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Nehru center for performing arts, aims to provide the planned city of Chandigarh a traditional outlook. As
this Indian city lacks the local street culture , this performing art center aims to make people aware about the
Indian tradition and culture, and conserve it to educate the up-coming generation. It will also help promote
tourism of Chandigarh.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Introduction
070901162 | Xth Sem |MSAP
2
Through the years, the art has evolved taking new shapes every time, converting and integrating through the passage of time. This gives to many
new forms of art. Art has survived many criticism as well appreciation in the test of time.
Today art is understood and appreciated by larger section of society. The Nehru center for performing arts at Chandigarh, attempts to be the
converging point and a national level platform for people who are interested in performing arts.
The site in Chandigarh is year marked at sector 34b by the Chandigarh development authority, this will be developed to cater to the surrounding
population and beyond.
The project focus on developing into a center that caters primarily to the performing arts, providing with space, infrastructure, knowledge recourse
and acting as a magnet to those practicing or interested in art. A potential attempt will be made to promote learning and interest towards the arts
through observation, interaction and practice.
Mr Rakeshwar Katoch, a theatre buff, said: The city has a potential to emerge as a major cultural centre in the North. All art forms need the
support of the state and neighbouring state governments need to get together with the UT Administration to form a common action plan for the
promotion of art and culture.
Sanjeev Singh Bariana
Tribune News Service
The future of performing arts will be shaped by many factors, but perhaps none is more important than the future structure of demand. The size and
shape of the market for performing arts has changed over time, reflecting shifts in demand that are stimulated by technological change as well as
social, demographics and economic trends in society.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra justification
070901162 | Xth Sem |MSAP
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Justification :
Justification of support for both capital and revenue funding has included one or more of the following reasons:
Cultural: to safeguard an aspect of cultural heritage; continuity of art forms, display of performing skills and sustaining national, local or
ethnic traditions; to retain and improve an existing stock of facilities and established companies for the performing arts, or to provide new
facilities to ensure cultural opportunities.
Economic: direct employment of staff and performers; benefits to secondary businesses such as poster and programme printing and material
supply; a widening of the tourist and conference market which, in turn, brings money into the town or city; an attraction to encourage
relocation, and location of organizations, institutions, industry and commerce in an area with subsequent employment benefits.
Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational
programme for schoolchildren, students and those in adult education.
Prestige: international, national, regional, city or town comparison; re-enforcement of regional identity emphasizing dispersal from
metropolitan focus.
Quality of life: performing arts as acceptable complementary activities to work and domestic obligations as a positive use of leisure time
which enriches life culturally and also socially.
Regeneration: part of a wider programme to revitalize an existing city or town centre or to assist in the formation of a new community, to
attract industry, commerce, institutions, housing, and so on.
Cultural Democracy: to stimulate and foster participation in the performing arts by all sections of a community, defined locally, as a creative
activity .
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Justification
070901162 | Xth Sem |MSAP
4
Aim:
Developing a performing art center at Chandigarh, Punjab, which facilitates, practice, teaching, research, display and appreciation of various art forms.
Objective:
To provide leadership on a national level as Indias premier performing arts, research and training centre through the presentation of Indian and
international art forms, the promotion of excellence and the preservation of Indias rich cultural heritage.
Development of a performing arts center providing the required areas and infrastructure to be able to display and promote the art. Designing a self
integrated and flexible space, and also ensure constant activity at the center, involving the community and public.
Project Outline:
Performing art center at Chandigarh, Punjab shall be a center for research, understanding and promotion of the performing arts. It shall cater to all
forms of performing arts stressing upon dance, theater and music also including the contemporary art form. It will also have a research center for
music and dance form. Provision for accommodation for a limited number of people will also be included in design.
Focus on multiple use of one space, convertible spaces mostly for community and public interaction. Landscape plays an important role in making
the planning and resolving the circulation, so it will be designed accordingly.The project envisages the creation of an environment for the arts, meant
exclusively for the arts and not for any one exclusive art. It is therefore meant to encourage in a broad sense all kinds of artistic pursuits.
From an architectural point of view the building will be planned in order to create an environment befitting the nature of the activities related to the
arts and their promotion. Apart from the functional spaces, therefore the creation of an ample amount of space for the interpretation of art by the
sensitive art- lover and the interaction between the people interested in the arts is envisaged. The mood and the ambiance of the built space will be
conductive for the reflecting over subjects and missing over art of the solitary thinkers mind. The architecture will be sensitive to art and yearn to be
an extension of it.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra SYNOPSIS
070901162 | Xth Sem |MSAP
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From the functional point of view the building will be designed to house the facilities required for the staging and presentation of various
disciplines of performing arts.
Through the years, the art has evolved taking new shapes every time converting and branching out to give birth to new forms. The art has
survived all test of time, and today it is appreciated and understood in all its forms by a larger section of people. Today people recognise the value
and scope of performing arts, and more than a type of means of entertainment people are taking it up as a subject to study and research.
The performing arts center at chandigharh, punjab attempts to be the converging point for all interested in the performance arts and a source for
information.
The site is in the heart of chandigharh, a planned city by architect le corbusier, and it is a flat tarrain, it lies in sector 34 B.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra SYNOPSIS
070901162 | Xth Sem |MSAP
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Performing Arts:
The performing arts are those forms art which differ from the plastic arts insofar as the former uses the artist's own body, face, and presence as a medium,
and the latter uses materials such as clay, metal or paint which can be molded or transformed to create some physical art object . The term "performing
arts" first appeared in the English language in the year 1711.
Performing arts
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing art
070901162 | Xth Sem |MSAP
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Theatre Dance
Theatre is the branch of the performing arts concerned with acting out Dance (from Old French dancier, perhaps from Frankish) generally
stories in front of an audience using combinations of speech, gesture, refers to human movement either used as a form of expression or
music, dance, sound and spectacleindeed any one or more elements presented in a social, spiritual or performance setting.
of the other performing arts. In addition to the standard narrative
Dance is also used to describe methods of non-verbal
dialogue style of plays, theatre takes such forms as
communication (see body language) between humans or animals (bee
plays, musicals, opera, ballet, illusion, mime, classical Indian
dance, mating dance), motion in inanimate objects (the leaves danced in
dance, kabuki, mummers' plays, improvisational theatre, stand-up
the wind), and certain music genres.
comedy, pantomime, and non-conventional or art house theatre.
Choreography is the art of making dances, and the person who does this is
called a choreographer.
Definitions of what constitutes dance are dependent
on social, cultural, aesthetic artistic and moral constraints and range from
functional movement (such as folk dance) to codified, virtuoso techniques
such as ballet. In sports, gymnastics, figure skating, and synchronized
swimming are dance disciplines while martial arts "kata" are often
compared to dances.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing art
070901162 | Xth Sem |MSAP
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Performing Arts in India:
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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Natya Shastra further divides classical dance into nritya- the rhythmic This was possibly the reason behind the origin
elements, nritya- the combination of rhythm and expression, and of devadasis (literally: servants of the deity), the earliest
finally, natya comprising the dramatic elements embedded in the performers of the classical Indian dances. They were supposed to
dance recital. To appreciate natya or dance drama, an individual needs pursue the dance forms devotedly and excel in them. At the
to possess sound knowledge, understanding and appreciation of Indian outset, devadasis were respectable women and highly talented
legends and mythology and folklore. Hindu deities like Vishnu, artists hailing from the highest strata of the society. They lived
Krishna, Shiva and Lakshmi, Rama and Sita are commonly depicted in and danced only in the temple premises their vocation enjoying
these dances. Each dance form also draws inspiration from stories great religious prestige. It was only much later that
depicting the life and traditional beliefs of the Indians. the devadasis condescended to perform in royal courts, in the
presence of the elite and the nobility.
Ancient Indian history reveals that several centuries before Christ,
India's art forms of dance, music and theatre were fairly well- A devadasi not only performed on all festive occasions, but also
advanced. The performing arts, i.e. dance and music reached the acme had to be present for the daily rituals, connected with the deity.
of their glory, during the reign of the Chola dynasty in Southern India. She was paid from temple funds; moreover the temple supplied
the food grains for her and her family. To render a realistic touch
Dance forms were nurtured with a purpose in the sacred premises of
a devadasi was ceremonially wedded to the deity. She was
temples. Temple dancing was imbued with the idea of taking art to the
consecrated to her lord and thus out of bounds for mortals.
people, and conveying a message to the masses. The temple rituals
necessitated the physical presence of mortal women (instead of the
ornate, carved figures of heavenly damsels, apsaras) to propitiate the
gods. The allegorical view of dance, used for the purpose of the
pleasing the devas, was gradually transformed into a regular, service
(with deep religious connotations) in the temples of the medieval
times.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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Dance forms in India:
A land of contrast and variety
India is about extremes, vastness, intensity and paradox - all are qualities that describe this ancient culture. The sharp peaks of the Himalayas, the
sweltering heat of the great Indian plain, the delicious cool of Kashmir, arid deserts and monsoons in the tropical southwest- all these contrasts and
many others are commonplace in India. Tiny villages where the slow pace of life remains the same as in centuries past are connected to teeming urban
centres by dirt roads that seemingly stretch to the horizon. Culturally too, India is teeming with variety. There are several subcultures thriving within
the composite Indian culture. This variety and diversity impart to the Indian culture. This variety and diversity impart to the Indian culture a mystical
dimension and rich spirituality.
