INDIAN CLASSICAL MUSIC AND DANCE

Site SELECTION AND JUSTIFICATION Thesis 2018-2019

ACADEMY
“STUDY ON ACCOUSTICS AND SPACE BASED DESIGN PROJECT DESCRIPTION:
– BARRIER FREE ENVIRONMENT” The project proposed is Natya academy and cultural complex,
Gurugram, Haryana.
synopsis The municipal Corporation of gurugram proposes Natya Academy
Aim: and Cultural complex on a 10 acres land in sector 53, Gurugram,
The aim of this project “to provide a platform for indian classical Haryana.
dance and music “for all people, to exhibit their ancestral skill to the With the cities growing into urban culture, the need for the growth of
urban masses which were previously restricted to their small regional a cultural complex and public spaces in the corporate city is often
group. ignored.
The aim is to design with an acoustics aspects to maximize the play Therefore, the emphasis is to establish the link between the city and
of music and enhancing various dance performance at this centre. the cultural complex.
Also, to generate the new landmark for Gurugram. To create a
Objective: holistic environment for learning, teaching and performing arts and justification
To study and understand cultural complex and its functioning and spaces.
planning. Location:The site is located 30 km south of New Delhi and about 10 •This site is chosen for its better connectivity from metro, airport and roadways.
To study case examples for identification of problems km from Dwarka sub-city, Haryana. Also, gurugram is known for its commercial offices and will attract people, families
To develop design criteria of building a cultural complex and Dance Boundaries touching Rajasthan, Uttar Pradesh and Delhi. Its excellent from all over gurugram as well as New Delhi.
Academy and its space’s respectively connectivity with other state via Delhi-Jaipur – Ahmedabad broad •As Gurugram attracts thousand of people from Delhi NCR for entertainment
To develop concept based on design criteria and present in terms of gauge rail link and NH 8, brings thousands of people to Gurugram for purposes. Also, people are so busy in their fast forward life that they are forgetting
design, drawing and models the purpose of work, travel and entertainment. their culture.
 To study and design auditorium and open air theatre . •Area:10 acres land in sector 53 • To make them aware of their culture and to make an impact of culture into their
 To design an Academy for dance for music. •Ground coverage: 25 percent lives and society.
•FAR: 1.5 •This effort has been made by the Gurugram Municipal Corporation to establish a
Scope: connection between the people and their culture and also, to create a public
Dance is an intrinsic thought of indian culture. These dance forms are •Climate : local steppe climate
•Little Rainfall through out the year. space with traditional learning and teaching and for entertainment purpose.
typical to certain parts of the country and have taken on the hue and • Also, Gurugram lacks landmarks cultural Complex that Corporate city demands.
texture of that region. •avg.Temperature: 25.2 deg.c
•Precipitation: 618 mm Therefore, this project has been proposed by Gurugram Municipal Corporation.
This centre and school aspires to be a repository and for traditional
Indian arts and creative environment that will allow one to develop a •Road Acess: The site is through ST thomas Marg road along with golf
METHODOLOGY
synthesis between modernity and tradition through a confrontation of road. R Administration Block
diverse cultures. •Distance from airport is 17 km which is around 30 minutes. Auditorium
E
This design helps to encourage the interest in peoples like artist, •Railway connectivity is 15 km from Natya Academy and Cultural STUDY Display Gallery
Complex. Q
musician, singer, dancers and other performancers. It also have good Library and Research centre
designed planned with acoustics. •Landmarks: Westend Heights .Ibis Gurugram, Alchemist Hospital. U Experimental studio
AIMS & OBJECTIVES
To create a holistic environment for learning, teaching and performing I Audio Visual Library
arts and spaces. DESIGN R Recording studio (A/V)
NEED: CONSIDERATIONS E Open Air Theatre
 Indian classical dance has occupied a very important place in the LITERATURE REVIEWS M Dance Gurukul
performing art and the cultural achievement in the people of India E Cafeteria
since ancient times and are integral part of our rich cultural heritage. SPECIAL STUDY
N Students Dormitor
 Many institutions have come up which promote this form of art.
RESEARCH TOPIC Teachers Residence
T Services.
Specialised institutions are required to develop and train these art
forms in pure, unpolluted and visually pleasing environs.
ANALYSIS S Parking
SWOT ANALYSIS OF
FEASIBILITY: SITE Literature STUDY
The centre has to be designed acoustically because it should be
audiable to everyone and also to avoid vibration, echo and so on. REVIEW OF CASE Triveni kala sangam,Delhi
STUDIES
justification: DESIGN GUIDELINE Kala kendra, Goa
This project is taken as it will give me an opportunity to design ANALYSIS
Shah auditorium,Delhi
architecture exhibition spaces, designing an auditorium for dance and
music keeping in mind the acoustics and various design criteria and DESIGN LIVE CASE STUDY
social gathering spaces which will give me a perspective of observing
and then designing the elements of architecture in a healthy way. REQUIREMENTS Nrithyagram, Bangalore, Karnataka
 The challenge is to create a responsive architectural design among
Kalashetra, Chennai, Tamil Nadu.
the urban culture. ZONING
LIMITATIONS:
The design contributes only for music and dance for performing arts. PROOPOSED DESIGN
The proximity of transportation and accessibility and building
infrastructure should be consider as respect by laws.

