Gaming and

animation
institute

3rd eye Malik Sandal Institute of Art and Architecture

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Thesis by
Anas AnsARi

2mb14at003

Guided by

Ar. Irshad Ahmed Punekar,

Ar. Sarala Sirasagi,
Ar. Seemanthini ,
Ar. Sharath Ravi

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VISVESWARAIAH TECHNOLOGICAL UNIVERSITY,
BELGAUM

A THESIS REPORT ON
“3rd Eye”

Gaming and Animation Institute

Submitted to the
VISVESVARAYA TECHNOLOGICAL UNIVERSITY, Belgaum
for the partial fulfilment of the requirement of the award of degree of
BACHELOR OF ARCHITECTURE

Submitted by
Anas AnsARi
2mb14at003

Under The Guidance Of

Ar. Irshad Ahmed Punekar,
Ar. Sarala Sirasagi,
Ar. Seemanthini ,
Ar. Sharath Ravi

SECAB Society’s
Malik Sandal Institute Of Art & Architecture Vijayapura-586101
2017-2018
 SECAB Society’s
Malik Sandal Institute Of Art & Architecture Vijayapura-586101

Certificate
Certified that the thesis work entitled “3rd Eye – Gaming and Animation Institute” is a bonafied work carried
out by Mr. Anas AnsARi bearing usn no. 2MB14AT003 in partial fulfilment for the award of bachelor of
architecture of the Visveswaraya technological university, Belgaum during the year 2017-2018.

The thesis report has been approved as it satisfies the academic requirements in respect of thesis work prescribed for
the said degree.

Guides HOD Principal President

Ar. Irshad Ahmed Ar. Irshad Ahmed Ar. Anwar Punekar S.A Punekar
Ar. Sarala Sirasagi
Ar. Seemantini Chaphalkar
Ar. Sharath Ravi

College seal Examiner Examiner

 Dedication
To my parents ,friends and teachers for guiding me through out the way
09 History.
Game Development History.
Index
09 History.
10 Timeline.
Animation History. 26 Standards. 63 Bylaws.
11 History
12 Timeline 27 Auditorium.

16 Introduction.
28
29
34
Class room.
Hostels.
Handicap.
64 Design.
36 Library.
17 Scope of project. 40 Parking. 45 Problems And Its Solution.
42 Parking lot. 51 Final zooning.

18 Synopsis. 44 Case studies. 68 Bibliography

20 Site.
45 Film And Television Institute ,Pune.
21 Data Collection.
51 Kantana School of Gaming ,Animation And Vfx , Thailand.
22 Area statement and
Requirement. 60 Asian Institute of Gaming and Animation ,Banglore.
 History
With current generations raised on the lightning-
fast processing speeds and crystal clear graphics
of Xboxes and PlayStations (and with the tide of
virtual reality-based video games fast
approaching), it’s easy to forget that just 50 years
ago, digital gaming existed in only a few
laboratories around the world,
the experiments of unknown Ph.D. students or
well-known scientists and mathematicians who’d
made their name in more traditional fields.
From the laboratory to arcades and, later, onto
shelves and into the cloud, video games have
rapidly and radically evolved in the past half
century.
The history of game development goes as far back as
the early 1950s, when academic computer scientists
began designing simple games and simulations as
part of their research.
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Game development
Game Development did not reach mainstream popularity until the 1970s
and 1980s, when video arcade games and gaming consoles using
joysticks, buttons, and other controllers, along with graphics on
computer screens and home computer games were introduced to the
general public. Since the 1980s, video gaming has become a popular
form of entertainment and a part of modern popular culture in most
parts of the world.
One of the early game developed was Spacewar! which was developed
by computer scientists. Early arcade video games developed from 1972
to 1978. During the 1970s, the first generation of home consoles
emerged, including the popular game Pong and various "clones".
The 1970s was also the era of mainframe computer games. The golden
age of arcade video games was from 1978 to 1982.
Video arcades with large, graphics-decorated coin-operated machines
were common at malls and popular, affordable home consoles such as
the Atari 2600 and Intellivision enabled people to play games on their
home TVs. During the 1980s, gaming computers, early online gaming and
handheld LCD games emerged; this era was affected by the video game
crash of 1983. From
 History Timeline Game Development
05 08
1999-2003 Generation five 06 2013-2015 Generation eight
The eighth generation of consoles
32 and 64-bit units 2003-2013 Generation six emerged, including Nintendo's Wii U
During this era, mobile phone
During this period, online gaming and and Nintendo 3DS, Microsoft's Xbox
gaming emerged.
04
mobile games became major aspects of One, and Sony's PlayStation 4 and

07
gaming culture. PlayStation Vita.
1999-2003 Generation five
The fourth generation of consoles, 2013-2015 Generation seven
which were 16-bit models, This era was marked by huge development budgets
for some games, with some having cinematic graphics

1 9 7 2 - 7 8
Generation one
01 The first generation of home consoles emerged, including the popular game
Pong and various "clones".

1 9 7 9 - 9 2
Generation two
The second generation of video consoles emerged ,with the emergence of
02 advance technology in game development.

Generation three
1 9 8 3 - 9 9 The third generation of consoles again with the advancement in game
03 development , which were 8-bit units.

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 History
T he history of animation started long before the development of
cinematography. Humans have probably attempted to depict motion as far
back as the paleolithic period. Shadow play and the magic lantern offered
popular shows with projected images on a screen moving as the result of
manipulation by hand and/or some minor mechanics. In 1833 the
phenakistiscope introduced the stroboscopic principle of modern
animation, and would also provide the basis for cinematography.
Early approaches to motion in art
There are several examples of early sequential
images that may seem similar to series of animation
drawings. Most of these examples would only allow
an extremely low frame rate when they are
animated, resulting in short and crude animations
that are not very life like. However, it's very unlikely
that these images were intended to be somehow
viewed as an animation. It is possible to imagine
technology that could have been used in the periods
of their creation, but no conclusive evidence in
artefact's or descriptions have been found. It is
sometimes argued that these early sequential images discs with a hole in the middle and drawings on
are too easily interpreted as "pre-cinema" by minds
accustomed to film, comic books and other modern
sequential images, while it is uncertain that the
creators of these images envisioned anything like it.
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Animation
The notion of instances smaller than a second
that are necessary to break down an action into
sufficient phases for fluent animation would not
really develop before the 19th century.
Early examples of attempts to capture the
phenomenon of motion into a still drawing can
be found in paleolithic cave paintings, where
animals are often depicted with multiple legs in
superimposed positions.
It has been claimed that these superimposed
figures were intended for a form of animation
with the flickering light of the flames of a fire or a
passing torch illuminating different parts of the
painted rock wall, revealing different parts of the
motion. Archaeological finds of small paleolithic
both sides have been claimed to be a kind of
prehistoric thermotropies that show motion
when spun on a string.
 History Timeline Animation
Early ways of
showing animation
Vitruvian Man
3,000 – 15,00 B.C.
1,500 A.D.

Archaeological artefacts prove that we’ve been

attempting to depict things in motion as long as
we’ve been able to draw. Some notable examples
Leonardo da Vinci’s Vitruvian Man drawing shows
from ancient times, as well as an example from the
multiple angles, implying movement.
European Renaissance, include:

Shahr-e Sukhteh
3,000 B.C.

Archaeological artefact's prove that we’ve been

attempting to depict things in motion as long as
we’ve been able to draw. Some notable examples
from ancient times, as well as an example from the
European Renaissance, include:

1
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0
 History Timeline Animation
Animation
Magic lantern Thaumatrope
before Film
1600-1877 1603 1824
With the spread of the Industrial The Magic Lantern is an image The thaumatrope housed a rotating
Revolution in Europe and North projector using pictures on sheets mechanism with a different picture
America in the 18th and 19th of glass. Since some sheets contain on each side.
centuries came experimentation moving parts, it is considered the When rotated, you saw a combined
with machines that would make first example of projected picture (known as persistence of
images appear to move. animation. vision).