There are many types of dance in India, from those which are deeply religious in content to those which are danced on more trivial happy
occasions. Classical dances of India are usually always spiritual in content, although this is often true also of Folk dances.
Kathakali
Kathakali literally means story-play and is an elaborate dance depicting the victory of truth over falsehood. A Striking
feature of Kathakali is the use of elaborate make-up and colourful costumes. This is to emphasize that the characters
are super beings from another world, and their make-up is easily recognisable to the trained eye as satvik or
godlike, rajasik or heroic, and tamasik or demonic.
Mohini Attam
The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most often the hero. The
spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular
movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find
adequate space for improvisations and suggestive bhavas or emotions.
The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam and Sammisram. These
names are derived from the nomenclature called vaittari. The Mohini attam dancer maintains realistic make-up and
adorns a simple costume, in comparison to costumes of other dances, such as Kathakali. The dancer is attired in a
beautiful white with gold border Kasavu saree of Kerala, with the distinctive white Jasmin flowers around a French
bun at the side of her head.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
11
Bharata Natyam
Bharata Natyam dance has been handed down through the centuries by dance
teachers (or gurus) called nattuwanars and the temple dancers, called devadasis. In
the sacred environment of the temple these families developed and propagated their
heritage. The training traditionally took around seven years under the direction of the
nattuwanar who were scholars and persons of great learning. The four great
nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers named
Chinnaiah, Ponnaiah, Vadivelu and Shivanandam. The Bharata Natyam repertiore as
we know it today was constructed by this talented Tanjore Quartet.
Kuchipudi
The dance drama that stil exists today and can most closely be associated with the
Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavata Mela
Natakam. The actors sing and dance, and the style is a blend of folk and classical.
Arguably this is why this technique has greater freedom and fluidity than other dance
styles.
Kathak
This north Indian dance form is inextricably bound with classical Hindustani music,
and the rhythmic nimbleness of the feet is accompanied by the table or pakhawaj.
Traditionally the stories were of Radha and Krishna, in the Natwari style (as it was
then called) but the Mughal invasion of North India had a serious impact on the
dance. The dance was taken to Muslim courts and thus it became more entertaining
and less religious in content. More emphasis was laid on nritya, the pure dance
aspect and less on abhinaya (expression and emotion).
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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Odissi
Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Govinda are
used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft flowing
movements to express specific moods and emotions.
The form is curvaceous, concentrating on the tribhang or the division of the body into three parts, head, bust
and torso; the mudras and the expressions are similar to those of Bharatnatyam. Odissi performances are
replete with lores of the eighth incarnation of Vishnu, Lord Krishna. It is a soft, lyrical classical dance which
depicts the ambience of Orissa and the philosophy of its most popular deity, Lord Jagannath, whose temple is
in Puri. On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly
visible.
Manipuri
This dance style was originally called jogai which means
circular movement. In ancient texts it has been compared to the
movement of the planets around the sun. It is said that when
Krishna, Radha and the gopis danced the Ras Leela, Shiva made
sure that no one disturbed the beauty of the dancing. Parvati, the
consort of Lord Shiva also wished to see this dance, so to please
her he chose the beautiful area of manipur and re-enacted the
Ras Leela. Hundreds of centuries later, in the 11th century,
during the reign of Raja Loyamba, prince Khamba of the
Khomal dynasty and Princess Thaibi of the Mairang dynasty re-
enacted the dance and it became known as Lai-Haraoba, the
most ancient dance of Manipur.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
13
Hindustani music
(Main article: Hindustani classical music)
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC.
It further developed circa the 13th and 14th centuries AD with Persian influences and from existing
religious and folk music. The practice of singing based on notes was popular even from the Vedic
times where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted.
Developing a strong and diverse tradition over several centuries, it has contemporary traditions
established primarily in India but also in Pakistan and Bangladesh.
In contrast to Carnatic music, the other main Indian classical music tradition originating from the
South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic
philosophy and native Indian sounds but also enriched by the Persian performance practices of
the Mughals. During the Medieval age especially in the Mughal era various Gharana became famous
due to excellence and class in type of musics like raga, almost all from the lineage of Tansen one of
the navratna of Mughal Emperor Akbar. Classical genres are dhrupad, dhamar, khyal, taranay sadra..
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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Carnatic music
(Main article: Carnatic music)
The present form of Carnatic music is based on historical developments that can be traced to the 15th
- 16th centuries AD and thereafter. However, the form itself is reputed to have been one of the gifts
bestowed on man by the gods of Hindu mythology. It is one of the oldest musical forms that continue
to survive today.
Carnatic music is melodic, with improvised variations. It consists of a composition with improvised
embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and in
the case of more advanced students, Ragam Tanam Pallavi. The main emphasis is on the vocals as
most compositions are written to be sung, and even when played on instruments, they are meant to
be performed in a singing style (known as gyaki). There are about 7.2 million ragas (or scales) in
Carnatic Music, with around 300 still in use today.
Purandara Dasa is considered the father of carnatic music. Sri Tyagaraja, Sri Shyama Shastryand
Sri Muthuswami Dikshitarare considered the trinity of carnatic music and with them came the
golden age in carnatic music in the 18th-19th century
Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja Iyengar (the father
of the current concert format), Semmangudi Srinivasa Iyer,TN Seshagopalanand more
recently Sanjay Subrahmanyan TM Krishna Bombay Jayashri etc.
Every December, the city of Chennai in India has its six week-long Music Season, which has been
described as the world's largest cultural event. It has served as the foundation for most music in
South India, including folk music, festival music and has also extended its influence to film music in
the past 100150 years or so.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Performing arts in india
070901162 | Xth Sem |MSAP
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Metropolitan centre:
Metropolitan centres are traditionally the main focus of cultural activity within a country, with a concentration of companies and facilities for the
performing arts, their organization, creative activity and education of performers, management and production staff. Such centres benefit from the
major concentration of population and national focus of transportation networks.
There are several categories as follows:
Opera house
National subsidized professional resident company in repertory or repertoire and visiting comparable companies of international standard providing
large-scale opera productions. Such a facility may be exclusively for opera or combined with ballet.
Ballet/dance theatre
National subsidized professional resident company as described under opera house, but exclusively for ballet and dance.
Concert hall
Classical orchestral and choral music, jazz and pop/ rock music, with the leading subsidized professional orchestras and groups. Either housing a
resident orchestra for their exclusive or seasonal use, or a touring facility hired by promotional organizations including the orchestras and groups.
Recital room
Medium- and small-scale classical orchestral and choral music, jazz and pop/rock music also with readings such as poetry. Either housing a resident
orchestra for a season or, more often, hosting touring companies and groups.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Commercial theatre
Drama and musical productions usually initiated by the management or promoting organization with long runs over several months. Such theatres
usually present new plays and musicals and originate the new productions.
They may also be initiated by the subsidized sector and transferred to the commercial theatre.
Arena
Facilities for the presentation of very large-scale pop/ rock concerts and other spectacles covering opera, music and musicals, hired by commercial
organizations who initiate and promote groups and companies as one-off events or part of a tour.
Drama theatre
National subsidized professional resident drama company in repertory, or repertoire and visiting companies of national and international standard,
producing new and established works.
Other categories
Universities and Colleges including Schools of Music and Drama, providing theatres and concert halls for their own and public use
Open-air auditoria for seasonal concerts and drama productions
Informal external spaces for street theatre, music and entertainments
Theatres with restrictions on company (e.g. Youth Theatre) and audience (e.g. club theatres with restricted membership)
One-off events including stadium concerts and festivals.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Entrance foyer
The entrance foyer may be required to accommodate the following:
ticket check if at entrance, and not at points of entry into the auditorium
information in the form of leaflets and other handouts describing productions and events, notice boards providing information on events and,
possibly, a reception/information desk
circulation and waiting area
seating (desirable for ambulant disabled)
directional signage directing the public to the various facilities (consider carefully colour, size and type face for clarity and for the visually
impaired and elderly)
supervision: some consideration needs to be given to oversee the entrance area by the staff in order to offer assistance and exercise control
exhibition and display: space for temporary exhibitions or wall display; display cases for merchandise and crafts
access to box office, crche, cloakrooms, toilets and sales, as well as meeting rooms and other public facilities
The public needs to be able to easily identify visually the main circulation routes to the auditorium and other public facilities from the entrance
foyer.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Foyer
The foyer provides the means of access to all parts of the auditorium and should have facilities for the public to sit, talk, walk about and meet
friends. These social aims can include also a legitimate level of self-display from formal promenading to a general awareness of those attending a
performance. The floor area is related to the capacity of the auditorium: allow a minimum of 0.6M2 per person for all the foyer areas, excluding
toilets, cloakroom and vertical circulation.
Public entrance
The front entrance provides the main access into, and egress from, the
building for the public. The entrance should be located along the main
access route and be clearly visible: the public should be aware of the
entrance by its location and signage. The entrance gives information
about the attitude of the management towards the public and can be
welcoming or intimidating, exclusive or embracing, clear or obscure.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Canopy: Provision of shelter at the main entrance from inclement weather with a protective cover over, and across, the line of doors. A
canopy is a useful device for gathering together pedestrian routes and dropping-off points if dispersed (Figure 13.2).
Entrance doors and lobbies: Two lines of doors reduce noise and draught penetration into the foyer; automatic doors are essential for
wheelchair users. The distance between the lines of doors should be a minimum of 2 M: several pairs of doors
Parking:
Landscaping:
Integration of all the spaces can be achieved by landscape, built form- such as
connecting corridors, pergolas, pavement design etc.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Signage's :
Standard signage's used for the building services, the signage's should reflect the cultural theme of the
design it should be placed in such a manner that people need not ask which direction to go.