Indian classical music and dance academy|B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
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INTRODUCTION
•India has thousands of year old
tradition of fine arts and classical
and folk music and dances.
•Some of the world-famous dance
forms that originated and evolved in
India are Bharatnatyam, Kathak,
Kathakali, Kuchipudi, Manipuri,
Sattriya,Mohiniattam and Odissi
•It has two major traditions: the North
Indian classical music tradition is
called Hindustani ,while the South
Indian expression is called Carnatic
•They use the same 'mudras' or signs of hand as a
common language of expression and were originally
performed in the temples to entertain various Gods
and Goddesses and also effective in carrying forward
the various mythological stories from generation to
generation while entertaining the audiences.
•It’s a part of 'Natya Shashtra', as propounded by Sage
Bharata to compile and forge some rules and
regulations of entertaining arts.
Eight forms of indian classical dance
•Bharatnatyam, popular in Tamilnadu and Karnataka, and vadyam (Instrument accompaniment).
is said to be revealed by Lord Brahma to Bharata.
•Kathak is the art to tell a story and is a form of North
Indian classical dance. Later, it became courtly
entertainment.
•Kathakali from Kerala makes use of colorful masks and dance form of Kerala
costumes and belongs to Kerala.
•Kuchipudi is the dance drama of Andhra Pradesh that
combines Natya, Nritta and Nritya.
• Manipuri, as the name suggests, is from Manipur, the
Northeastern state of India, and is a combination of
many dances prevalent in the region.
• Mohiniattam from Kerala is a solo female dance and form from Andhra Pradesh.
is known for its rhythmic and unbroken flow of the body •The name of a small village in the
movements.
•Odissi from Orissa is a dance of love, joy and intense
passion.
Sartriya dance is lesser known classical dance form of
Assam.It was emerged as a medium of propagating
Bhakti.
•All classical dances of India used similar symbolism
and rules of gestures in abhinaya (acting). The roots
of abhinaya are found in the Natyashastra
•The communication that helps connect and transport texts such as the Machupalli Kaifat.
the individual into a super sensual inner state of being.
INDIAN CLASSICAL acadeMY FOR DANCE & MUSIC
bharathanatiyam
•Bharatanatyam is a classical
dance form originating from Tamil
Nadu.
•Bharatanatyam is thought to
have been created by Bharata
Muni, who wrote the Natyashastra.
•In ancient times it was performed
as dasi attam by mandir (Hindu
temple) devadasis.
•It has three distinct elements to it..
Nritta (rhythmic dance movements),
Natya‘(mime, or dance with a dramatic aspect),
Nritya (combination of Nritta and Natya).
•The music of Bharatanatyam is of Carnatic style
kathakali
• Kathakali is a form of Indian dance drama,it originated
in Kerala during the 17th century.
•Kathakali shares a lot of similarities to both Ramanattom
and Krishnanattom.
•It is considered to be a combination of five elements of
fine art..Natyam (expressions),
nritham (dance), nrithyam (enactment),
Geetha(song/vocal accompaniment)
•The language of the songs used for
Kathakali is a mix of Malayalam
and Sanskrit called Manipravaalam.
•It is the most refined and scientific
mohiniattam
•Mohiniattam is a traditional south indian dance form from
Kerala.
•It is very graceful dance meant to be performed as a solo
recital by women.
•Mohiniyattam dance gets its name from the word Mohini–
a mythical enchantress avatar of the Hindu god Vishnu,
who helps the good prevail over evil by deploying her
feminine powers.
•The repertoire of Mohiniyattam
includes music in the Carnatic
style, singing and acting a play
through the dance, where the
recitation may be either by a separate vocalist or the
dancer herself. The song is typically in Malayalam-Sanskrit
hybrid called Manipravalam.
kuchipudi
•Kuchipudi is a classicial dance
Divi Taluq ot Krishna district that
borders the Bay of Bengal.
•It closely resembles to
Bharatanatyam, It is essentially a
solo dance.
•Evidence of Kuchipudi's existence
in an older version are found in
copper inscriptions of the 10th
century, and by the 15th century in
manipuri
•Manipuri dance, also known as Jagoi,
is named after the region of its origin –
Manipur, a state in
Northeastern India bordering with Myanmar
(Burma), Assam, Nagaland and Mizoram.
•It is particularly known for its