Phenakitos-
-cope
1831
The phenakitoscope featured
spinning disks reflected in mirrors
that
made it seem like the pictures were
moving.

Zoetrope Flip - Book Movieola

1868 praxinoscope
1834 1877
The flip-book, also known as the
The zoetrope was a hollow drum kineograph, reached a wide The praxinoscope expanded on the
that housed images on long audience and is credited zoetrope, using multiple wheels to
interchangeable with inspiring early animators more rotate images.
strips that spin and made the than the machines developed in this It is considered to have shown the
images appear to move. era. first prototypes of the animated
cartoon.

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 History Timeline
THE SILENT ERA 1900 – 1930
The early 20th century marks the beginning of theatrical showings
of cartoons, especially in the United States and France. Many
animators form studios, with Bray Studios in New York proving
the most successful of this era. Bray helped launch the careers of
the cartoonists that created Mighty Mouse, Betty Boop, and
Woody Woodpecker.
1906 Humorous phases of funny faces
marks the first entirely animated film, using stop-motion
photography to create action.
Animation
THE GOLDEN AGE OF AMERICAN ANIMATION
1930-1950s
During what many consider to be the “Golden Age” of animation, theatrical
cartoons became an integral part of popular culture. These years are defined by the
rise of Walt Disney (Mickey Mouse, Donald Duck, and Silly Symphonies), Warner
Brothers, MGM, and Fleischer (Betty Boop, Popeye).
1937 SNOW WHITE
Walt Disney releases Snow White and the Seven Dwarfs, the first animated feature
to use hand-drawn animation.

1908 fantasmagorie
is the first animated film using hand-drawn animation, and is
considered by film historians to be the first animated cartoon.

1914 Gertie the dinosaur

is considered the first cartoon to feature an appealing character.

1919 Felix the cat

Musical Mews and Feline Follies introduced Felix the Cat—often
considered the first animated movie star.

1928 STEAMBOAT WILLIE

featuring Mickey Mouse—becomes the first cartoon with the
sound printed on the film, and is the first notable success for Walt
Disney Studios, founded in Los Angeles in 1923.
1
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2
 History Timeline
The American Television Era 1960-1980s
The animation industry began to adapt to the fact that
television continued its rise as the
entertainment medium of choice for American families.
Studios created many cartoons for TV, using a “limited
animation” style. By the mid ‘80s, with help from cable
channels such as The Disney Channel and Nickolodeon,
cartoons were ubiquitous on TV.
1960 FlintsTones
Hanna-Barbera releases The Flintstones, the first animated
series on prime-time television.
1961 Yogi Bear
The Yogi Bear Show, a spin-off of Huckleberry Hound
(another Hanna-Barbera production), debuts on national TV.
ACADEMY AWARD WINNER Best Short Film
Animation
Modern American Era 1980 – 2014
The CGI (computer generated imagery) revolutionized animation. A principal
difference of CGI animation compared to traditional animation is that drawing is
replaced by 3D modeling, almost like a virtual version of stop-motion. A form of
animation that combines the two and uses 2D computer drawing can be
considered computer aided animation.
1984 The Adventures of Andre & Wally B
This short film was the first fully CGI-animated film, created by The Graphics Group,
the precursor to Pixar.
1987 The simpsons
The Simpsons is an American adult animated sitcom created by Matt Groening for
the Fox Broadcasting Company. It is the longest-running American sitcom, the
longest-running American animated program, and in 2009 it surpassed Gunsmoke
as the longest-running American scripted primetime television series.

1964 The Pink Phink 1995 Toy story

DePatie-Freleng Enterprises wins the Academy Award for Best
Short Film
for The PinkPhink (of the Pink Panther series) and continues
to
create shorts for theatrical release.
Toy Story, the first fully computer-animated feature film, was released.
2014 BIG HERO 6
Big Hero 6 is the first Disney animated film to feature Marvel Comics characters

1964 Fritz the Cat

Fritz the Cat is released—the first animated
adult (X-rated) feature film.
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Introduction
Gaming and Animation
With the advancement in Indian cinema ,vfx and animation has become a key
role for successes . But with the less knowledge in this field India always need
to be dependent upon other foreign employees and firm hence major cities
in India has taken initiative for developing institutes ,studios etc in the field of
visual effects ,vfx and animation for the better future.

Another field in which India lags behind is development of interactive games

for the virtual world. All the Indian population need to be dependent on
major companies like Ubisoft etc even when most of the important
developers are from India itself.
Introduction
Gaming and Animation
Scope and history…..
Gaming animation and vfx are closely
related to each other and with the
advancement in visual entertainment and
computers this fields have gone immense
attention ,detail and scope in sectors like
entertainment ,films education etc
Gaming and films today both needs
hardcore animation and vfx for making its
content rich and visually pronounced and
appealing For both fields scope of
architects are limitless and can be defined
in may terms like gaming architect ,space
creation of various spaces required by
these sectors.
The Indian animation industry
encompasses traditional 2D animation,
3D animation and visual effects for
feature films. In 1956, Disney Studios
animator Clair Weeks, who had worked
on Bambi, was invited to Films Division of
India in Mumbai to establish and train the
country's first animation studio as part of
the American technical co-operation
mission. He trained a core group of Indian
animators, whose first production was a
film called The Banyan Deer (1957).
Veteran animator Ram Mohan started his
career at Films Division's Cartoon Unit.
Another landmark animated film from Films
Division is Ek Anek Aur Ekta, a short
traditionally animated educational film
released in 1974.The film is presented as a
fable meant to teach children the value of
unity, and was frequently broadcast on India's
state-run television station, Doordarshan. The
first Indian animated television series was
Ghayab Aaya, which aired in 1986 and was
directed by Suddhasattwa Badu. The first
Indian 3D and VFX were done for the
television series Captain Vyom by animation.
The first Indian 3D animated film was
Roadside Romeo, a joint venture between
Yash Raj Films and the Indian division of the
Walt Disney Company. It was written and
directed by Jugal Hansraj.
Toonz India Ltd based in Trivandrum is the
most successful animation company in India
and have produced several internationally
acclaimed movies such as Freefonix,
Wolverine and the X-Men, Dragonlance:
Dragons of Autumn Twilight, Kid Krrish, The
Adventures of Tenali Raman, Return of
Hanuman and Gaturro
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 3rd Eye
Synopsis Gaming And Animation Institute

2mb14at003 Malik Sandal Institute of Art and Architecture

Synopsis
Name Site Area
3rd Eye 10 acers proposed ,20 acers total area
Gaming and Animation Institute

Gaming and Animation Typology of Structure Project cost

Educational / Intuitional 200 crores
Objective
To research about Gaming and animation institute
Project sponsors
To develop a prototype of a Building for the Maharashtra Government
entertainment (gaming and animation) Industry in & Mumbai University
India.