Art gallery :
The gallery may be designed as a formal interior essentially for pictures, or
less formal and specific, allowing exhibitions to be created for the space.
Live Art should be considered, as should the use of gallery space for recitals,
drama performances and so on, in which case the acoustic characteristics of
the space would require particular attention. The whole of the gallery can be
the foyer space to the auditorium, with refreshment areas, toilets, etc.
off the gallery, thus making the gallery the focus of the public spheres.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Library :
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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Toilets:
Legislation provides a guide to the minimum provision: this is usually inadequate especially for women.
A general guide to the minimum requirements is as follows:
Men WCs minimum of 2 for up to 500 males, then one for each additional 500.
Urinals minimum of 2 for up to 100 males, then one for each additional 100.
Wash basins one for each WC plus one for each five urinals.
Women WCs minimum of 2 for up to 75 females, then one for each additional 50.
Wash basin one for each WC.
Also consider powder shelves, long mirrors and sanitary towel dispensers and disposal in womens toilets and provision for changing nappies
Allow for handdrying facilities: either electric warm air dryers, roller towels or paper towels with containers for disposal.
Separate toilet or toilets for disabled persons, containing 1 WC and 1 wash basin in each toilet, are essential provision.
Toilets should be located off the main circulation near the entrance lobby and also at each level of the foyer in a multi-level auditorium.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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The open stage forms may be classified into five broad categories:
End stage: the audience focused towards the stage within a rectangular box: the stage at the narrow end, with stage and audience in the same space.
Fan-shaped: the stage is encircled by the audience by 90. This level of encirclement allows the performer to command the audience and for the
performer to be seen against a scenic background by the audience.
Thrust stage: with the audience on three sides, semi-surrounding the stage.
Theatre-in-the-round: the audience surrounds the performance. Entrances by the performers are through the audience. Acoustically the performer
needs to project to the whole audience in every direction, which implies a limit to the maximum distance from stage to rear row.
Traverse stage: the audience either side of the stage.
Multi-purpose formats:
As opposed to an auditorium and platform/stage for a predominant type of production in a purpose-built facility, the brief may refer to more than
one type of production to be accommodated within a single format.
Also productions may require combination with non-performing arts activities. Each of the alternative uses will require specific provisions to be
made in its design and equipment; in platform/stage space; in orchestra space and modification of acoustics; in scenery storage and workshops; in
stage lighting and sound. While some degree of flexibility can be accommodated at reasonable cost and with success, there is a limit to the
multiplicity of use. Apart from design difficulties, the cost of providing for the different requirements and of operating a multi-purpose form may
become disproportionately high. The success of a multi-purpose format depends upon the compatibility of the various activities and the designer
must be rigorous in the assessment of the activities.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
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The viewer:
The horizontal angle of polychromatic vision is generally 40 degree without eye movements.
The horizontal angle to the projector screen at witch distortion on the screen becomes substantially intolerant is 60 degree measured to the
far side of the projected image .
LOCATION OF AUDIENCE
Audience will not choose a location beyond a line proximity 100 degree to the curtain at the side of the proscenium .
DESIRABILITY OF LOCATIONS BY AUDIENCE
Judged by the ability to recognize shapes, and confirmed by free audience, choice of seats, the following are the desirable locations:
A front center B- middle center C-middle side
D-front side E-rear center F-rear side
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
27
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
28
ACTION SPACE
Quick change 1) dressing room min 50sqft/ actor
space for dresser to help actor
location- immediate to the stage.
Confer with stage manager/ director 1) green room with adjoining kitchenette.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
29
A LOADING PLATFORM
DELIVERY DOCK
B LOADING DOOR
STOCK ROOM
RECEIVING AND
C SHIPPING SPACE
CARPENTER SHOP CRATE STORAGE
D
STORAGE SPACE
PAINT SHOP REPAIR SHOP
E SCENERY SPACE
STORE ROOM
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
30
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
31
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
32
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
33
Manage the show Stage managers desk- on stage near proscenium on working side.
Equipments- calls, phone, monitor, moving stage control etc.
Work the show Locker room
equipment-lounge furniture , adjoining toilets
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
34
ACTION SPACE
Fitted to set of scenery , stored on stage (floor / rack / shelves) Operated during show, repaired, struck and transported.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
35
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
36
Auditorium design:
The three-dimensional volume of an auditorium is conditioned by the limitations set by all members of the audience able to hear and see a
performance, and for the performers to be able to command the audience. Seating density, floor rake and seating layout are covered by legislation
to ensure a satisfactory means of escape in case of fire, and by an appropriate level of comfort for the audience. Performance organization requires
lighting, sound and broadcasting positions within the auditorium and a view of the whole performance area from control rooms.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
37
Auditorium acoustics:
The acoustic performance of the auditorium is a critical design requirement and needs to be considered as part of the initial brief. Acoustic
performance refers to the quality of the sound music or speech heard by each member of the audience, and also the performers on the
platform/stage. Design considerations for the acoustics of an auditorium, when the sound is not amplified, include:
Type of production: each type has its own requirements with different characteristics for music and speech.
Shape and size of the auditorium: the extent to which the audience surrounds the platform/stage;
seating capacity; number and depth of balconies; rake of the seating; for concerts, the proportion of length to width and height to width; for
opera, dance and musicals, the location of the orchestra pit; location of performance lighting and sound equipment and lighting bridges.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
38
Seating layout:
The seating layout in an auditorium depends mainly on the selection of format the relationship between audience and performance and the visual
and aural limitations associated with a particular type of production as well as the number of levels and sightlines. Other aspects which influence the
layout, and thereby condition seating capacity, include factors in the following sections.
Design of the individual auditorium seat
The design aim is to provide an appropriate standard of comfort during a performance. The range of human body dimensions is wide, while a single,
or restricted, size of seat is normally provided. Also tolerance levels vary between generations and indeed between different performing arts: the
young can tolerate simple seating found less comfortable by older age groups,
whereas those attending concerts of classical music appear to expect a level of comfort higher than those at a drama performance. The dimensions of
a seat are generally based on a median characteristic of the anticipated users, which varies by age and also by nationality.
Minor variation is achieved by the upholstery and adjustment of the back and seat pan material when the seat is occupied: otherwise the seat
selection is a common size within the whole, or part of, the auditorium layout. Probably the best that can be achieved is in the order of 90 per cent of
the audience within an acceptable range of comfort.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
39
Seating density
Density of seating can vary (Figure 12.20): seats with arms and
a tippable seat can occupy an area as small as 500 mm wide,
and less with seats without arms, with a row to row dimension
of 760 mm, but can be as large as 750 mm wide by 1400 mm.
This is a variation from 0.38M2 to 1.05M2, with these
examples, and the increased dimensions means fewer seats
within a given area and reduces the seating capacity. The
minimum dimensions laid down by legislation offer a low
standard of comfort for the audience. Comfort needs to be
considered, especially knee room, and these dimensions should
not be taken as the norm. Social cohesion of the audience may
be lost if the space standards are too high, with the performer
being less aware of the grouping and more the individuals.
Travel distance
The evacuation from each level of the auditorium within a limited period of time is required in case of a fire. For traditional seating the travel
distance is 18 M measured from the gangway: for continental seating, 15 M from any seat. The aim is to evacuate the audience of each level within
2.5 minutes.
Exit numbers
At least two separate independent exits must be provided from each level within the auditorium. The exits should be located with sufficient
remoteness from each other to allow alternative directions of escape. The number of exits per level are two for each level within an auditorium with
the seating capacity up to 500: an additional exit is required for every further 250 seats as
defined by legislation. Egress in case of emergencies should follow the natural flow of movement from the
seats away from the platform/stage.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
40
Exit widths
The exit widths are laid down by regulations. The base calculation is 45 persons per minute per unit width of 520530 mm. The minimum total
exit widths required are outlined
Exit route
The exits from the auditorium must lead directly to a place of safety. The exit route must be the same width as the exit and be a consistent
width avoiding bottlenecks. The exit doors from the auditorium, any doors within the route and the final exit doors must open in the
direction of egress. Staircases within the route are subject to the following conditions: the maximum number of steps, 16: the minimum
number, 2; tread/riser to be 275 180, as a recommended ratio, and consistent.
Ramps should be at a pitch of 1.15, in lengths of 10 m maximum with intermediate platforms. Exit routes for wheelchair users are required
to be on the flat or ramped if there is a change of level, and may be required to be separate from the other routes. Routes are to be enclosed
by fire-resistant material within the building.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
41
Gangways for use by wheelchair users require to be flat or ramped: the pitch should not exceed 1.15 for a
ramp with a maximum distance of 10 M. Beyond 10 M, the regulations require a flat platform, which in a
large auditorium may be inconvenient as it may break the line of the seating banks. Permission will be
necessary to have a continuous ramp. For a wheelchair user moving from a ramped gangway to a flat
platform will require an intermediate ramp. Gangway widths are established through the regulations
covering fire escape from auditoria. The minimum width though is taken as 1100 mm unless used
by wheelchair users where the width increases to 1200mm.