Hindu Vaishnavism themes, and exquisite
performances of love-inspired dance
drama of Radha-Krishna
called Raslila.However, the dance is also
performed to themes related
to Shaivism, Shaktism and regional deities
such as Umang Lai during Lai Haraoba.
odissi
•It is considered to be the oldest
form of classical dances.
•Gita Govinda of Jaydeva
dominates the poetical and
musical content of this dance
style.
•The Odissi tradition existed in three
schools: Mahari, Nartaki, and
Gotipua.
SATTRIYA
•Sartriya dance is lesser known classical dance form of
Assam.
•It was emerged as a medium of propagating Bhakti.
•The content of Sattriya nritya has usually been
mythological stories.
•Traditionally Sattriya dance is performed by bhokots
(male monks) in monasteries as part of their daily
rituals or special festivals.
KATHAK
•Kathak is one of the classical dance forms originally
from North lndia. It is a narrative dance form.
•Kathak performers today generally draw their lineage
from three major schools of Kathak.. the Jaipur
Gharana, the Lucknow Gharanaand the Banaras
Gharana (born in the courts of the Kachwaha Rajput
kings, the Nawab of Awadh, and Varanasi
respectively)
•The term Kathak is derived from Katha (storyteller). It
was originally a temple dance and became court
dance under the muslim rulers.
| B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
Two forms of indian classical music
It has two major traditions: the North Indian classical music
tradition is called Hindustani ,while the South Indian expression
is called Carnatic
The roots of the classical music of India are found in
the Vedic literature of Hinduism and the ancient Natyashastra,
the classic Sanskrit text on performance arts by Bharata Muni.
The 13th century Sanskrit text Sangita
Ratnakara of Sarangadeva is regarded as the definitive text
by both the Hindustani music and the Carnatic
music traditions.
Hindustani music
Hindustani music style is mainly found in North India, Pakistan
and Bangladesh.
 It exists in four major forms: Dhrupad, Khyal (or
Khayal), Tarana, and the semi-classical Thumri.Dhrupad is
ancient, Khyal evolved from it, Thumri evolved from Khyal.
There are three major schools of Thumri: Lucknow gharana,
Banaras gharana and Punjabi gharana.
These weave in folk music innovations. Tappa is the most
folksy, one which likely existed in Rajasthan and Punjab region
before it was systematized and integrated into classical music
structure.
It became popular, with the Bengali musicians developing
their own Tappa.
carnatic music
Carnatic music, from South India, tends to be more
rhythmically intensive and structured than Hindustani music.
Examples of this are the logical classification
of ragas into melakartas, and the use of fixed compositions
similar to Western classical music.
Carnatic raga elaborations are generally much faster in
tempo and shorter than their equivalents in Hindustani music.
In addition, accompanists have a much larger role in
Carnatic concerts than in Hindustani concerts. Today's typical
concert structure was put in place by the vocalist Ariyakudi
Ramanuja Iyengar.
The opening piece is called a varnam, and is a warm-up for
the musicians.
A devotion and a request for a blessing follows, then a series
of interchanges between ragams(unmetered melody)
and thaalams (the ornamentation, equivalent to the jor).
This is intermixed with hymns called krithis. The pallavi or
theme from the raga then follows.
Carnatic pieces also have notated lyrical poems that are
reproduced as such, possibly with embellishments and
treatments according to the performer's ideology.
2
REQUIREMENTS:
DATA COLLECTION
ADMIN SECTOR( 500 SQ.M) Dance Hall ( 1000 sq.m) PARKING
Thesis 2018-2019
Lobby Seating area
Reception Stage area
General office Backstage area
Director’s office Green room
HR room Control room
Event Manager/organiser room
Conference room Music sector ( 5000 sq.m)
Store room Lobby
Pantry Rehearsal space
Restroom-public and staff Ticket counter
Restroom-public
CAFETERIA
Library( 350 sq.m)
Librarian office
Screening/Baggage room
Recital hall/ Chamber music D
hall ( 500 sq.m)
Reading /Rack space
Audio-visual room
Seating area A
Stage area
Staff dining area
Restroom-public and staff
Control room T
Museum ( 500 sq.m)
Orchestra hall (1500 sq.m) A
Seating area
Lobby Stage area
Ticket counter Backstage area
Screening /Baggage area
Exhibiting space
Green room C
Control room
Audio-visual space
Restroom-public and staff
O
Multipurpose hall