Location
Goregaon’s Dadasaheb
Phalke Chitranagari Or Film
City road ,Mumbai

Methodology
Case Studies of similar upcoming
Expected outcomes or build projects
Of the project
Seek Help of a some leading
Out come of the project will be the first step towards the better future of the gaming and animation private institute – MAAC ,Arena
industry of India ,Zee institute for Finding answers
to questions raised.
The project will contribute dynamically to the education zone of this fields

Will become one spot solution for thee student seeking to get some creative profession digitally Self Motivation
Proper distribution of knowledge will lead to better out come in the industry of entertainment and Film

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 Synopsis -- Site
Site is being situated In the hearth of film city road
near thee whistling wood international and reliance
digital media production houses.
Site is allotted for two purpose .
- Institute .
- Media Production house .
Both are divided into two phases phase 1 being
development of institutional building and another
would be media production house soon after
completion of phase 1.
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As for the connectivity the nearest transportations are as
followed –
Bus stop - Santosh nagar extension bus stop (1.5 km).
Rail way - Goregaon railway station (9.6 km).
Airport - CST airport (12.5 km).
Nearest landmarks are as followed –
Conservation education centre of BHNS – 0.5 km .
Whistling wood international – 2 km.
Maya production house – 4 km .
Reliance digital media – 5.5 km .
Bollywood tourism office – 6 km.
Advantages of site .
- The site is chosen in the area where the field is in very
much demand film city road the hearth of Bollywood \
- The site itself create multiple career for students giving
them opportunity to get hands on experience even while
perusing education.
- Production house i.e, phase two once completed would
be the largest in the film city and even in entire Mumbai
and hence creating multiple jobs opening and quality
entertainment media.
Typology of land – Contour .
Typology of soil – Hard Strata.
Synopsis
Data collection
01
06
Game
Programming

Sound recording
& design
Degree 3 years Degree 3 years
Per year 40 intake Per year 40 intake

Diploma 2 years Diploma 2 years

02
Per year 40 intake Per year 40 intake

Game Art and

Degree 3 years
Degree 4 years Animation
Per year 40 intake
Per year 40 intake
Diploma 2 years
Per year 40 intake Diploma 2 years

05
Per year 40 intake

Film Editing &

Cinematography Degree 4 years Degree 3 years
Per year 40 intake Per year 40 intake

B.F.A in Animation
03
Vfx

04
Visual effects

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Synopsis - Area Distribution & Requirement
Synopsis - Area Distribution & Requirement
Synopsis - Area Distribution & Requirement
Synopsis - Area Distribution & Requirement
 3rd Eye
S TA N D A R D S

Gaming & Animation Institute

Time saver standers
Newferts Architects Data
National Building Code volume I & II 2016
Modern Building Bylaws
DCR Mumbai 2016-2032
 Standards
Auditorium
The school auditorium is frequently used as a centre for community affairs. It should be so designed and equipped that it may be used effectively by all groups-amateurs,
professionals, youth and adult alike. The use of this facility will extend over a wide range, including concerts, plays, motion pictures, forums and other forms of presentation.
The stage is the essential educational facility, for it is on the stage that young people have the opportunity to learn to present themselves before large groups. It should be
designed for ease of movement of performers and stage sets. Areas that support production, such as stagecraft, band room, choral room, storage, dressing rooms, and
restrooms, should be located to give rapid and convenient access to the stage. Many school officials have expressed a preference for auditoriums without any natural lighting.
Absolute light control is essential for a good performance. In some schools, window scan be darkened by automatic controls operated from a central point. Stage lighting
should be flexible and simple enough to permit amateurs to operate the equipment effectively. The seating of the auditorium is not as important from an educational point of
view as it may be from the community use standpoint. There is no need for the school auditorium to seat he entire student body. It is best designed when the audience is
small enough to make participation possible in group discussions and to ensure a reasonably full assembly area under most types of usage. A capacity of 300 to 800 would
normally meet all school requirements. Additional capacity would be dictated largely by community use. The school auditorium will comfortably seat about 850 students. A
ticket booth is located in the foyer of the auditorium lobby. This lobby provides ample circulation space immediately outside the seating area. The placement of seats and
aisles gives good traffic circulation. The entire seating area has adequate sight lines giving good view Of the stage from all seats. The front of the stage platform extends
beyond the main curtain, providing area for a speaker or discussion panel while the main stage is being set up for a following performance. The stage curtains, teasers,
borders, and cyclorama shown on the drawing are adequate to support the various stage activities.

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Major factors to be considered in designing a classroom are the following
l. Seating and writing surfaces
2. Space and furnishings for the lecturer
3. The use of wall space, including chalkboards, screens, size and location of windows
Standards
4. Facilities for projection and television 5. Coat racks, storage, and other conveniences
6. Acoustics and lighting
7. Heating and air conditioning
8. Aesthetic considerations Classroom Seating
Classroom
The seating arrangement is the most important feature in determining the size and shape of a classroom. Seating arrangements in a mathematics classroom should
provide all students with a good view of the front chalkboard, ready access both to the seats and to chalkboards on other walls, an adequate, well illuminated writing
surface at each seat, a place to set books and papers, reasonable comfort, and privacy in taking examinations. In a class of 50 or fewer students, where a long front
chalkboard is desirable, it seems better to have the front wall longer than the side walls. This presupposes that there are more students in a row of seats than there are
rows; for example, visibility is better in a classroom having five rows of seven seats than in one having seven rows of five seats. In a room measuring26’X30,withseparate
tablet armchairs for 35 students, the seven seats in a row might have a spacing of 3'6" between seat centres laterally and 4'6" between the end seat centres and side
walls (6 X 3'6" -f- 9' _ 30'). Spacing from front to back in a column might be 3 feet between seat centres with 4 feet behind the back-seat centre and 10 feet between the
front-seat centre and the front chalkboard (4 X 3' + 14' = 26'). This pattern allows for aisles of about 20 inches between columns, a width just under the 22-inch "unit
width" used as a s Standard in estimating the number of persons who can walk a breast in a corridor or stair hall. This arrangement requires about 22 square feet of
space per student. Lecture halls whose seats have folding tablet arms may allow 15 square feet or less per student.

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Area Requirements for Student Room Furniture
1 . Furniture sizes and use spaces are the average for existing furnishings.
2. Each furniture layout assumes the item(s) placed along a wall.
Use Space
Standards
The uses pace of one item may overlap the use space of another, but no use space
should overlap an adjacent item of furniture designations An item of furniture automatically
requires additional space around it to make its use possible. This space should be allowed for in
the planning of the room.
HOSTELS
User Requirements, URBS Publication 5, University Residential Building System, University of
California, Berkeley, Calif., 1969.

The room. If it is desirable to move the bed from one section to the other, the two sections will
be approximately equal in size. If it is not desirable, the interchangeability of other pieces of
furniture will control the dimensions and size of each section of the room. An offset room will
increase the possibility of space divisibility. In a rectangular room, the items must create the
space; in an offset room the walls divide the space. Student Rooms
The student room is the smallest element and the basic space in the housing facility. It is the
core environment of the student who spends many of his waking hours here (undergraduate Desk
girls, 8 hr ; boys, 6 hr).

The desk apparently is used for reading only in cases requiring extensive note-taking or use of
several reference sources. Otherwise, it is a repository for study and personal equipment Arrangement
including typewriters, calculators, drafting equipment, radios, and phonographs. Yet it does not
have the height accommodations or acoustical padding needed to use these materials quietly
and effectively. Its length is inadequate for any use-the 42 in. standard desk is overtaxed with
books and writing material [as well as personal paraphernalia. The space requirements for
multiple references, collation of materials, or large belongings create overflow onto the bed or Door
floor. Consequently, work is often done on the floor of the room, particularly if it is carpeted,
and on the bed . Sometimes an apparent student idiosyncrasy has a real functional basis. Many
students were observed typing on the floor when an adequate table was available. The
students then dernonstrated the drum like sound of the unmuffled typewriter which conflicted
with their roommate's sleeping. Students often used the corridors and bathrooms as study
spaces when typing and study rooms were missing or occupied and roommates were sleeping.
Bookshelves are generally inadequate in size and length . Moreover, the shelves are usually in
places of difficult access and are poorly illuminated. There is a need for more shelves,
preferably adjustable and flexible as to placement. Built-in furnishings are resented because
their rigidity impedes both individual living and study habits. Students are forced to
supplement the university furnishings with such things as orange crates to create an individual
study environment . The results may appear cluttered to some, but they accommodate the wardrobe
occupant. Clearly then, a book, pen, reading light, straight back chair, and a 42-in.-long desk
Bed
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Planning Studies-Single and Double Rooms

General 1 Standards
HOSTELS
1.Room dimensions must accommodate :
a. Furniture sizes and design (wall mounted, freestanding)
b. Furniture use spaces c. Combination of furniture items

2. Room size (and shape) will affect two levels of possible room change :
a. Adaptability of furniture arrangements
b. b. Divisibility of spaces-physical or visual separation of activities
Room Areas 1 .