Handrails will be required to a stepped gangway adjacent to an enclosing wall; to a stepped gangway if a
drop at the side; at landings, rear of rostra and where there is a drop of more than 600 mm; where the rake is
above 25 to a gangway the ends of the rows served
by the gangway may require a loop rail
Rails are usually 900 mm above the pitch line and 1200 mm above landings, with panels either solid or sub-
divisions which may require a 100mm maximum gap.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
42
Performers access through the auditorium
Performers may have access to the stage through the auditorium during a performance by way of:
access along the gangways, with stepped access onto the stage if raised;
access through vomitories exclusively for performers.
Details of a performers vomitory are shown in
The performers vomitory can be filled
to accommodate auditorium seating if not in use.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
43
Broadcasting requirements
Television cameras
External broadcasting television and radio and recording in auditoria may be a
requirement especially in those buildings for the performing arts housing
or hosting national and regional professional companies. Television cameras require to be
located in the seating areas either in specific
locations, on platforms, or by displacing seats.
Adaptation
In multi-purpose auditoria where different formats or
uses are combined then all or part of the raked seating
will require to be movable. This can be achieved
by forming a structure off a flat floor, and include
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
44
Rostra: Complete raked units with either permanent or removable seats, on wheels or air pallets for ease of
movement into storage areas when not in use.
Sectional rostra: A set of boxes able to be built up to form raked units with removable seats. The storage
requirements are less than complete rostra.
Kit of parts: Scaffolding or equivalent set of components able to form raked levels to receive seating. This is the most
flexible system, it has efficient storage requirements, but is labour intensive.
Hydraulic lifts: Mechanical method of raising sections of the flat floor to form a rake floor to receive
seating. Loose seats, secured in position when required for
Performances.
Sightlines: seated audience
For the whole of the audience to have an uninterrupted view of the performance and its setting over the heads in front and clear of overhangs,
the section and plan of the auditorium needs to conform to certain limitations set by vertical and horizontal sightlines.
Vertical sightlines
Vertical sightlines may be calculated by establishing:
Lowest and nearest point of sight on the platform/ stage for the audience to
see clearly. The platform/stage height, when raised, can range from 600 to
1100 mm above the lowest level of the auditorium and point can be the
leading edge, or setting line for the performance, at or above the
platform/stage level. If a forestage is part of the proscenium or end stage
formats then point needs to relate to the forestage. If an orchestra pit is
included between stage and seating then point may be regarded as the
conductors head. With a symphony orchestra in a concert hall, the ability to
see each musician at the front of the stage (who partially masks the other
musicians) may not be critical and point P may be taken as over 600 mm
above the platform level at the front edge.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
45
Horizontal sightlines:
Horizontal sightlines are to be considered only with a
proscenium stage and possibly end stage and platforms
for classical and choral music. Given a particular
performance area, sightlines will limit the width
of seating that can be provided in the auditorium.
Conversely the sightlines from the side seats restrict
the amount of the performance area that can be used.
The narrowest dimension of the proscenium opening,
if adjustable, should be taken as the basis of the
calculations.
Each member of the audience should have a direct
view of the performance focused towards the centre
of the performance area. Curved or angled rows
direct the focus of the audience towards the centre.
The curved rows radiating from the circular stage of a
Greco-Roman theatre is a clear and simple example
of this form with the geometry emanating from a single
Without head movement the arc to view the whole
point. With a proscenium stage the geometry of
of the performance area on plan is 40 from the eye.
the performance area varies from the setting out
An acceptable degree of head movement is debatable,
point of the seating; the audience should be contained
where the seat is focused away from the stage, as
within a 130 angle peripheral spread of vision
with side galleries, requiring the head to be turned by
from the performer at the point of command on the
the member of the audience .
performance area for opera, dance, musicals and
Drama.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
46
Ventilation
The experience of enjoying a performance is influenced Ventilation supply rates of air relate to the need to
by the quality of the ventilation in the auditorium, provide fresh air at a rate of change to achieve suitable
and the avoidance of draughts, stuffiness and comfort conditions: rates are subject to legislation
noise of mechanical ventilation. Health needs include expressed as a minimum of fresh air supply per
respiration while comfort needs include maintaining person, including a proportion of recycled conditioned
body heat, control of airborne contamination and air. Air change rates appear to vary according
removal of odours. There is also the cost of the ventilation to the authoritative body.
and associated questions about heating which The basic principle of mechanical ventilation lies
can contribute significantly to the running costs. with bringing air into an auditorium, with air which is
The approach to the ventilation of an auditorium fresh, clean and at a similar temperature, achieving a
reflects its size and shape (number of balconies in particular), number of air changes per hour when the auditorium is
level of flexibility (different audience/performance occupied. This is complemented by the extract of air to
relationships), the type of construction of achieve the air changes. There are different locations for
the auditorium enclosure and external climate conditions. the introduction of air into an auditorium and for the
The initial design decisions lie with defining the extraction of air.
noise criterion and number of air changes per hour to
be achieved in the auditorium. The acceptable level of
noise can vary according to performing art: for drama
the level can be NR25 while for orchestral music the
level may be required to be much lower at NR20. For
recording, the level would be even lower with a recommended
NR15. This criteria refers to the background
noise level and not the quality of the sound as experienced
by members of an audience.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
47
Lighting:
Lighting within the auditorium covers the following:
Performance lighting Lighting positions within the auditorium at ceiling level, on side and rear walls, balcony fronts and at low level within the
seating; the lighting direction is towards the platform/stage with clear projection; each position requires ease of access for technicians to change and
adjust, with lighting bridges at ceiling level and ladder access to wall locations; follow spotlights require a location at the rear of
the auditorium or from a lighting bridge at ceiling lighting is an integral part of the staging of all types of production, except orchestral and choral
music, and is subject to changes within a performance controlled by operatives at the rear of the auditorium . The tradition for orchestral and choral
music is for the platform to be illuminated during the performance with a general and fixed level of lighting: however this may be changing
with, say, follow spotlights as an increasingly common feature.
Auditorium lighting: For illumination of circulation routes and seating areas for the audience to move around the auditorium, read programmes,
and so on; decorative lighting emphasizing architectural features within the auditorium. Auditorium lighting is usually dimmed and out during the
actual performance for all types of production except for classical and choral music, where the tradition is to dim the lights only.
Emergency lighting: An illumination of the circulation routes within the auditorium during a performance, with the luminaires located at ceiling
level or/and at a low level incorporated into the design of the gangways; exit signs and emergency directions at points of egress in the auditorium;
lighting of the auditorium at times of emergency.
Working lights: general illumination of the auditorium for cleaning and maintenance as a separate system during times when the auditorium is
not used for performance and rehearsals.
Directors desk lighting: supply of power within the auditorium to serve temporary location of directors desk during rehearsals. This is not
usually applicable for classical music.
Cue lights: at entry points into the auditorium.
Blue lights: areas within the auditorium which will be accessed during the performance by technicians and performers require lighting but at
a low level with a blue light to avoid distraction to the audience. This covers lighting bridges and entry points into the auditorium.
Ease of access is required to service all luminaires.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
48
Sound equipment:
The sound equipment described in the following sections may be required to be incorporated into
the auditorium design. Control rooms for performance sound, broadcasting and recording are
discussed under Performance Organization
Sound reinforcement:
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
49
Public address
Loudspeakers may be required within the auditorium for announcements to the audience as a separate system.
Rehearsals
Loudspeakers may be required, usually located at the rear of the auditorium, for use during rehearsals on the stage, so that the director located in the
auditorium can communicate with the performers on the stage. This requirement tends not to be applicable for orchestral and choral music rehearsals,
or for small auditoria.
Fire protection
The enclosing walls and floors of the auditorium should be fire-resistant as should the doors and other openings in the walls. Other aspects to be
considered,include:
non-combustibility of materials including finishes and seating
detector system: smoke detectors in auditorium and associated voids
extinguishers: hose-reels, portable extinguishers; automatic sprinkler systems will not be allowed over seating areas
alarms: connected to automatic detector system and central indicator panel and, possibly, direct link to local fire station; alarms should be visual
(flashing light) in auditorium and not audible.
Fire precautions should be discussed with the local fire authority and fire insurers
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
50
Structure:
A large span structure will be required, capable of carrying shaped ceiling, lighting bridges and ventilation ducts. Floors will be sloped, raked,
dished or, if a multi-purpose auditorium, flat. Balconies introduce additional long spans able to carry heavy loads. For sound insulation purposes the
auditorium walls will have to be substantial, which suggests load-bearing construction.
Ceiling zone:
The ceiling and ceiling zone are mainly determined by functional needs and include the following requirements:
Acoustic requirements: Profiled reflector panels and possible adjustable diffusers to ensure distribution of sound over the whole seating area.
For non-amplified music the reflectors will need to be suspended over the platform as well.
Lighting requirements: Access and supporting framework for performance lighting, house lighting and also working lights and emergency
lights.
Ventilation requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of
access for servicing.
Production requirements: For opera, dance, musicals and drama, a grid and pulley suspension system for flying or suspending scenery over
forestage, including access by technicians.
Fire control requirements: Alarm system in voids;
fire dampers in ducts.