Concert hall ( 3000 sq.m)

( 1500 sq.m) AUDITORIUM L
Lobby space
Lobby
Seating area
Seating space BARRIER FREE LIVING L
Stage area
Stage area
Backstage area
Backstage area E
Orchestra pit
Green room
Control room
Green room C
Control room
Rest room-public Restroom –public T
Auditorium(450 sq.m)
Seating area
Restaurant (200 sq.m) I
Dining area
Stage area Kitchen O
Store room
Amphitheatre (200 sq.m)
Seating area
Restroom –public N
Stage area CafE / Bar (100 sq.m)
 Dining area
Dance Sector(2800 sq.m) Kitchen LECTURE HALLS
Lobby Store room
Rehearsal space Rest room-Public
Ticket counter
PARKING
Dance Theatre(1500 sq.m)
Seating area Services (560 sq.ft)
Stage area DG room
Orchestra pit Transformer
Backstage area HVAC
Green room Solid waste management
Dressing / Makeup room Cctv control room
Costume studio Rainwater harvesting
Control room

INDIAN CLASSICAL acadeMY FOR DANCE & MUSIC | B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
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TRiVEnI KALA KENDRA, NEW DELHI
Thesis 2018-2019
DANCE AND MUSIC ROOMS:
Dance room provided on the first floor and music room on the second
floor.
AUDIO VISUAL ROOM:
The Audio- Visual Are Divided Into Three Areas.. Administration, Green
Room For Artists, Recording Purpose Was Provided On The Left-front Of the
Basement
SCULPTURE COURT:
Separate block from the art heritage block multipurpose hall was provided
on the ground floor, sculpture studios were provided in the basements,
L
while on the third floor were provided the painting and photography
studios.
I
LOCATION Key map CAFETERIA:
Cafeteria area named terrace restaurant
T
The Triveni Kala Sangam was founded in1950 PLAN
Auditorium
which serve for the guests, audience, artists
and other people.Temporary material used in
E
as an academy of dance, music and painting
with an aim of reintroducing traditional forms of
Classrooms
Offices
roofing.It has high plinth level and low ceiling R
expressions into Indian life.
ARCHITECT: JOSEPH ALLEN STEIN
Gallery
Oat A
LOCATION : AT TANSEN MARG, NEAR MANDI
HOUSE ROAD, NEW DELHI
Stage
Auditorium
MATERIALS USED
•Modern construction T
AREA: ONE ACRE
Other Institutes In Surroundings are The
Studio materials used with
jaali work U
Sangeet Bharati, Sri Ram Center, Rabindra SPACES SECTIONS
Bhawan, Sapru House And The Sri Ram •Wooden Block R
Bharatiya Kala Kendra •50% of the area is for semi- flooring on the
Capacity : 250 people formal stage provided for E
Designed in modern architecture style, the complex is noted for its •35% of the area for formal OAT.
“multiple spaces for multi purposes “ and use of jali work, which was •15% of the area is for •BUILDING FINISHERS AND MATERIALS: The external facade has exposed
one of the first buildings by noted American Stein’s hallmark. informal.
The idea of starting a dance institution in delhi was raised by
INFORMAL SPACE
brickwork. The art galleries have a flooring of vitrified tiles, while the music
and dance rooms with wooden flooring C
Sundari.K., it started in one room with two students and later she
organized a small group of people and collecting funds. FORMAL SPACE Services: A
Triveni kala sangam was coined by Flautist, vijay Raghav Roy and
literally meaning “Confluence of arts”. SEMI-FORMAL SPACE
Toilet – male & Toilet male &
S
It consists of
•Four art galleries
female on 3rd
and 4th floor
female on 3rd
and 4th floor
E
Basically Spaces of kala bhawan/ Kendra is divided into three parts as:
•A chamber theatre near the
•Formal: space used for any presentation, audio or visual programs formally.
•Open air theatre stairs with
•Informal: spaces where people gather for social activities like sculpture
•Open air sculpture gallery
•Besides this it runs its various
court (with sitting space provided)etc.
Generator/
power room
cafeteria S
arts, music & dance classes. •Semi formal : where formal and informal activities takes place: OAT,
Cafeteria etc..
provision above
auditorium
T
Residence For
•There are three entry gates, one is main entry which leads to office and
classroom, another one is for auditorium, photography studio(formal
U
Caretaker space), and third gate is for OAT.
•The complex also houses Triveni Chamber Theatre, Triveni Garden
•ELECTRICAL: The galleries had spot lights hanging from the ceiling.
•The art heritage has no amenities for fire fighting while the sculpture
D
Music Classes Theatre(outdoor theatre), Triveni Sculpture Court (an open air sculpture
gallery), classes in various dance and music forms and painting,
block was equipped with one fire escape spiral staircase provided
Y
Dance Classrooms photography, besides a potted plant nursery, and a bookshop. INFERENCE:
• It is Easily Accessible, Systematic And Good Arrangement Of
Art Gallery Spaces.
• It Is Well Oriented To Receive More Day Light.
• Arrangement Of Spaces In Such A Manner That The Activity Does
Not Clash Each Other
• Open Air Theatre Is In East- South Direction so that in day time the
events does not require any artificial lighting.
• Formal and informal spaces has their separate entry/exits, without
DIFFERENT ACTIVITIES IN TRIVENI KALA KENDRA Pargola provided Corridor leading to OAT Dance and disturbing other activities.
for roof & practice studios music studios