Definition of terms used:

a. Minimum-access to furniture items ; overlap of items and use space;
some restriction in the use of furniture. b.
b. Optimum-no overlap of items and use space c. Generous-beginning of
space divisibility
c. 2. Single Rooms a. Minimum recommended area-90 sq. ft b. Optimum
recommended area-110 sq ft
d. c. Generous recommended area-120 sq ft

3. Double rooms with bunked beds

a. Minimum recommended area-140 sq ft
b. b. Optimum recommended area-160 sq ft c. Generous recommended
area-180 sq ft 4. Double rooms without bunked beds a. Minimum
recommended area-180 sq ft b. Optimum recommended area-220 sq
ft
c. Generous recommended area-240 sq ft

Offset Single Rooms

1 . Conclusions
a. The area of the room with an offset may be comparable to a
rectangular room with little or no loss in the adaptability of furniture.
b. If dimensions of the room and furniture sizes share a common module,
an offset room may have a slightly greater amount of furniture
adaptability than a rectangular room of equal area.
c. In an offset room, the controlling object is the bed in determining the
proportional areas of the two sections B-Bed ,D- Desk ,D2 desk2’6” ,W- Wardrobe,
SC- Soft chair ,BC-Bookshelves

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Types of Spaces
1 . Single rooms
The single room provides controlled privacy for its occupant with respect to all other students. It may
open directly to a corridor and thus provide complete privacy coming and going, or it may be part of
a suite or apartment. Privacy for sleeping can be controlled if adequate acoustic separation between
adjacent spaces is provided. The single room should be arranged suitably so that it is possible to
study effectively with an invited second person. In addition, the student should be able to play the
radio, phonograph, tape recorder, or quiet instruments and to indulge in reasonable recreational
activity without creating an acoustical problem for his neighbour's. One authority believes the single
room is "unlikely to be really humanely satisfactory if it is less than 120 square feet. The furniture
should be movable, not fixed, to allow the student to organize his own environment."
2. Split double rooms
The split double room provides the social contact obtained by two students sharing a
common space but, at the same time, recognizes and solves the problem of conflict of
interest in the student's social and study activities. The split double room consists of two
spaces with a connecting opening. When connected with a door, there is a degree of
acoustic privacy.
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Standards
HOSTELS
3. Double rooms
The double room is the present standard in student housing, largely
because of the tradition and economies it presumably brings to initial
construction costs. This economy is deceptive, however. Since these
rooms irritate their in habitants because of lack of privacy and quiet and
because of insufficient study and storage space, it becomes necessary to
provide typing rooms, individual study carrels, and large public lounges
(furniture showrooms). These factors should be considered when citing
the economies of the standard double-room residence hall.
4. Triple room
This form has been popular with some students on a small number of
campuses. Where this arrangement has been used with movable
furniture, the extra area provided in the single space has made
possible a large number of different space arrangements. The resulting
individuality of the layout of the room would appear to be a major
reason for the popularity of such spaces, since some students do seem
to prefer a three-student to a two-student room. The triple room,
however, tends to breed more serious interpersonal problems.
5. Four-student
room. Four
students sharing one room have the same problems as the students
sharing double- or triple-occupancy rooms. There is a slight advantage
in that the space is usually large enough to be sub di
room with direct communication between them. Then the spaces
maybe separated on an activity basis, with the desks, study, and living
facilities in one space and sleeping and dressing facilities in the other.
When one of the two spaces is large and the other small in size, the
students live together much as they would with
 Standards
Facilities
HOSTELS
1. Bathing

The gang bath is one of the most persistent features of residence halls. It has-been
defended on the basis of economy and its contribution to socialization. Certainly, the initial
construction cost of one central gang bath is less than that of smaller installations in several
locations. It is also evident that when a bathroom serves more than a few students,
maintenance becomes nobody's business but the university's ; the student does not realize
that he is paying extra for the university's maintenance of the gang bathroom. The initial
extra expense for smaller baths will actually result in long-term cost savings if the students
them selves maintain the smaller bathroom, because it eliminates the need for maid service
throughout the life of the building. Another economic factor against the gang bath is its
inflexibility. Residence halls with gang baths are far less appropriate for participants in
conventions, reunions, and institutes where families or both sexes are involved than are
areas with smaller baths serving a few persons.

2. Dining

There is universal agreement that the single, large rooms for hundreds of students is not the
satisfactory solution to the problem of student dining facilities. Although the large kitchen
with its extensive equipment, service line arrangements, and building area is the most
economical and efficient method of food preparation, the one large dining room for all
students negates a congenial atmosphere for social interaction during mealtime. Dining
facilities that combine the best advantage of the large kitchen-efficiency, economy, and
flexibility-while at the same time providing a pleasant and social dining environment can be
built. Proper planning permits large central areas to be divided by movable walls into
smaller or intimate dining rooms .The walls can be moved when a large scale is needed for
social events such as dances, etc. Food preparation in student rooms presents a safety and
sanitary problem, but the need for between-meal snacks can be solved independently of the
central dining room. Students can be accommodated by automatic vending machines
located at strategic points in the residence hall or by provision of facilities in which they can
prepare snacks themselves . Student food preparation problems cannot be solved by
unenforceable prohibitions but only by construction of appropriate areas with automatic
cooking devices and controlled food storage facilities.
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 Standards
HOSTELS
Structural Spans
The 40-ft span with a 20-ft bay length derived from study of many existing dormitory plans as well as proposed ideal environment spaces. On the national scale, older dormitory
types were studied along with the newer ones being built. Whereas 10 years ago most structures were a simple, rectangular shell, a present-day trend seems to involve more
complex configurations relating to more complex hierarchies in the social structure. Asa frame of reference, residence halls were classified in five basic plan types: 1. The Double-
loaded Corridor-a series of perimeter rooms on both sides of a five-foot 1 corridor, usually with gang baths and stairs at either end 2. The Gallery Plan-a variation of the Double-
loaded Corridor with rooms on one side only of an open or closed corridor 3. The Extended Core Plan-a series of perimeter rooms around four sides of a structure. In the centre is
a core of service rooms including gang toilets, janitor's closets, elevators, etc. A corridor usually surrounds the core on four sides 4. Vertical House-a series of4, 6, 8 rooms, suites,
etc. A stair serving one or two such configurations of rooms or suites is provided, creating the feeling of an individual house 5. Point Tower Plan-usually but not all ways high-rise
with vertical circulation such as stair sand elevators in a centre core along with gang baths and service rooms. The rooms, suites, and arrangements are on the perimeter. Shared
baths are often used with suites of4, 6, 8 persons Once these five types were defined, all plans were classified accordingly, and a study of their structural requirements was begun.
These plans were studied not as actually constructed but rather as they would need to be framed to permit maximum adaptability. Based on these studies, frequency of
occurrence charts showed that very few long spans over35 ft were used and that a corresponding maximum short span of 20 ft was adequate. Coupling this study with spatial
needs and assuming a fixed toilet space, it was concluded that a maximum 35- by 20-ft bay would be required. Provision by a given system of bays larger than 35 by20ft will, of
course, be acceptable provided the required spans are taken care of. A variety of bay sizes will be needed in addition to accommodate balconies, overhangs, stairways, and
elevators. The precise conditions for these accommodations will be defined in the performance specifications for structure