Seating capacity:
The maximum capacity within an auditorium depends on the selection of format and the aural and visual limitations set by the type of
production. Other influences on the calculation include, levels, sightlines, acoustics, circulation and seating density, as well as the size and
shape of the platform/stage (to be described in the following section). To maximize the seating capacity within these limitations, sightlines
may be compromised so that, say, 10 per cent of the audience experiences 90 per cent of the performance area. This is a debatable issue
mainly associated with the proscenium format, where, to achieve an intimate character in the auditorium, a desire to provide
perfect sightlines for everyone may have to be overridden. The actual seating capacity depends on the ability to attract audiences which
may be less than the possible maximum. Also the potential peak demand could exceed the selected capacity on a particular evening: the aim
though should be to spread attendance across less popular days, or extend performances over a longer period of time rather than increase
the capacity over a short duration.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
51
Safety curtain:
In case of fire on the stage, traditionally it is necessary to separate
the stage areas from the auditorium, with the proscenium opening
being closed by a safety curtain. The normal form of safety curtain
is a rigid type which is suspended immediately behind the
proscenium opening, running between side tracks and dropping
onto the stage front from the flytower The safety curtain can be on
the straight line of the stage separating the orchestra pit, as part of
the auditorium from the stage, or on the line of the rail to the
orchestra pit so that when the pit is exchanged for an apron stage it
is accommodated within the stage area. If there is a curved or
angled pit rail then the safety curtain should follow the same line.
The safety curtain tends to be obligatory for auditoria with a
seating capacity over 500, as outlined in the building regulation.
The need for a safety curtain is historically-defined, based on pre-
electric lighting and extensive use of combustible materials on the
stage. The continued use of the traditional barrier of the safety Access to the stage: performers
curtain to separate the stage volume from the auditorium has been The door leading from the dressing rooms for the performers should be
questioned. Alternatives include a sprinkler system along the line located down stage of the prompt side (PS) as the primary point of entry to
of a proscenium opening and/or controlled smoke extract within the stage, with a cross-over behind the stage, and at least a second point of
the stage volume as well as away from the stage in the auditorium. entry on the non-PS side. All entrances to the stage require lobbies as sound
and light locks. The entrances should be located so as to leave a maximum
amount of clear wall space. Access is also required to the sub-stage by
performers from both sides of the performance area and possibly also from
the auditorium, which may require steps at the side of the front of the stage.
With opera, there are a large number of performers including principals,
chorus and dancers: separate access points should be considered for each
group.
.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
52
Orchestra pit: opera, musicals, dance:
The orchestra for opera, musicals and dance is in a pit between the stage and the audience. The limiting factor is for the conductor to be seen by both the
singers and dancers on the stage and the musicians. The audience requires to hear a balance of singers and
orchestra, especially for opera. Amplification in musicals makes this requirement less of a necessity. Allow 1.3M2 average per player, 5M2 for the piano,
10M2 for tympani and percussion and 4M2 for the conductor. The actual production will have specific
orchestral requirements with variation in the size and composition of the orchestra. The conductors eye level must not be lower than stage level when
seated on a high stool.
To minimize the gulf between stage and audience the pit can extend under the stage
front for a distance no greater than 2 M. The soffit of the overhang should reflect the
sound outward into the auditorium. For opera, the pit should be designed for a
maximum of 100 musicians: for musicals, 60; for dance, 6090. The numbers could be
less with touring companies. The floor level of the orchestra pit should be adjustable,
between 23 m, below the stage level to suit the different requirements of the
musicians and directors. The fire separation between auditorium and stage
must be maintained including the entry point into the pit: access must be possible from
both ends. The orchestra pit requires its own independent ventilation system, locally
controlled. Lifts may be required to reduce the size of the pit, and its acoustics.
The orchestra pit requires acoustic treatment and working lights, as well as the socket
outlets for lighting to music stands.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
53
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
54
Conclusion
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Literature study
070901162 | Xth Sem |MSAP
:
KALA ACADEMY, GOA
LAYOUT:
Four entries to the site.
Boat jetty provided on the river side.
Coverage is about 40%
Well defined pedestrian and vehicular systems
Includes the cafeteria, garden and amphitheatre.
Site is divided into main building ,service building, muktangan, parking
area, the exhibition space.
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Case study
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56
BUILDING STYLE AND CHARACTER:
Designed by ar. Charles correa.
Importance to the process of moving through the spaces in a building.
Built form has been kept low ranging from one to three floors.
This is further enhanced by the use of parapet walls for upper floors, which
emphasize horizontally.
The 'pergola 'above the entrance acts as an extension to the foyer of the main
auditorium and amphitheatre.
Use of coffer slabs and parapet walls
Extensive use of specially designed seating
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Case study
070901162 | Xth Sem |MSAP
57
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Case study
070901162 | Xth Sem |MSAP
58
D.M KALA MANDIR (A. C AUDITORIUM)
Seating capacity 1000 (1300 sq.m )
Orchestra pit- 7.2 x 2.1 m
Variety of acoustical conditions ranging from speech, plays to sitar recitals and orchestral arrangements
Walls of the auditorium are painted illusions of an old goan theatre
Stage is 80cm high from the first row.
Raking height varies from 10-20 cm
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Case study
070901162 | Xth Sem |MSAP
59
MINI OPEN AIR THEATRE:
Capacity-300 people.
Used as an outdoor classroom and meeting space
OAT seating has a tread of 85cm and rise of 45 cm depth.
Farthest seat is 6m away and no amplication required.
Two aisles run along either end. Width -120cm
The steps have 15cm risers and 28 cm treads.
Square shape stage is and has an area of 7.5 x 7.5 m
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Case study
070901162 | Xth Sem |MSAP
60
BLACK BOX:
Seating capacity - 200.
Area - 175 sq.m.
Used for experimental productions, music concerts, meetings
and amateur performances.
Also used as a recording studio.
Control room and a green room provided.
Black box lobby is also provided.
ADMINISTRATION:
Administrative area is on the first floor.
The area divided into closed and open cabinets
Total area -500 sq.m.
PREVIEW THEATRE:
Capacity - 24.
Used during IFFI for special screening.
Has got a jury room and projector room attached.
Particle board has been used for acoustical effect.
ART GALLERY:
Running wall space - 30 x 1.50 mts
Carpet area of gallery 90 sq.mts
The exhibits are displayed on the wall on four sides.
Lighting features are very normal no facility to hold a good exhibition.
Adjustable cove lightings are used in gallery
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Case study
070901162 | Xth Sem |MSAP
61
LIBRARY :
area- 135 SQ.M
Library is in proximity with mini oat.
Books are raked in glass shelves
CAFETERIA :
Capacity for 100 members
Square table are provided each with 4 seats
3 sides open in to the outdoor landscape TEACHING STUDIO:
It is accessible from all theatre meeting room - 45 sq.m All the music studios are of the same size 3.3 x 2.6ms
Central air conditioning is provided for all class rooms.
Acoustically treated classrooms with the same type of
padding provided for the walls and ceilings.
Three walls are faced with linen material and glass wool, the
rest is paneled with wood particle board
PARKING FACILITIES:
Parking facilities is provided on the south-eastern side.
Nearly 250 public parking are provided.
Special VIP and staff parking provided.
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SERVICES:
The service buildings (AC plant and generator room) are provided on the western corner of the site without disrupting
building functioning
Two separate service entries have been provided.
generator room and the other
eastern corner of the site.
The eastern entry caters to the need of the amphitheatre and the canteen.
A loading deck has also been provided here
The septic tank is provided underneath the garden.
LANDSCAPE:
Beautiful lawns form the main part of the site. Trees are provided aptly at the front side of the building.
Specially designed benches and lamp posts line the path Along the river side.
ANALYSIS
The layout and the building zoning provided are excellent
Good acoustical treatment
Flow of spaces has resulted in a good built-open relationship.
Good use of site features has successfully made the public spaces interesting by
use of sculptures, paintings, seating etc.
The cafeteria is the most active space with good view to the river.
Vehicular and pedestrian ways properly defined.
Service blocks are separated
Security measures provided are minimum.
Signage provided is minimum.
The trees have to some extent blocked the view to the river
Public spaces too large.
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070901162 | Xth Sem |MSAP
NATIONAL CENTRE OF PERFORMING ARTS,MUMBAI
AUDITORIUM :
Jamshed bhabha theatre The NCPA audio & film archives
Tata theatre Recording studio
Experimental theatre Library
Dance theatre godrej
Little theatre
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SEATING CAPACITY
JAMSHED BHABHA THEATRE Total capacity- 1109 seats
STAGE
Stage entry
From east & west foyer 2 Nos. (Stage Right & Left)
Floor Hardwood timber flooring on MS framing (No traps, No revolve)
Size 23.7m (w) x 14.6m (d) (Behind house-curtain)
Top-of-stage from 1m auditorium level
CONTROL ROOM:
Location Rear of the auditorium behind glass window; partially openable
divided into 4 compartments inter-connected through common
passage
Compartment 160 sq.m.
Compartment 228 sq.m.
Compartment 310 sq.m. (Light Control Cubicle)
Compartment 445 sq.m.
Power supply 18 kW, 30 Amps per phase
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MISCELLANEOUS SPACES
Foyers at two levels.
GROUND FLOOR (LEVEL 0)
Area 930 sq.m.
Height variable, minimum 2.5m
Elevator 1 (West Foyer)
Accessory electric 9 kW (East Foyer) Lighting supply
Load 15 Amps per phase 9 kW (WestFoyer) Lighting load 15 Amps per phase
Service Counter 2 (one Front Foyer and one in West Foyer) MAIN ENTRY OF THE JBT FOYER AND THE FOOD COUNTER
FIRST FLOOR (LEVEL 1)
Area 465 sq.m.