INDIAN CLASSICAL DANCE ACADEMY| B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
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Kala kendra, goa
BUILDING LEVEL ZONING: Mini opem air theatre Thesis 2018-2019
* The building is divided into three zones:
opem air auditorium
1- public, 2-adminisration, and 3-academic
* They are provided at different levels so as to avoid conflict between Open Air Auditorium :1750Sqm
these zones a,Seating (Chair) :1312 nos
The ground floor includes facilities like auditorium, Preview Theater, b,Seating (no Chair) :2000
amphitheatre, art gallery, and canteen etc, where public entry is invited c,Proscenium Opening :15Mts
* The first and second floors include academic and administration d,Appearance Stage Depth :2.7Mts
facilities.
*There are three groups of people using the building:
Staff, students, audience Mini Theater (Open Air) :340sq.m L
a,Seating (Chair) :215 nos
* The circulation has been linked to the zoning and has been segregated
by separating them through levels - ground floor for audience functions b,Seating (No Chair) :300 nos I
c,Tread :.85Mts
Location : Goa
Architect : Charles Correa
and first and second floor for staff and students with a necessary degree
of inter linking. d,Riser :.45Mts T
e,Aisle Width :1.2Mts
Building Type : Institution
Site Area : 6.3acres f,Steps (Tread) :.28Mts E
g,Steps (Riser) :.15Mts
Site Gradient : Gentle Slope
h,Stage :7.5 X 7.5Mts R
I,Farthest Seat :6Mts
LOCATION:
Situated at Campal, Panaji along the banks of river Mandovi.
A
The area has mixed land use with a military hospital across the road,
and a cricket ground and a park on either side. Black Box :175sqm T
ACCESS:
Regular buses connecting Panaji and the academy are available. BUILDING -STYLE & CHARACTER:
a,Seating (Chair) :150 nos
b,Seating (no chair) :200 nos U
Dabolim airport, 35 km.
Nearest railway station is Madgao, 53 km.
* Kala academy building has been designed by ar. Charles correa. He
has
R
SITE:
The site is flat, except for a gentle slope at the river edge.
given prime importance to the process of moving through the spaces in
a building.
E
The total site area comes to around 6.3 acres. * The built form has been kept low ranging from one to three floors.
LAYOUT: * This is further enhanced by the use of parapet walls for upper floors,
There are four entries to the site.
Boat jetty provided on the river side.
which emphasize horizontally.
* The 'pergola 'above the entrance, which acts as an extension to the
C
The coverage is about 40% the pedestrian and vehicular systems are
well defined.
foyer of the main auditorium and amphitheatre.
* Use of wafer slabs and parapet walls are special feature of the
A
Preview Theatre :45sqm Guest Room :53sqm
The active area includes the cafeteria, the garden and the
amphitheatre. The site is divided into main building service building,
building.
* Extensive use of specially designed seating.
a)Capacity :24 nos Art Gallery :150sqm S
Administration :500sqm a)Running Wall Space :48 X 1.5Mts
muktangan, parking area, the exhibition space. * The interior walls are painted with pictures mostly depicting
konkanise culture and create illusion.
Rehearsal Hall :150sqm b)Mobile Display :4.2 X 1.5Mts (3nos) E
a)Seating (chair) :100 nos  Class Room :8.6sqm
•The building acts as a tunnel between the city and the river. b)eating (No Chair) :200 nos a)Vocal Class Room :1.1sqm/Student
Meeting Room :7.3 X 6.15sqm b)nstrumental Class Room :1.8sqm/Student
Facilities Provided:
1) D.M Kalamandir
D.M Kalamandir
Library :135sqm Car Parking :2000sqm S
Cafeteria :450sqm
2) OAT
3) Mini OAT
Services:
The service buildings (ac plant and
T
4) Black Box
5) Rehearsal Room
generator room) are provided on the
western corner of the site no way
U
6) Art Gallery
7) Meeting Room 8) Guest
disrupting the normal functioning of the
building.
D
Room
9) Preview Theatre D.M Kalamandir :1300sq.m •The auditorium allows a INFERENCES:
Y
10) Cafeteria a,Total Seating :977 variety of acoustical * The layout and the building zoning provided are Excellent has brought
11) Library b,Proscenium Stage Opening conditions ranging from in a different overall treatment.
12) Teaching Studio :9.6Mts speech, plays to sitar * Good acoustical treatment
13) Green Room c,Expandable :11.4Mts recitals and orchestral * The flow of spaces has resulted in a good built-open relationship.
14) Kitchen d,Proscenium Height :4.5Mts arrangements * Good use of site features has successfully made the public spaces
15) Administration e,Depth •The changes are made by interesting by use of sculptures, paintings, seatings etc.
16) Reception From Curtain Line :12.6Mts manipulating absorbent * The cafeteria is the most active space with good view to the river.
17) Lounge f,Appearance Stage Depth :2.7Mts materials placed within * Vehicular and pedestrian ways properly defined.
g,Orchestra Pit :7.2 X 2.1Mts inner compartments hidden * Service blocks are separated
h,Stage Height From First Row :.8Mts from view above this * Security measures provided are minimum.
ceiling. * Signage provided is minimum.
INDIAN CLASSICAL acadeMY FOR DANCE & MUSIC | B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
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Kalashetra, Chennai, Tamil Nadu. Padma Pushkarini:
A pond in the campus – a stage for musicians was inaugurated. Three elegant
Entrance:
mandapams surround the pond, one of which is the stage for musicians. The pond is
The entrance is highly ornate in the auditorium, the
bordered by granite stones and terraces. It is named after Dr.Padmashini who was a
massiveness of the entrance is more inviting and grand,
reverted teacher at kalakshetra. Having studied the pandanallur style for three years, in
and this justifies the quality of the activity that is being
1936 Rukmini Devi Arundale started working on developing her own, Kalakshetra, style of
carried out inside the building. The breeze blows softly
Bharatanatyam. She introduced group performances and staged various
through the trees which surround the theatre and
Bharatanatyam-based ballets.
natural light lights the stage.