7% circulation space 14% circulation space 25% circulation space

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 Standards
RESIDENCE HALLS
Handicap
Sleeping and Study Quarters Space There must be a Wall hooks shall be installed within a height range of 40"
minimum clear floor space in such areas of 6' [183 cm] by 6' [101.6 cm] to 56" [142.2 cm]. Shelves of various height
[183 cm] enabling a 360° turn by a wheelchair. intervals shall be installed on the side-closed wall. The top
shelf shall not exceed 45" [114.3 cm] in height. Shelves above
Working Area Space clearance under counter, table, and desk the clothes bars shall be provided for long-term storage. (See
tops to be used by a wheelchair student shall be a minimum Fig. 2.) Windows, Heating, and Air Conditioning Windows shall
of 271/2 " [69.8 cm] in height and 32" [81.3 cm] in width. close and open easily, using hardware latches, cranks, or
slides which are within the accessibility range limits of 20"
Beds Beds shall have minimum dimensions of 3' [50.8 cm] to 48" [121.9 cm] above floor level.
[92cm]by6'[183 cm]and between 19" [48.3 cm] and 22" [55.9
cm] in mattress height from floor level. PERFORMING ARTS

Mirrors Mirrors should be adjustably hung (a minimum of 2'-
0" [61.0 cm] in length) so that the bottom is 30" [76.2 cm]
above floor level. Where this lower height is not feasible,
mirrors of greater height shall be tilted from the top to a
degree to sufficiently accommodate individuals described in
rational.
Electrical Outlets Electrical outlets shall be mounted no lower
than 20" [50.8 cm] above floor level.
Handles and Switches Protruding desk and dresser drawer
handles shall be installed. Switches for electrical fixtures and
equipment shall be of a toggle or push-button type or
equipped with pull-chains of a minimum length of 15" [38
cm].
Aisles Where possible all new theatre construction shall have
ramped aisles (no greater
Architectural Accessibility for the Disabled of College
Compuses, Stephen R. Cotler and Alfred H. Degraff, State
University Construction Fund,Albany,N.Y., 1976. than 1 in 12)
with no steps (sight lines should be considered). If this is not
possible, accessible and level cross aisles between seating
sections shall be provided with minimum width of 7'-6"
[228.6cm]. (See Fig. 3.) The placement of seating areas for the
physically handicapped should not block egress routes used in
the case of emergency.

Closets Where one closet is provided for each occupant, the

clothes bar should provide two different heights. Three-
quarters of the total length should be at 52" [132 cm] and the
remaining quarter at 62" [157.5 cm]. To achieve this, the
lower bar, three-quarters of the total length, can be
suspended from the higher bar.
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 Standards
LECTURE HALLS Lecture Seating Lecture halls
Handicap
providing fixed seating and desk facilities
shall provide spaces of level floor area of at
least 36" [92 cm]

CAFETERIAS Food Lines

Food lines of cafeterias shall employ tray
slides no higher than 34" [86.4 cm] in height
and, where a security wall or railing runs the
length of the line, the area shall be at least
36“

Self-Service Areas
Salad bars, condiment areas, beverage
dispensers, utensil racks, and other areas
where self-service is required shall provide
access within the unilateral vertical reach
range of 20" [50.8 cm] to 48" [121 .9 cm].

Dining Area

Tables shall be provided within the dining

area which provide a knee clearance of at
least 271/2 " [69.8 cm] in height and 32"
[81.3 cm] in width. Pedestal tablesare
notrecommended because the center post
hinders wheelchair footrests. Aisle widths
shall be at least 6'-0" [183 cm] as measured
from table edge to table edge (Fig. 6, plan
"A"), or 3'-0" [92 cm] from table corner to
table corner (Fig. 6, plan "B"), in those areas
used by persons in wheelchairs. The width of
main aisles, in areas of normal traffic
pedestrian flow, shall be at least 6'-0" [183
cm] to allow two wheelchairs to pass each
other (Figs. 7 and 8).
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Standards
library
1. Graduate Student Accommodations

a. At tables for multiple seating . Not recommended

b. Open carrels of any of the types proposed in t above. Graduate carrels may have shelves over the working surface, but this will require deeper table tops because of lighting
problems, unless the shelves are installed at one side. See Figs. 2a, b, and c. c. Closed carrels. See C and D below for working surface dimensions and square-footage
requirements.
Closed carrels require special care for satisfactory lighting and ventilation. Unless larger than necessary to provide adequate working surfaces, claustrophobia tends to result. A
window for each carrel or an attractive grill on at least one side will help. 3. Faculty Accommodations. If possible, closed studies should be provided for faculty Members
engaged in research projects which require the use of library materials. Limited assignment periods are suggested. They should not be used as offices. See C and D below for
working surface dimensions and square-footage requirements.

C. Dimensions of Working Surface for Each Type of Seating Accommodation Table 9 gives suggested minimum and adequate dimensions.
Average Square Footage Required for Different Types of Accommodation The square-footage requirements suggested in Table 10 are at best approximations, but may be helpful
in preliminary stages of planning. E. Additional Space Required for Service to Readers Space for direct access to seating accommodations is dealt with in Table 10 and elsewhere.
Additional

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 Standards
library
space required includes:
Assignable Areas The public catalog. Space around the bibliographical and reference and current-periodical collections which
is required because of heavy use. Public areas outside service desks. Special accommodations for microfilm reproductions,
maps, manuscripts, archives, and other collections not shelved in the main stack area . These may include audio-visual areas
of various types. Staff working quarters. No assignable Areas Entrances, vestibules, and lobbies Corridors Areas used primarily
as traffic arteries Stairwells and elevator shafts Toilets Walls and columns It is suggested that not less than 25 sq ft per reader
in assignable or no assignable areas will be required for the services in these groups, and that unless the special
accommodations mentioned above are held to a reasonable minimum and careful planning is provided throughout, the 25
may have to be increased to 35 sq ft.Seating Accommodations As an aid in planning layouts, suggestions are presented for
arrangements for seating accommodations in reading areas and book stacks. Remember that academic and research (not
public) libraries are under consideration, and the sizes and arrangements suggested are for academic and research use. 1 .
Single open carrels with the long axis of the table tops at right angles to a wall. These may be in reading areas, or in book
stacks with walls on one side, a subsidiary cross aisle on the other, with the end of stack ranges beyond the aisle, or they may
take the place of the last stack section in a range. Single carrels should preferably be fastened to the wall or floor in some way
so as not to get out of position. (See Fig. 1a and b.) 2. Single closed carrels along a book-stack wall and opening into a
subsidiary stack aisle. These are quite similar to the open carrels described above, but have partitions and a door and, unless
considerably larger, they may be difficult to ventilate and to light and tend to cause claustrophobia. Partitions to the ceiling
are not recommended for undergraduates, but if the area, including the adjacent aisle, is at least as much as 5 ft by 6 ft 8 in.,
it can be used for graduate students if there is glass in the door. Light from an outside window will help. Fig. 46 shows a closed
carrel with a door. 3 . Single carrels in place of a stack section of the end of a book range. (See Fig. 16.) As far as space use is
concerned, this is the most economical way to provide a seating accommodation, and it gives a great deal of seclusion, which
many readers want. It presents four problems, however, as follows: a. The space from front to back is limited to the distance
between range centres, which in some cases is minimal. b. Unless the table top is specially designed to occupy the full depth
of the double-faced range, as shown in Fig. 3, it may be difficult o get into the chair because the table top will jut out into the
ais)e. c. Some readers, particularly if there is no adjacent outside window, will feel too shut in for comfort. d. Since the seat is
at the end of a blind aisle, the length of the range should not be more than half that of a range with cross aisles at both ends.
4. Single seats facing a reading room or stack wall or a high partition down the centre of a regular reading room table,
sometimes with a high partition at the sides projecting 6 in. beyond the table top into the aisle, to cut one off from his
neighbours. There is no place to look out, except directly at the neighbour to the right or left when leaning back in the chair.
They are not recommended, except in an open area in groups of four where the reader can look out in at least one direction,
because few students enjoy facing a blank wall, unless they can look out at least a few feet on one side without seeing a
neighbour close at hand. (See Fig. 3.) Single carrels in a sawtooth . or what is known as a dog-leg arrangement, shown in Fig.
4c, are preferable to those directly facing a wall, as the reader can look out on one side and still is protected from his
neighbours. They require no additional space. 5. Double carrels in rows in a reading room
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Standards
library

