbolic representation of â&#x20AC;&#x2DC;modern independent Indiaâ&#x20AC;&#x2122; follows a resilient form without a center
IGNCA IGNCA is another institute which was initiated with similar motive to preserve & promote indian artforms. Thus, in the scheme public functions like Amphitheatre, Mela ground and cafe, toilets, etc. are placed near IGNCA to promote sharing of resources.
Response to program
Response to artforms
Functional distribution
Facade as canvas
The design is broadly divided into 3 components i.e. performing arts center (Auditoriums & amphitheater), visual art gallery and support functions like cultural info. centre, library etc are provided such that it is located on intersection of the two. The support functions are accessible from both the performing & visual art centre.
Blank facade on multiple places are kept to be used as canvas for paintings. This will turn the facade more dynamic and viewers will be aware of different art-forms even bofore entring the gallery
Variable spaces
Segregation of visitors
In the scheme, three different types of auditorium are provided for different functions like drama, music concert, literature and mela ground, amphitheatre for open air performances. Apart from that, flexible spaces in gallery is provided to facilitate artforms of different sizes & kind
The design is designed considering different kinds of visitors at different times of day. Thus necessary segregation is provided to smoothly facilitate the functionality of each component
Workshop
Interfunctional connectivity All functions are connected by close internal loop such that a user isnâ&#x20AC;&#x2122;t required to find his way to particular zone from outside the building.
To create a connect between viewer and artist and introduce visitors to process of creation of arts, workshop spaces are provided where user can interact with artist and directly involve in/ witness the process.
135
Drawings
Fig 8.2: Ground level plan for NCA
Ground Level Plan
NTS
136
National Centre for Arts, New Delhi
Fig 8.3: First floor plan for NCA
First Floor Plan [+6000] NTS
137
Fig 8.4: Second floor plan for NCA
Second Floor Plan [+10500] NTS
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National Centre for Arts, New Delhi
Fig 8.5: Third floor plan for NCA
Third Floor Plan [+15000] NTS
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Fig 8.6: Fourth floor plan for NCA
Fourth Floor Plan [+19500] NTS
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National Centre for Arts, New Delhi
Fig 8.7: Fifth floor plan for NCA
Fifth Floor Plan [+24000] NTS
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Fig 8.8: Basement plan for NCA
Basement Level 1 Plan NTS
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National Centre for Arts, New Delhi
Fig 8.9: Basement plan for NCA
Basement Level 2 Plan NTS
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Fig 8.10: Elevations
Elevations
NTS
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Fig 8.11: Sections
Sections NTS
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Context Model
Fig 8.15: Context model [1:2000]
Fig 8.13: Context model [1:2000]
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National Centre for Arts, New Delhi
Fig 8.12: Context model [1:2000]
Fig 8.16: Context model [1:2000]
Fig 8.14: Context model [1:2000]
Fig 8.17: Context model [1:2000]
Model
Fig 8.21: model [1:500]
Fig 8.19: model [1:500]
Fig 8.18: model [1:500]
Fig 8.22: model [1:500]
Fig 8.20: model [1:500]
Fig 8.23: model [1:500]
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3D Views
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Fig 8.24: 3D views
Fig 8.25: 3D views
Fig 8.26: 3D views
Fig 8.27: 3D views
Jury comments The external jury was organized on 16th May, 2019 where jurors Vinod Gupta & Raka Chakraborty examined the projects. They appreciated the layout and visual axis maintained in the project. However, they felt that internal layout of art gallery could have been altered to make the space more interesting. Apart from that, juror Vinod Gupta added that the kind of sunshade proposed isnâ&#x20AC;&#x2122;t suitable for climate of Delhi and the designed gave more priority to cars than pedestrians. Finally, they commented that design is working however the research lacks on technology front.
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