Activities and Spaces: Rukmini Arangam:

•Craft education and research It was designed with the hell of architect KIFFIN PETERSON. Measuring 70’ x 80’ the
Entrance gate open air space can accommodate on the floor directly in the front of the page. Dressing
centre
•Visual arts centre rooms are available, on either side on the stage which is covered under a thatched roof
each measuring 10 x 12. The stage is made of black oxide with which is suitable for
•Auditorium
•Rukmini arangam effective lighting. The Rukminiarangam open air theatre is equipped with lighting and L
•Four libraries sound systems.
location.- satelite view
•Rukmini devi museum I
•Dance and music cottages Koothabalam:
introduction.
•Recreational space Designed by Appukuttannair, the bharatakalakshetra auditorium was built like V
 Kalakshetra Foundation is an arts and cultural academy dedicated to the •Staff quarters traditional koothambalam in Kerala style. The Proscenium like the shakesearen theatre in
preservation of traditional value in Indian arts and crafts, especially in the •Hostels stratford-upon-avon, trusts forward into the audience. The stage is equipped with E
field of Bharatanatyam dance and Gandharvaveda music. •Guest houses advance lighting and sound system. Measuring 40’x 40’ the auditorium can seat 750, 50
Based in Chennai, India, the academy was founded in January 1963 by can be accommodated on the floor directly in the front stage. There are 428 chairs in
Rukmini Devi Arundale. the octagonal well of the theatre, 1681 chairs on the peripheral veranda and 104 in the
 Under Arundale’s guidance, the institution achieved national and Users: galleries in the balcony. C
international recognition for its unique style and perfectionism.
In 1962, Kalakshetra moved to a new campus in Besant Nagar, Chennai,
•Students
•Staffs Classrooms: A
occupying 40 hectares of land. All the classrooms are single individual cottages like structures with separate plinths
Area: 90 acres.
•Public
and sloping roofs. They are sprawled in a random fashion one after the other to create S
Location: Tiruvanmaiyur, Chennai. the organic atmosphere. The question of acoustical privacy does not come in here
Completion: 1962, koothambalam in 1985. Circulation: because the huts are placed at a placed at a distance from each other, so they do not E
Floor: G, G+1 The form of the circulation space inside the building is carry the sound to the next classrooms. Even the little sounds that might travel are taken
Style: Vernacular very special with enclosure on one side with semi enclosed care by trees around all the classrooms have full length. Bamboo jaali work which
provides sufficient light and cross ventilation.
Approach at site level:
other side that is with visual privacy but with good ventilation
(Inside auditorium). The form of the circulation space S
The approach at site level is frontal. The path is been directed from the outside the building is open on both sides with dense trees
main road to the entrances, prolong the sequence of the entrance enclosed on either side. T
approached with the view of site on the right hand side
Approach at building level: U
The building is slightly visible from the road instead only the dense greeneries cover
the site. The frontal approach enhances the effect of perspective on the front façade D
and the building creates direct view of what is going to be there.
Y
Function:
Kalakshetra is a cultural academy dedicated to the preservation of the traditional
values in Indian art especially in Bharatanatyam. Carnatic vocal, instrumental music,
visual arts, traditional crafts, textual heritage, history and philosophy.
Materials and
construction:
Layout plan:
The construction materials
A free flowing informal pattern that has originally grown with the needs of the
include concrete, brick, with tiled
institution.
roof wooden construction in the
There are hardly any big buildings – most are kept to single ground floor.
auditorium and thatch
The classroom, the auditorium and the prayer hall are spread in the central part of the
construction for dance halls.
campus, while the admin block, hostels, staff quarters, dining hall and school covers the
outer region. Classrooms are single individual cottages like structures with separate INFERENCE
plinths and sloping roofs.
•SITE PLAN-Organic, no master plan.
•DESIGN STRATEGIES- passive design strategies.
Main idea:
•Indoor and outdoor spaces mingle each other.
There should be a regular communication between the world outside and inside. In
•The site has a seafront, but it has not been incorporated in the design which could
terms of location, the entrance is placed in the centre; this creates a condition of axis,
have created waterfront spaces.
symmetry out of its opening, the statue of Rukmini Devi in front of the auditorium makes
• It would have led to better usage of spaces and uniformly in design of different
the people to just take a curvilinear path and reach the entrance of the building.
buildings.
INDIAN CLASSICAL acadeMY FOR DANCE & MUSIC | B.PAVITHRA DEVI | 724214251705 | X SEMESTER | CAPITAL COLLEGE OF ARCHITECTURE
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“Study on acoustics and space based design Sound Reflectors:
•It is very important to provide as much natural reinforcement for the
Thesis 2018-2019
– barrier free environment”
unamplified voice as possible.
What is Acoustics? •This applies equally in smaller rooms, classrooms, meeting rooms etc, but is
Acoustics is defined as the scientific study of sound which includes the particularly important for larger spaces where the distance between the