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Standards
library

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Standards
Parking
Overall Length During the period of 1930-1942 major changes were made in car length which had a severe effect on garage design and investment cost per car space. The
smallest cars increased over four feet in length (from 140.1 in. to 193.5 in.). The family sedan, Ford, Chevrolet and Plymouth "Big Three" increased 31/, ft(from 152.9 in. to
196.1 in.). The average of all makes showed an overall increase of 371/, in. (from 169.3 in. to 206.8 in.). The luxury cars registered a 21 in. gain (from 204.9 in. to 225.9 in.).
The 12-year period from 1946 to 1958 brought out two trends. Rambler as the smallest car pioneered the reversal toward smaller cars in 1952. In 1954 the low-price family
sedan (Ford, Chevrolet and Plymouth) began a 7-year increase in car size from 99 to 118 sq ft. From 1957 to 1960 the "tail-fin" explosion occurred leading to a buyers' revolt
against stretched-out sheet metal, followed by an increase in imports and introduction of domestic compacts. Immediately following introduction of United States compacts
the car manufacturers began an inching up process until the 85 sq ft compact was 90 sq ft as evidenced in the 1963-1970 "shortest car" indication. During the same period the
"low-price three'' began anactive7-yeargrowth period projecting all three into the larger size category Class 120.
Ramp Breakover Angle The ramp breakover angle is the measure of ability of the car to break over a steep ramp, either climbing or descending, without scraping (see Fig.
2). The Society of Automotive Engineers calls fora minimum of 10 degrees as a design standard. A number of models have not met this standard in recent years. The average
for all groups has remained relatively constant during the period 1958-1971 despite appreciable vehicle height reductions. The ramp breakover angle influence can be altered
thru use of design techniques. Transitional blends top and bottom of ramps composed of two or more breakpoints can multiply the ramp steepness, with workable break
angles, beyond the normal capacities of car or driver. In existing structures these problems are overcome by building a pad of asphalt or concrete each side of the break point.
In this manner cars having a low breakover angle can negotiate potential critical points without scraping. Long wheelbase ears combined with low centre clearance are most
susceptible to inadequate breakover angles. Buick Riviera, Pontiac Tempest, Oldsmobile Tornado, and Lincoln had lower ramp breakover angles in 1970 than Society of
Automotive Engineers design standards recommendation.

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 Standards
Parking
Angle of Departure A reasonable minimum value is necessary to reduce the incidence of tailpipe and rear bumper dragging. The standard calls for a minimum of 10 degrees,
violated only in the 1957-1959 period. Only one 1970 car, Mercury, met the minimum standard. Most cars are substantially above 10 degrees. The most critical condition is at
driveways where the apron is steep, or a combination of excessive crown to gutter and apron slope.
Angle of Approach The trend of approach angle of domestic cars from 1948 to 1962 indicates a drop in the 1957-1959 period below 15 degrees. The standard developed in
1960bythe Society of Automotive Engineers calls for a minimum value of 15 degrees. The standard has been maintained up to 1970 when reduced by Chrysler and Dodge to 14.0
and 14.6 degrees respectively. (See Fig. 3.) Ramp Slopes The maximum ramp slope should be 20 percent. For slopes over 10 percent, a transition at least 8 ft long should be
provided at each end of the ramp at one half the slope of the ramp itself. (See Fig. 4.) Driveway Exits A ramped driveway exit rising up to a public sidewalk must have a transition
section that is almost level (maximum slope: 5 percent) before intersecting the sidewalk to prevent the hood of the car from obscuring the driver's view of pedestrians on the walk.
This transition should be 16 ft long. (See Fig. 5a.) Property line walls should also be regulated so as not to interfere with the driver's view of pedestrians on a public sidewalk.
Wherever an exit driveway is parallel and adjacent to a property line wall which extends all the way for a sidewalk, the edge of the driveway should be physically established, by
curb or railing, at least 6 ft from that wall. For each foot that the wall is held back from the sidewalk, the required distance between driveway and wall may be reduced by one foot.
(See Fig. 5b.)

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 Standards
Parking lot
Parking stalls should be built to accommodate the larger cars frequently used, although not necessarily the very largest. Planning in hopes of just medium and small size cars invites
difficulties. The larger cars have an over-all length of 19 ft, over-all width 6 ft 8 in., with a wide open door projecting 3 ft 4 in. beyond the over-all width. The ramp angle must not
exceed 7 deg. The limit of the front approach angle is 14 deg, while the corresponding angle at the rear is limited to 9 deg. When parked at right angles to a curb or buffer, the
front overhangs generally does not exceed 2 ft 10 in., and the rear overhangs seldom exceeds 4 ft 6 in. These dimensions need consideration when planning widths of sidewalks
affected by the overhang. A 5-ft sidewalk would have its usable width reduced almost to zero by the rear overhang. The front overhang may be taken at 1 ft 6 in. when figuring
closely the minimum feasible spacing between buffers for a minimum width parking lot. When a central driveway is used with 90 deg parking on both sides, the space required is
62 It wide, but the space between buffers need be only 59 ft because of the overhang. A single stripe, 4 to 6 in. wide, may be used to mark the parking stalls. Better results in
cantering the car are obtained by using two 5-in. stripes, separated by 1 ft 6 in., to mark the stalls. The stripes, about 18 ft long, are joined by a semi' Overhang beyond curb or
buffer is about 6 in. less than overhang dimensions (see section on "Dimensions") which are measured from the centre of the wheel. circular arc at the incoming end to form an
elongated U (Fig. 3).

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 Standards
Parking lot
Experience has shown this method to be very satisfactory and fully worth the extra painting. Parking stalls should be at least 9 ft wide, 10 ft wide if space is not too restricted.
Parking stalls 8 ft 6 in. wide are unsatisfactory because with the car 6 It8 in. wide, there is only 1 ft 10 in. between cars. If an adjacent car is only 6 in off centre and the car door is 4
in. thick, only 1 ft remains through which to squeeze, if possible. Motel parking lots planned for maximum guest convenience, mark off parking sfolls I t ft wide and 23 ft long,
allowing 4 ft behind the 19-ft car for unloading space which is advisably clear of the driveway. Parking lots, exclusive of drives for entering them, require 350 sq ft per car as a very
rough, preliminary figure. The width of the available space and the de. sired angle of parking are determining factors in economy. The area per car varies from 279 to 585 sq ft
under conditions covered in the tabulation of parking lot dimensions. A central driveway with two rows of cars and 90 deg parking gives the best economy. Diagonal parking is
easier for the driver, reduces the necessary driveway width, but requires more total space (Fig. 1 ). In designing parking spaces, end stalls should be about 1 ft wider than usual,
especially if bounded by a building or other obstruction or a driveway . Parking spaces under buildings should be 11 ft wide, watching out for columns, and should have 7 ft height
in the clear. The parking pattern that will be most satisfactory fully warrants careful thought. It depends upon many factors including the possible locations of access drives. These
should be 20 ft wide for two-way traffic or 12 ft wide for one-way traffic (Fig. 2). If a restricted site frontage requires a right-angle turnoff, the driveway should be 25 ft wide and
the curb should have a 30 ft radius. A curb radius of less than 18 ft is inadvisable. A slope of 6 per cent is the usual maximum for state highways. A slope of 12 per cent is customary
for ramps, but may be as much as 15 per cent. The parking lot should be nearly level. The central driveway may be crowned, with a 1 per cent slope draining to the edges so that
persons on foot will find the driveway relatively free from water after rain or from ice in winter weather.