Height variable; minimum 2.5m ORCHESTRA PIT
Service counter 1 (East Foyer) Forestage orchestra elevator 19m (w) x 4m (d) : travel -2.9m(below stage),
MUSEUM 0.0m (auditorium level) to + 1m (Stage level);locking @ 400mm increments(9)
Area 165 sq.m. Capacity 60 musicians
Height 5.45m Below-stage pit, fixed portion 15.4m (w) x 4.2m (d) x 3.1m (h)
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TATA THEATRE:
SEATING CAPACITY
Total capacity -1010 seats
Capacity reduced in the following cases:
Use of in-house
sound mixer/monitor Reduced by 7 seats Sound System
8-Channel audio mixing console
Basic sound system for speech and music reinforcement
STAGE
Floor Hardwood timber flooring on concrete
Size 9m (d) x 17.5m (w) at its maximum width:
Height 3m at upstage: 6m at downstage rotatable stage
FOYER MAIN ENTRY TO THE THEATRE Operation electronically controlled
Rotation 180
Rotation time 80 sec.
DRESSING ROOMS
Ground floor- Solo rooms 4 (11.6 sq.m. each)
Mezzanine- Group rooms 2 (23 sq.m. each)
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EXPERIMENTAL THEATRE SEATING CAPACITY
285 seats maximum (variable)
Plastic bucket-chairs (blue) on modular wooden tiers
STAGE
9.7m (w) x 7.3m (d) x 0.7m (h) maximum
Variable configuration; modular wooden platforms
FLOOR
Concrete floor 19.20m (l) x 19m (w)
Floor-to-grid height (Catwalk) 9m (h), average
CONTROL ROOM
Behind glass observation window at first floor level
LIGHTING
Electronic light dimmer 1
Specifications
Lighting console -Phoenix Cantor-48 ,48 channels (ADB make)
MISCELLANEOUS SPACES
Foyer (non A/C)
Size 425 sq.m ; height 3m
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DANCE THEATRE GODREJ SEATING CAPACITY
185 seats
STAGE
Floor Timber flooring on MS slotted angle frame;
0.65m from auditorium level
Wing-to-wing 9m (w) x 5.6m (d) height: 2.34 m
WING SPACE
Stage- right 3.55m (w) x 6.7m (l) height: 2.34m
Stage-left 2.2m (w) x 6.7m (l) height: 2.34m OUTER AREA OF THE THEATRE
Cross-over space 14.9m (l) x 1.1m (w) height: 2.34m
Proscenium opening 9.55m (w) x 2.40m (h)
House curtain Maroon velour; motorized travel
MISCELLANEOUS SPACES
Foyer( non-A/C)
Area-158 sq.m
STAGE OF THE THEATRE AND FIXTURES
Sunken Garden 232 sq.m
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STAGE
Floor timber flooring on concrete slab;
0.8m (h) from auditorium level.
Size with side wings and 6.66m (w) x
5.47m (d) x back concertina flat 3.96m (h)
Downstage 3.08m (h) upstage
WING SPACE
Stage-right 1.1m (w) x 6m (l) x 3.08m (h)
Stage-left 1.0m (w) x 6m (l) x 3.08m (h)
Cross-over space 8.7m (l) x 0.6m (w) x 3.08m (h)
Proscenium opening 5.85m (w) x 3.96m (h)
House curtain Maroon velour; motorized travel
DRESSING ROOMS
Ground floor 1; 8.5 sq.m
First floor 1; 15.8 sq.m
MISCELLANEOUS SPACE
Foyer (air-conditioned)
Size 13.3m (l) x 5.6m (w) x 6m (h)
Area 74.5 sq.m
VIEW OF LITTLE THEATRE
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LIBRARY
RECORDING STUDIO
Studio is equipped with state-of-the-art multi track
recording equipment based on the Pro Tools HD platform
Main recording hub , interconnected to all five theatres
through fiber optic cable spreading an area of 24,000sqm.
OUTER AREA OF JBT OUTER AREA OF TATA THEATRE WAY TO THE BASEMENT PARKING
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USE Can host any event from Indian music , dance and Ideal both for traditional
staged Indian epic and other art forms. folk and performance type
classical concert to presentation
westerns dance
SEATING 1190 1010 300
SPECIALITY Heavily ornamented Fan shaped, rotating stage, Flexible seating, stage unit
interiors, with orchestra and the convex concave can provide complex
pit. ceiling as well as wall asymmetrical seating
provide with even arena.
distribution of sound.
FEATURES Stage craft has 33 fly bars Built in thrust shape, based Additional balconies on 3
due to which multiple on the seeing pattern of sides with 50 seating
backdrops can be provided Indian audience, fan capacity, situated at a
and lighting facility can shaped plan, height of 13 feet. Ceiling
change according to the grid frame and catwalk
requirement. Also has 3 system
conference room large
foyer spaces, a museum
and a black box, which is
the ticket and event
information system
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TRIVENI KALA SANGAM
INTRODUCTION:
Triveni kala sangam was founded in 1952 by Smt. Sundhari Sridharni, as an academy of dance,
music and painting with the aim of reintroducing traditional forms of expression into Indian
life.
Each of the functional units of the complex its, theatre, classroom, studios and galleries is
individually articulated in the building massing
LOCATION:
Triveni kala sangam is located on 205, Tansen Marg, New Delhi.
It is the cultural core of the city with similar buildings like Sri RamCentre for Arts,
Rabindra Bhawan and Sangeet Bharati located close by.
ACCESS:
Access to the site is form the Tansen Marg, the road that leads to the Bengali Market.
There is not much heavy traffic on this road.
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PHASE I- houses the music and dance studios, an O.A.T, a library, caf, exhibition galleries and the administrative areas.
PHASE II-comprise of an auditorium for 200 people, painting and sculpture workshops and residential apartments
The building layout is influenced by 2 major factors-
Large no of functions to be handled on a small site
A high degree of flexibility required for various functions. The building has been perfectly designed in a relatively small site of one acre
following individual articulation of functional units in the building massing.
On entering the lobby the principle areas of interest like art galleries, auditorium, OAT etc is visible at once.
The two heavy massed blocks rise up to 4 storeys and are a response to tight program within a tight site.
EXHIBITION GALLERY:
It is located right next to the main entrance.
The gallery is curved in plan and is supported on a beam-column structure.
The displays are hung on the walls
A special framework of wood is attached on the roof, which has spotlight on it.
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MUSIC STUDIOS:
The music studios are used for teaching instrumental and vocal music.
There are 3 studios in all, each 15'-0"x15'-0", two for instrumental and one for vocal.
These studios are located on the second floor. The access is from a 6'-0" wide singly loaded semi-open corridor,
which overlooks the O.A.T below.
The flooring is bare except for mattresses on which the artists and students sit.
Storage space is provided along one length of the wall, which is adequate.
PARKING:
There is no parking space in Triveni Kala Sangam. Vehicles have to parked
main road and parking space is also not sufficient
LANDSCAPING:
The whole complex is well landscaped.
Three well landscaped lawns in front of the building is contrasting with its
external features.
The whole environment of the complex is calm and peaceful.
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ART HERITAGE:
Art heritage or a exhibition hall for visual art is located in the basement floor.
The hall is L type in plan.
The space is well lit and has good circulation area within.
the ground floor with the AC, green rooms, art room, stores etc, below.
It is a proscenium theatre with the actors and audience in separate spaces.
The side walls have teakwood paneling, whereas the rear walls, stairwells and railings have sound absorbing treatment of teakwood states over fiber glass
wood insulation.
The ceiling is coffered in expose concrete with a few acoustical panels, placed randomly.
The control room is located behind the audience seating. It includes both south and light control.
The lights for the stages are
concealed in the depth of the coffers and are not visible to the audience.
The seats are placed over precast slabs, combining the built in AC ducts. This leads to unusually high ranking of seats for a hall of this size.
As the AC is fed through ducts below the seats, it causes chill at the audience feet.
For exclusion of external noise, ducts are treated heavily internally with sound absorbing lining and externally with plaster.
OAT:
The OAT is located between the
teaching corridor and art gallery.
It has a capacity of 350-400 people.
C e n t e r f o r p e r f o r m I n g a r t s
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Jyotsna Mishra Case study
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BHARAT BHAWAN , BHOPAL
Selection as case study:
The only center for folk music in India. To study the opens in plan and courtyard style architecture.
Terraced planning, and site responsive design.
76
Charles Correa the architect found here the possibilities of a series of terraced gardens,
which would be seen cascading down to the lake. The visitors enter at the highest level and
walk down a pedestrian spine, flanked by a pattern of courtyards, to reach the various parts
of the complex. Each curve and space defines itself. Each of the part of the building is
distinct yet flows easily one another, linked by meandering paths. The total effect is one of
the surprise and pleasure. There is always a moment when the eye can rest and the mind
contemplates.
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Court of Antarang :
Onone enters this court either fromthe circulationaxisfromthecourtoffountain.The overbridge is the main gate for the
entrance tothis court. The court leads to GRAPHIC AREA, PERMANENT GALLERY &ANTARANG.The court
performs as an extension and a out space,passage, room for the visitor waiting to gain entry in the
permanent museum.
ROOPANKAR is the only museum of its kind in India which houses contemporary folk and
tribal art together with urban art. Roopankar has two fully equipped workshop for printmaking
and ceramics. There are about 6000 tribal and folk art objects and nearly 2,500 urban art work in
the collection of Roopankar museum.
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RANGMANDAL is a professional repertory which has at its disposal a fully equipped indoor auditorium, Antarang, an open air
threatre Bahirang, with a spectacular location on the lake, and a studio theater Abhirang. It owns an impressive theater library and data
bank.