effect of reflection, refraction absorption diffraction and interference. speaker and the listener is greater.
It also deals with the properties of the sound waves, their origin, •Natural reinforcement is achieved by the strategic placement of
propagation and their action on obstacles. reflective surfaces.
Why Do We need Acoustics?
Acoustics are fundamentally important to learning environments.
Learning is intrinsically linked with communication, and aural (sound)
communication is acoustics.
Similarly, learning is about concentration, and external noise is a major
distracting factor in education.
The importance of acoustics is not limited to classrooms. Noise in S
corridors and public spaces can soar if they are too reverberant (too
much echo), with voices raised louder and louder to overcome the
Sound Diffusers:
P
background echo, just like shouting conversations at a noisy cocktail
party or restaurant. So to come over this problems of sounds we need •These devices reduce the intensity of sound by scattering it over an
expanded area, rather than eliminating the sound reflections as an
E
acoustics.
Good Acoustics Involve?
absorber would.
•Traditional spatial diffusers, such as the polycylindrical (barrel) shapes also
C
Good distribution of sound to all the
seats, which depends on proper
double as low frequency traps.
•Temporal diffusers, such as binary arrays and quadratics, scatter sound in
I
shaping and finishes of all interior
surfaces.
a manner similar to diffraction of light, where the timing of reflections from
an uneven surface of varying depths causes interference which spreads
CONCERT HALLS
• The reverberation time will depend on what type of concert is
A
 Natural sound diffusion and
envelopment.
the sound.
• TYPES:
performed.
•For classical or orchestral music, a higher reverberation time would be
l
A sense of intimacy for the audience and a sense of ensemble for 1. Quadra pyramid Diffuser appropriate (approximately 2 sec), for a rock concert, a lower
both performers and audience. 2. Pyramidal Diffuser reverberation time would be appropriate (approximately 1 sec).
Proper reverberation times through out all frequencies, which depend
on room’s volume and the total sound absorption of all materials.
3. Double duty Diffuser
4. Quadratic Diffuser
• Find a happy medium, perhaps 1.5 sec. This only applies to indoor
venues.
S
Freedom for the acoustical faults of echoes, flutter, and focus.
Factors affecting architectural acoustics:
•It is vital to control the reflections from the back wall. If not, the
presentation could reflect off the back wall and "slap back" to the
T
Reverberation time
Loudness
Acoustical Design Steps
An acoustical consultant should take the following steps in designing a
presenters.
•A concave back wall could compound this problem. If not, it's
U
Echelon effect
Structure Borne sound
room for speech communication:
I. Assess the acoustical requirements.
imperative that it be treated with absorptive material.
• Control the reverberation time on the stage. Ideally, the reverberation
D
Echo
Focusing due to Walls and Ceilings
II. Choose a maximum noise level goal.
III. Design to meet noise criteria
time in the stage area should be the same as in the house. Since the
stage area might have a higher ceiling than the rest of the auditorium,
Y
IV. Choose the reverberation time criterion. more absorptive materials might be required in this area.
Acoustical Materials:
V. Determine the required total sound absorption and amount of •Frequently, the back wall of the stage, and possibly one or two of the
Sound Absorbers:
material to be added. side walls, is treated with an acoustically absorptive material, typically
•These sound absorbing acoustical panels and soundproofing materials
VI. Consider the room shape and the location of the sound-absorbing black in color.
are used to eliminate sound reflections to improve speech intelligibility,
material. • Beware of potential noise impact to your space from exterior sources
reduce standing waves and prevent comb filtering.
and/or excessive HVAC noise. In the design, the NC level should not
•A wide variety of materials can be applied to walls and ceilings auditorium exceed 25 to 35. When specifying NC, specify an actual rating, such as
depending on your application and environment. Recommended reverberation time is 1.0-1.5
NC 30, rather than a range, such as NC 30-35. Although specifying a
•These materials vary in thickness and in shape to achieve different seconds (might be higher for some auditoriums).
lower number will ensure minimal background noise, it might be cost
absorption ratings depending on the specific sound requirements Although the seating area will provide absorption,
prohibitive to achieve.
•TYPES : thereby reducing the reverberation time, absorptive
1. Acoustical foam panels materials are to be added to the other surfaces
2. White paintable acoustical wall panels within the space. it is vital to control the reflections
3. Fabric wrapped panels from the back wall.
4. Acoustical wall coverings
A concave back wall could compound this problem. If not, it's imperative
5. Ceiling tiles
that it be treated with absorptive material. Splay or use irregular surfaces
6. Baffles and banners for ceiling
on the walls to avoid flutter echoes.
7. Fiber glass blankets and rol l.
 Parallel reflective surfaces can allow sound to "ricochet" back and forth
between the surfaces. This potentially annoying condition is referred to as
standing wave or flutter echo. It is avoided by constructing non-parallel
surfaces or by adding absorptive materials to the surfaces.