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04
Case Studies
Gaming and Animation
Film And Television Institute – Pune
Kantana Institute - Thailand
Asian Institute Of Gaming And Animation - Banglore
 Case Studies
Film
& Television
Institute
Case 1 - Pune

General Data

Location – Law College Road ,Pune

Landmark – Deccan Gym Khanna and Symbiosis Inner Road
college
Area -22 Aces Build 34 Acers For Future A wide symmetrical road divides the whole campus of the FTII into two parts. One part is
Expansion having the TV building, Director’s Office, Canteen, Boys Hostel, Play Ground and the other
Date of Commencement -1961 part is having the Studios, Main theatre, Girls Hostel, Director’s Bungalow and Security check
Client – Ministry of Information And Point. The is symmetry is further marked by the Tree lined avenue.
Broadcasting
Foreign collaboration - Member of International
Liaison Centre for Cinema And Television School

Transportation

Railway –Shivaji Nagar (4.8km)

Bus Stop – Film City Bus Stop (0.3km)
Bus Stand – Deccan Gym Khanna (2.2km)
Airport – Pune Airport (14km)
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Film
& Television
Institute
Case 1 - Pune
T.V Building
The T.V building is on the south side of the campus. It
is an L-shaped building, of which one arm
consists of the TV wing and the other arm consists
of all the administration and also academic
departments.
The TV wing consist of the following
a) TV Studios- 2 no's
b) Respective control rooms- 2 no's
c) Master Control room- 1 no
f) Preview theatre- 1 no
g) Video library- 1 no.
h) Conference room- 1 no. (40 capacity)
I) Video editing rooms- 6 no's
Sound Building
Case Studies
1) This is new building exclusively for sound
recording & sound editing purpose.
2) The microphone used on the location are
very sensitive & catch the desired as well as
undesired sounds on site. Thus all the sounds
involved in the scene need to be dubbed or
re-recorded. Also the desired background
music is recorded after the shoot.
3) The department includes studios for re-
recording, effects recording, sync & non-sync
dubbing, background music, etc.
4) The departments building houses the
following functions
•Recording studios – 3nos
•Editing rooms
•Classrooms – 2 no's
•Electronic laboratory – 1no.
•Staff room – 1 no.
•Control & projection room – 2 no's
•Toilets
5) Total built up area
of the building- 1059 sq.m
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Recording Studios
1) A recording studio is totally sound & dirt
proof. Cut off lobbies are provided at the
entrance of every studio, where footwear is
removed.
2) The recording studio includes a projection
screen along with recording machines.
3) The studios are attached with a control
room which is completely sound isolated and
can hear only the sounds recorded by the
recording machines.
4) A projector room is placed just above the
control room from where the edited film is
projected & viewed while recording.
5) The projection of the film can also be
controlled from the control room making it
convenient.
 Studios
Case Studies
Film •There are 2 indoor shooting studios in the
campus, both are placed on the north side.

& Television
•The studio I complex consists of the following
a) Shooting space

Institute
b) Storage
c) Prabhat museum.
d) Staff rooms- 12 no's
Case 1 - Pune e) Guest rooms, make-up rooms,
toilets, etc.
3) Total ground coverage area 870 sq. m.
4) The structure consists of 3 bays, one with all
Studios the staff rooms, guest rooms etc. while the
Both the studios are very old, constructed in the central bay
period on 1940s. is the shooting space and the last bay is storage
and the museum.
•It’s a long span structure with brick piers 5) Ground floor consists of 12 staff rooms of
600X600mm. 3X6 m each. Above these rooms there are
guest rooms,
•The roof is pitched with a roofing of Fiber create rest rooms, make-up rooms and toilets for the
sheets 1.50.75m in size and corrugated A.C sheets on shooting unit and actors.
top. 6) On the other side of the studio there is a
storage for the set material and the prabhat
•The roof is supported by a steel truss with steel museum.
rafters and purlins.

•The max height of the studio I is around16m and

studio II is 10m.

•The mezzanine floor inside are supported on Steel

stanchions with wooden planks just placed on them.
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 Case Studies
Residential Facilities
Film •The campus include girls and boys hostel and the director’s

& Television
residence.
•The intention of having the director’s residence in the campus itself,
is that the students and TV trainees can have free access and informal
Institute discussion with his in various aspects of film making/TV production.
•The boy’s hostel is located very near to the canteen.
Case 1 - Pune •All the rooms are placed along singly loaded corridor overlooking
into an open space.
•The toilets and the staircase are provided at the two ends of the
buildings.
Main Theaters •Its also houses a common mess for boys and girls at the junction of
the two arms of the building, which is very inconvenient.
•The girls hostel is located near the entrance, near the director’s
•The auditorium is situated in one of the old residence. The rooms are placed along a doubly loaded corridor. And
studios of Prabhat time, so it has got no defined only the south facing rooms overlook into an open space.
elevation. It is used for performing as well as •Both the hostel include common rooms and game rooms and also
screening. place for warden to stay.
•Presently the capacity of the auditorium is 250
which would be insufficient for an increased no.
of
students.
•Also the space is found to be inadequate to
accommodate a large no. of people on special
events like
drama or movie program which are usually kept
open for outsiders & ex-students.
•A camera department is attached to the theatre
which consists of stores and maintenance rooms
for
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 Case Studies
Film
& Television
Institute
Case 1 - Pune

Acoustic Treatments in Sound Room

It is a RCC frame structure with cavity walls all around for better sound insulation.
All the studios, laboratories and class rooms are air conditioned, which is a centralized system.
The A.C plant for the building is placed adjacent to the building. All studios are air conditioned
The acoustical treatment of the studios should be such that the there is no reverberation of sound. Reverberation time should not be more than 1 sec
an ideally it should be 0.8 sec.
Studio has a false ceiling of depth 700 mm accommodating all electrical services the ceiling consists of perforated acoustic panels which absorb sound
Flooring is of soft carpet which does not make any noise and dose not allow echo in studio I the flooring is wooden but causes problem as it creates
noise when –one walks on it
Up to the height of 1.2 m wooden panels are fixed which absorb the low frequency sound special perforated panels along with wooden panels are
fixed .

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 Case Studies
Film
& Television
Institute
Case 1 - Pune

Analysis
Workshop building is near to TV studios thus providing a better service.
The vehicular and Pedestrian movement should be separated properly.
Administration departments, staff rooms are distinctly located thus causing less interaction between them.
There is a lack of recreational spaces.
The auditorium is partly isolated from the main activity area thus gets apart from the integrity of the campus.
The main studios have no direct contact with the outdoor shooting area. Also the workshop &
property store are placed on opposite sides of the road.
Covered parking can only take four cars which is very inadequate. No provision for covered parking for visitors thus very inconvenient for them. The
visitors have to park their vehicles beneath the tree shadow in front of the gate office.
Auditorium is not having special provisions of parking hence all the vehicles get parked on the road next to it during the time of shows, causing traffic
congestion problems.
The sports ground is not much used by the students for any programme or function & not even for sports.
Lack of proper future planning has led to lot of redundant spaces and also the available spaces are insufficient.