VAGARTH is the centre of Indian Poetry. It aims to collect and preserve the ancient and contemporary poetry in Indian languages, whether in
the spoken, written or in the printed form.
Vagarth's library consists of more then 13,000 books. These include book of poetry in Indian languages, English translations of poetry in
foreign languages, works on poetics, literary criticism and culture. Rare manuscripts of some renowned, Indian poets, hundreds of audio and
video recordings of reading in Bhart Bhavan by significant Indian poets are also collected in Vagarth's archives.
ANAHAD is the center for classical, folk and tribal music. Anahad, aspires to preserve the tradition and promote its immense contemporary
creativity in all its glory and diversity.
The chief activity of Anhad is organizing performances of classical and folk music and dance. It organizes several series of music concerts.
Anhad possess an archival collection of about 2000 hours of audio and video recordings, books on music and dance and over a 100 long
playing records of foreign music to aid reference and research..
NIRALA SRIJANPEETH is the chair for creative writing instituted in Bharat Bhavan by the government of Madhya Pradesh, the
incumbents have been writers of repute including Nirmal Verma, Dilip Chitre, Krishan Sobati, Kedarnath singh, Krishna Baldev Vaid,
Kamalesh, Ramanath Tripathi, Vinod Kumar Shukla, Ramesh Chandra Shaha and Manzoor Ehtesham.
ASHRAM has hosted artists and writers of national eminence, Mallikarjun Mansur, Bhavesh Sanyal, Namver Singh, Nirmal verma, Zia
Mohiuddin Dager and Ambadas have lived in residence at Bharat Bhavan's Ashram.
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ANALYSIS
Plus Points :
(a)Material Economy.
Extensive use of local material like BASODASTONE & ALANGA for
masonry and external wall.These have a lowrejection factor of 33%.
(b)Space Economy.The positioning of columns on a square grid of
9.2 x 9.2 mtr. gives a .large column free space.
(c)Energy
Economy.
Horizontal spread receives maximum solargains of 80% of the roof is covered with lawn and savesextensive use ofartificial energy.
Negative Points :
(a) Maintenance.High cost of maintenance of the terrace gardenisalackingfactor.40%ofthe annual repair bill goes for thispurpose 40% is spent on
water proofing of roof, skylights, onwalls, floors, stair and expansion joints.
(b) Restricted Future Expansion.
With covering entire horizontalspace available if the- need arrive for expansion there is no space leftfor this purpose. Existing exhibition area
cannot be expanded due tomaximum horizontal coverage.
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Kerala kalamandalam.
location :thrissur kerela
Area : 32 acre
koothambalam
The performing area Waiting area/ karnatic music room
The theatre consists of a main entrance infront
of which a flat pole, used to announce a Administration-
performance. -staff 25
-The raised stone entry steps of flanked by -Total strength 700 students
hand carved stone panels - 3 ladies hostel
-- designed according traditional kerala lion - 1 boys hostel
motifs
-- capacity of 600 people Kalari class room
- stone column with hand carved stone dance -Used for learning various art forms
poses, bassed on classical posture
- green room and toilet facilites . Library
- wooden stage
Small shop
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:
I have welcomed very greatly one experiment in India: Chandigarh. Many people
argue about it; some like it, some dislike it. It is the biggest example in India of
experimental architecture. It hits you on the head and makes you think. You may
squirm at the impact but it has made you think and imbibe new ideas, and the one
thing which India requires in many fields is being hit on the head so that it may think. I
do not like every building in Chandigarh. I like some of them very much. I like the
general conception of the township very much but, above all, I like the creative
approach, not being tied down to what has been done by our forefathers, but thinking
in new terms, of light and air and ground and water and human beings.
Chandigarh
Chandigarh is a city and union territory in
India that serves as the capital of
two states, Punjab and Haryana . The name
Chandigarh translates as "The Fort of
Chandi". The name is derived from an
ancient temple called Chandi Mandir,
devoted to the Hindu goddess Chandi, in the
city. It is also referred to as The City
Beautiful due to its beautiful surroundings,
central grid of gardens, each to dedicated to
different species of flora.
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Planning of Chandigarh
Le Corbusier replaced the native Indian town plan with a rectangular grid
based on the metaphor of a human body but totally divorced from ideas
about complex, vibrant Indian cities. He placed the Capitol Complex at
the top resembling the head, the intellectual base, reflecting Nehru's
conviction that government should rule a city as the head rules the body.
The industrial and educational belts on either side of the city symbolized
the limbs. The city center with commercial buildings, shopping, and
offices represented the heart.
The most positive aspect of the sectors is that they provide a safety area
for children, they can play, walk to school, and to shopping areas, usually
without crossing a street.
All this was based on his designs for the "Radiant City" - the ideal city of
an omnipotent Western machine-age civilization promising a
decongested city center, filled with sun, space, and greenery.
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Geographical location:
Location: 30.74N 76.79E
Chandigarh is located near the foothills of the Shivalik range of
the Himalayas in northwest India. It and shares its borders with
the states of Haryana in the east and Punjab in the north, west
and south.
Area : 114km2
The surrounding districts are of Mohali, Patiala and Roopnagar
in Punjab and Panchkula and Ambala in Haryana. The
boundary of the state of Himachal Pradesh is also minutes away
from its north border.
Transport:
30.74N 76.79E
Chandigarh has the largest number of vehicles per capita in India. Wide, well maintained roads and parking spaces all over the city ease local
transport.
Chandigarh is well connected by road by NH 22 (Ambala - Kalka - Shimla - Kinnaur) and NH 21 (Chandigarh - Leh), and has both a railway
station and theInternational Airport.
The Chandigarh Metro Rail project is underway but recently, due to reduce cost, it is planned to partially replace metro projects by tram and
monorail.
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Climate :
Climate type: humid subtropical climate
Seasons : very hot summers, mild winters, unreliable rainfall
Variation in temperature: (-1 C to 41.2 C)
Annual rainfall: 1110.7 mm
The city also receives occasional winter rains from the west.
Average temperature
Spring: The climate remains the most enjoyable part of the year during the spring season
(from mid-February to mid-April ). Temperatures vary between (max) 16 C to 25 C and
(min) 9 C to 18 C.
Autumn: In autumn (from Mid-September to mid November.), the temperature may rise to a
maximum of 36 C. Temperatures usually remain between 16 to 27 in autumn. The
minimum temperature is around 11 C.
Summer: The temperature in summer (from Mid-May to Mid-June) may rise to a maximum
of 45 C (rarely). Temperatures generally remain between 35 C to 40 C (94 - 101F).
Monsoon: During monsoon (from mid-June to mid-September), Chandigarh receives
moderate to heavy rainfall and sometimes heavy to very heavy rainfall (generally during the
month of August or September). Usually, the rain bearing monsoon winds blow from south-
west/ south-east. Mostly, the city receives heavy rain from south (which is mainly a persistent
rain) but it generally receives most of its rain during monsoon either from North-west or
North-east. Maximum amount of rain received by the city of Chandigrah during monsoon
season is 195.5 mm in a single day.
Winter: Winters (November to Mid-March) are mild but it can sometimes get quite chilly in
Chandigarh. Average temperatures in the winter remain at (max) 7 C to 15 C and (min) 0C
to 8 C. Rain usually comes from the west during winters and it is usually a persistent rain for
23 days with sometimes hail-storms
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Environment
Most of Chandigarh is covered by dense Banyan and Eucalyptus plantations. Asoka, Cassia, Mulberry and other trees flourish in the forested eco
system. The city has forests surrounding it which sustain many animal and plant species. Deers, Sambars, Barking Deers, Parrots, Woodpeckers and
Peacocks inhabit the protected forests. Sukhna Lake hosts a variety of ducks and geese, and attracts migratory birds from parts of Siberia and Japan
in the winter season.
A parrot sanctuary located in the city is home to a variety of bird species.
Economy
The government is a major employer in Chandigarh with three governments having their base here. A significant percentage of Chandigarhs
population therefore consists of people who are either working for one of these governments or have retired from government service. For this reason,
Chandigarh is often called a Pensioner's Paradise. There are about 15 medium to large industries including two in the Public sector. In addition
Chandigarh has over 2500 units registered under small scale sector. The important industries are paper manufacturing, basic metals and alloys and
machinery. Other industries are relating to food products, sanitary ware, auto parts, machine tools, pharmaceuticals and electrical appliances. Yet, with
a per capita income of Rs. 99,262, Chandigarh is the richest city in India. Chandigarh's gross state domestic product for 2004 is estimated at $2.2
billion in current prices.
Three major trade promotion organizations have their offices in Chandigarh. These are: Federation of Indian Chambers of Commerce & Industry,
(FICCI) the PHD Chamber of Commerce and Industry (PHDCCI) and the Confederation of Indian Industry (CII) which has its regional headquarters
at Sector 31, Chandigarh.
Chandigarh IT Park (also known as Chandigarh Technology Park) is the city's attempt to break into the IT world. Chandigarh's infrastructure,
proximity to Delhi, Punjab, Haryana and Himachal Pradesh, and the IT talent pool attracts IT businesses looking for office space in the area. Major
Indian firms and multinational corporations to the like of Quark, Infosys, Dell, IBM, Tech Mahindra have set up base in the city and its suburbs.
According to a 2007 survey, Chandigarh is ranked ninth in the top 50 cities identified globally as "emerging outsourcing and IT services destinations".