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 LECTURE HALLS BARRIER FREE ENVIRONMENT Thesis 2018-2019
 For lecture halls noise limits of 35 dB(A) or 30 dB(A) are recommended. •"A barrier-free environment is a world that accommodates the daily
 Requirements Maximum Noise Level low 40 dB(A) middle 35 dB(A) needs of the elderly and the disabled."
high 30 dB(A) •Adding ramps to stairs to allow free wheelchair access in this Institute.
Maximum allowable background noise levels
Ambient sound levels measured at 4 feet above the floor at all points
throughout the room must have a Noise Criterion (NC) rating of more
than 35.
 The mechanical system should generate a background noise of not
more than NC 15-20.
Factors that have been identified in the design of a quiet operating
system include :
1. Air handlers or fans located away from the lecture hall
2. Low velocity of air within the lecture hall
3. Proper sizing and acoustical treatment of ducts , returns and TYPES OF BARRIERS/ DISABILITY
Non – Ambulatory :- consists those individual on wheel chairs
S
diffusers.

Hanging Baffles Art Acoustic

Semi – Ambulatory :- Individual using braces or crutches, amputees,
arthritics and those with pulmonary and cardiac ill.
P
Panels
Sight :- Total blindness or impairments affecting sight.
Hearing :- deafness or hearing handicaps
CAFETERIA E
The width of entrances and exits (clear 900 mm)
Width of the passenger/corridor(clear 900mm)
C
Slope of the climbing (min ramp slope 1:12)
Walks and paths
I
Echo Absorber™
Acoustic
Fire Rated
Studio Foam
•Walks should be smooth, hardlevel surface suitable for walking and
wheeling.
A
BUILDING ACOUSTICS:
•The min. walkway width would be 1200mm and for moderate two
way traffic should be 1650 mm -1800 mm
l
•Building acoustics is the science of controlling noise in buildings.
•This includes the minimisation of noise transmission from one space to
another and the control of the characteristics
of sound within spaces themselves.
S
•Building acoustics are an important consideration in the design,
operation and construction of most buildings, and can have a significant
T
impact on health and wellbeing, communication and productivity.
•They can be particularly significant in spaces such as concert halls,
U
recording studios, lecture theatres, and so on, where
the quality of sound and its intelligibility are very important.
D
Y
LECTURE HALL SEATING

•Parking min. 3.60 metre

BUILDING ACOUSTICS CAN BE INFLUENCED BY: •Signages should be given
The geometry and volume of a space. •Entance with ramp approach of width 1800
Sound absorption, transmission and reflection characteristics of mm with1:12 , shoud not exceed 9.0 metre with
surfaces enclosing the space and within the space 800 mm high handrail on both sides.
The sound absorption, transmission and •Lifts lobby – 1800 x 1800 mm
reflection characteristics of materials separating spaces. •Toilets min.size 1500 mm x 1750 mm
The generation of sound inside or outside the space. •Seatings, wheel chair stair lift should be
Airborne sound transmission. provided
Impact noise

An anechoic Diffusers which

chamber using scatter sound are
acoustic used in some rooms
absorption to to improve the
create a "dead" acoustics
space

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