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Virtual case study of
Kantana School of Film Animation and Vfx
To understand the play of nature
 Case Studies
▪ Architects Bangkok Project Studio
▪ Location Nakhon Pathom, Thái Lan
▪ Project Team Boonserm Premthada, Ittidej Lirapirom,
Piyasak Mookmaenmuan
▪ Client Kantana Edutainment (International) Co., Ltd.
▪ Budget 1,000,000 USD
▪ Area 5000 sqmt
▪ Project Year 2011
There are five different areas within the establishment:

administration office,
lecture room,
Workshop / studios,
library and a canteen.
Rest room

These areas are all linked by an Inserted forest in the shape of a log pathway. The
pathway is made out of grey stone and to walls are made from bricks.

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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Case Studies

1- Administrative Office Zone

2- Multi Media Library Zone
3- Lecture Zone
4-workshop Zone
5-cantee
6-restroom

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
Kantana Institute is a Film ,animation and vfx school of
undergraduates. The Institute is dedicated to the master
of drama in Thailand –. It is located in Kantana Movie
Town . It is a one story building which combines perfectly
with the beautiful natural environment that
surrounds it.
The building has an “Inserted for” with a linear corridor
with the north-south axis and
the east-west axis. The corridor divides into four blocks
with different functions. The
Inserted forest to be used as meditation space, so as to
remind them to concentrate
what they are doing, whether it is making, or moving
from place to place

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
The 8 meters high wall is a background of the sun, a tree,
and a man when they are connected by each
other’s shadows

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
The administration office is a multi-function space containing a chairperson’s office, program office and a general office. They are connected to
the courtyard. The sunlight makes this a very pleasant area. The lecture room is a quiet area surrounded with a brick wall and “an Inhabit wall”.
This the ideal space to relax and unwind in between or after lectures. It is a free standing wall without
borderline.

The workshop is a good example of the interior character “darkness” . It creates the feeling of a dream at night time. It helps the students to feel
peaceful and to focus while producing their film projects. The library is a place where the natural sunlight from above, the sound of nature and the
darkness the surround the courtyard, come together in unison This room consists of a wall lined

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
The canteen is an open air building. It is at the end of the pathway. To make this a multifunction area for different activities, this space is “non room”.
In regards to materials used : This building is designed on the ”return to basics construction”. It is based on natural craftsmanship.

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
More integrity with nature ,which is needed in this field as to properly get the idea of capturing clips ,editing and inspiration
All the spaces despite of being only single store ,avoids the harsh sun by creation of dummy wall ,which function is only to avoid heat and sunlight
This dummy wall are comparatively more in width to make it useful as a seating space o interactive space
The planning doesn’t concentrate more on future of this kind of field and hence leads to unavailability of most of the spaces within it i.e. no proper
editing studio ,main auditorium, studios ,for which the institute relays on other companies nearby.
Being a closed structure ,axially created corridors let all the department to be in proper touch of each other
The shape of the wall is so designed that at any point of the day only required sunlight fall within the structure
This wall to contain a cavity within it leading to reduction of heat and keeping the space cool.
The roof is always a tin sheet and when ever required are acoustically treated by means of false ceiling or else are only the tin sheet
These sheet absorbs harsh sun rays leading t increase in temperature inside ,to avoid this the sheet are placed some where in between height of wall
so that the sunrays get diverted through wall and no direct sunlight is incident on sheet.

Virtual case study of

Kantana School of Film Animation and Vfx
To understand the play of nature

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 Case Studies
Asian Institute
of Gaming and Animation

52
To understand the anthropometric data
and spaces used in gaming and
% animation institute

Loading matrix….
 Case 3
Location 41/1, Airport Road, Near-Icici
Insurance, Muragesh Palya, Bengaluru.
Area 8000 sqmt built-up
No of floors 2 floors
Nearest bus stop murugesh palya – 200m
Nearest railway
Nearest air port Kempogowda International Airport
(35 km)

Case Studies
Asian Institute
of Gaming and
Animation

To understand the anthropometric

data and spaces used in gaming and
animation institute

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 Case Studies Case 3
Floor plan – Ground Floor
Asian Institute
of Gaming and
Animation

To understand the anthropometric

data and spaces used in gaming and
animation institute

Context Floor plan – 1st floor

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 Bylaws

3rd EYE

Set of restrictions for effective

impact of design to end users and
society

Floor Area Ratio / Floor Space Index – 1.8

Ground coverage – 35%

Width of the main road – 12

Width of the ser vice road- 8

Inner roads width – 6m

Height of the building- for ever y 15m height

set back increases to 3m

Distance between two blocks – half of thee height

of tallest building

Parking ratio – 1:6

 Problem of junction

Process of
design
3rd EYE

The process includes my response

to the site as site analysis
,changes I adopted as solution
,the process emerging itself as a
concept in whole of thee project
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 Process of design
Rode
ZOONING AND widening
REASON
1- Gaming Institute

need prime location that's why in front.

2- Animation Institute

need prime location that's why in front. Entrance / Exit to hostel & auditorium also service entrance.

3- Central Library Wind And Contour

need to connect both gaming and The geographical constrains plays a very curtail
animation block that’s why in role And are very advantageous as the max mix
connectivity with both. direction all around the year is from north west
highest point direction and the contour as shown in thee

4- Foundation Course Lowest point

figure is lowest on north west direction and
highest on South east direction. Hence forming
need to have separate entry that’s why a wind Trapping zone
in west side and natural sun shading
5- Auditorium - as for 500 people need

N
to use it occasionally it need to have
segregated place hence with on north 5
west direction.
2
6
1
6-staff Quarters 9 3
8- Amphitheatre 8
Flexibility in positioning but near to free zones hence in
need to have separate opening and little between staff quarters playground and hostel 7
segration from other blocks and hence 4
combined entry with auditorium on west 9-Canteen 10
direction Need to serve both outside people and inside people and
hence placed at the junction created acting as buffer
7-playground
10 – Hostel
need to be near to hostel On top most position to create sun shading on some off
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 Process of design Entrance and exit
Concept forming Entrance / Exit to hostel & auditorium also service entrance.

N
Main entrance for students ,teachers (vehicular and pedestrian).

Creation of wind presser for shaping Entrance for commercial shops / canteen etc.
thee blocks Main entrance foundation course block.

Shaping the zone / blocks

Rearranging the blocks
The chamfering every where is done to trap thee wind inside each and
every block and hence block gaining there initial shapes based on the
concept for extracting the wind within the blocks by creating funnel
type shapes for increasing the wind pressure and projecting it to next
blocks

Boys hostel
Girls hostel Rearrangement done for
Gap in
funnel
Block B Breaking the hotel block giving staff quarters
shape
more privacy
creating Staff hostel
pressure

Block A Parking location

Total users per day - 850
Parking ration : cars – 10:1 ; Bike – 3:1
4 wheelers parking bifurcation – 2 wheelers parking bifurcation –
Institutional – 25 institutional – 75
foundation course and girls hostel - 20 foundation course and girls hostel -50
canteen –10 canteen –30
boys hostel and auditorium -25 boys hostel and auditorium -75
 Final block zooning

Process of design

N
Breaking the block from inner to trap the
wind and circulate it throughout the
blocks

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 Thank You 07

Anas AnsARi
Studio
Special thanks Bibliography
My Family Time saver standers
M.A.V.A Gang Newferts Architects Data
Nischay v .Naik Nadeem Shaikh Vignesh Kumar National Building Code volume I & II 2016
Manthan Joshi Afifa A. Hudli Hamza Fazal Machkal Modern Building Bylaws
Nawaz Jahagirdar Sadiya Malik Usman Gani DCR Mumbai 2016-2032
Shweta langoti www.google .com
Guiding Teachers Thank you all…. www.Wikipedia.com
Anas AnsARi
Studio