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Demographics
As of 2001 India census , Chandigarh had a population of 900,635, making for a density of about 7900 persons per square kilometre. Males constitute
56% of the population and females 44%. The sex ratio is 777 females for every 1,000 maleswhich is the lowest in the country. Chandigarh has an
average literacy rate of 81.9%, higher than the national average of 64.8%; with male literacy of 86.1% and female literacy of 76.5%. About 12% of the
population is under 6 years of age.
Decennial Population Growth 40.33%
Literacy Rate 81.9%
All
Description Chandigarh Punjab Haryana
India
Density of Population-2001 Census
313 7900 484 478
(Km2)
Literacy Rate (%) 64.8 81.9 69.7 67.9
67370
Per Capita Income (Rs.) (At
23241 (Highest in All 30701 32712
Current Prices)
India)
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Site study
070901162 | Xth Sem |MSAP
89
Land use:
Land Use
residential/co
mmercial
industrial
public/semi
public and
Soil type: recreational
transportation
The soil texture varies from sand to sandy loam with 10-40% gravel. The
dominant soil are loamy skeletal typic ustorthents.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Site study
070901162 | Xth Sem |MSAP
90
Seismic Map:
Delhi, Chandigarh and many parts of Haryana lie in Zone IV and
thus they are extremely vulnerable to earthquakes. Most
earthquakes in this region are shallow though a few earthquake of
intermediate depth have been recorded in Haryana. The alluvial
cover of the Indo-Gangetic plain makes even distant earthquake
felt here quite strongly.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Site study
070901162 | Xth Sem |MSAP
92
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Site study
070901162 | Xth Sem |MSAP
93
Climate Humid subtropical climate, very hot summers, mild winters, unreliable rainfall.
Humidity Mean relative humidity for an average year is recorded as 49.2% and on a monthly basis it ranges from 25% in
April & May to 73% in August.
Wind Winds are generally light and blow from northeast to southeast direction with exception of easterly to
southeasterly winds that blow on some days during the summer.
Soil The soil texture varies from sand to sandy loam with 10-40% gravel. The dominant soil are loamy skeletal typic
ustorthents.
Tectonic actitvity Chandigarh and many parts of Haryana lie in Zone IV and thus they are extremely vulnerable to earthquakes
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Site study
070901162 | Xth Sem |MSAP
94
Requirement Area in sqm
Requirement Area in sqm
SITE ENTRY AND PARKING
-recording room 10
-Security 4 ppl(20)
-editing and maintenance 15
- Parking
-store 10
visitor parking (100 cars + 200 two wheelers) 4500+ 450(6 buses)
(8cars+30 two wheelers)500 SHARED RESOURSES
staff parking Estimated visitor 200/day
ADMINISTRATION -Entrance 230
Estimate visitor (50/day) -Foyer 30
-Entrance foyer 25 -Box office 10
Foyer 15 -Enquiry 15
Reception/enquiry(1 staff) 20 -Lobby/ lounge 50
Telephone exchange(1 staff) (20 ppl) 100 -Book shops 20
-Waiting 20 -Store 15
-Toilet 50
Lobby and lounge
-Administration
Toilets 20
-Office 20
-Administration 20 (4 ppl) -Meeting 25
Director 60(6 people +common area) EXPERIMENTAL THEATER(200Ppl)
Visitor room -Lounge 20
Dy. Director -Toilet 15
Administrative assistance office 20 -Enquiry 10
-Planning department 30 (2ppl) -make up and rehearsal room
Technical manager 20(4ppl each) Lounge 15
Planning assistance Dressing 20
Helper/visitor 15 -Monitoring
-Publicity and public relation 15 (6ppl) Projection 15
Sound recording/video 15
Public relation 10
-Performance
Visitor room 15
Stage 60
Assistance 10 Auditorium 200
Art director -Gallery
Audio/video publicity Display 300
-Audit and accounts Security 20
Accounts officer 15 Preparation area 45
Cashier 10 Outdoor exhibits Temporary
Safe vault 10 PERFORMANCE AREA
Cashier counter 50 Estimated visitor (200ppl/day)
Mailing and dispatch 20(2ppl) -Mini theater OAT
-seating 500
Green room 50
LIBRARY
Store 20
Estimate visitor(200/day)
-entrance DANCE THEATER
Foyer(1 staff) 30 -Entry
Check room (1 staff) 20 Foyer 100
New arrivals 20 Control desk 25
Toilets 20 Tickets 15
-locker 20 -Visitor waiting
-lending and return 20(1 staff) Lobby and lounge 100
-administration 30(2 staff) Toilet 70
Director 20 Administration office 40
Secretary 10 -Make up and rehearsal room
Lounge 100
Visitor room 20
Rehearsal room 150
librarian 15
Discussion room 50
-Book section 175(5000 books 3 staff) Dressing room 150
-Digital lib. 150
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra requirements
070901162 | Xth Sem |MSAP
95
Requirements area in sq m
-Production TOTAL AREA:14,726
Stage manager 15 CIRCULATION:30%
Stage workshop 100
Scene store 100 GRAND TOTAL: 19,144
Costume workshop 40 EXPECTED NO. OF PPL ON AN AVERAGE 500/Day
Store 20 ON THE DAY OF PERFORMANCE: 1000 ppl
-Monitoring 145
-performance 810
-auditorium 1200
RESIDENCE 120(10PPL)
LANDSCAPE AREA 60
SERVICES 1680
FIRST AID 40
MUSIC THEATER 400
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra requirements
070901162 | Xth Sem |MSAP
96
Design guidelines:
Foyer
Exterior
-Floor surface should stand a lot of traffic
-Properly lit building/driveways and parking .
- self closing doors
- signage's
-Walls and ceiling clad with material of higher absorption
-Changes of level are best made with ramps
co-efficent
-Steps should be properly marked and lit.
-Air conditioning/ if required
-Walk able distance between all the facilities.
-Light music on the pathway (to reflect the cultural heritage)
Check room
-check room counter should take 5 attendants/ 1000 seats.
Box office:
-Located on left side of lobby from foyer.
-Minimum of 2 windows required, (for 1250 seats)
-Access is by single door inside the theater.
Lounge
-Mostly placed in the vicinity of the entrance
-located opposite side of check room
-Should accommodate refreshment area, telephone, water
Lobby :
cooler and lavatories.
-Sound from lobby should not come in the theater.
-The lounge may be out doors/ in this case it has to be huge.
-Warm lighting and proper signage's.
-Indoor space should have rental exhibition space.
-High ceiling sense of luxury.
-Mirrors to increase volume.
Lavatories
Door and foyer
-Should have ante-room
-Theater door must open out
- one dressing table/600seats.
-Hung in pair generally metal with glass pannel
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Guidelines
070901162 | Xth Sem |MSAP
97
Design guidelines:
Proscenium
House
- The audience looks at the show through the proscenium
-wall behind the last row of seat should be min. 1.4m
opening.
-Comfort in the house depends upon:
Shape and upholstery of seat and the distance between the rows.
Temperature ,humidity and freshness of air . Orchestra pit:
Position and width of aisles. -Minimum 1sqm per person apart from space for instruments.
House lighting
Floor slope. Feeling of tightness should be avoided by creating semi open
Absence of distraction and open spaces which can also act as interaction area.
Flat black chairs are desirable.
Marginal comfortable seating back to back is 34.
Spacing to permit easy passage past seated patron is 45 Integration of all the spaces can be achieved by landscape,
central aisle to be avoided. built form- such as connecting corridors, pergolas, pavement
design etc.
Stage :
-the shape , size and arrangement should naturally develop Open air theater should me located considering the wind
from the performance involved. direction from performer towards audience.
-The stage is divided into 3 parts, catering to the performer, the
scenic investiture and the storage. Noise can be avoided by use of landscaping elements.
- solo dancers require a floor space of 300sqft.
Vehicular entry should be restricted.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Guidelines
070901162 | Xth Sem |MSAP
98
Layout
1 buildings should be orientated on an eastwest axis, the long elevations lacing
north and south, to reduce exposure to the sun
2 buildings should be planned around small courtyards if thermal storage is
required for most of the year. i.e. when the hot-dry season is dominant
Spacing
3 buidings should be broadly spaced for breeze penetration As a rough guide:
space between long rows of building should not be re than five times the height
4 if wind penetration is needed only for part of the year. item 3 still applies, but provision must be made for protection from cold or dusty hot winds.
See diagnosis in table 2 and wind directions in table 1
Air movement
This is influenced by planning arrangements:
6 rooms should be single banked with windows in the north and south walls, to ensure air movement by ample cross-ventilation
7 rooms may be double banked, but the plan should allow for temporary cross- ventilation (e.g. large interconnecting doors). If wind is unreliable, or
site limitations restrict planning for cross-ventilation. celing-mounted fans may be considered These would require a room height of not loss then 275
m, which will affect the basic built form
8 if air movement is never essential and is desirable for not more then a month rooms can be double banked and there is not much need for cross
ventilation.
Openings
Openings in walls are classified in three categories:
9 large, between 40 and 80% of the north and south walls. These need not be fully glazed, but should be protected from the sun, sky glare and rain,
preferably by horizontal overhangs 10 very small, less than 20% of the wall 11 medium, between 20 and 40% of the wall area. Openings in the east
wall may be desirable where the cold season is long in west walls openings are acceptable in moderate or cold climates, but under no circumstances in
the tropics
There are two broad categories of walls.
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Guidelines
070901162 | Xth Sem |MSAP
99
C e n t e r f o r p e r f o r m I n g a r t s
Thesis 2012
Jyotsna Mishra Guidelines
070901162 | Xth Sem |MSAP