International Conglomeration Center - Harsh Gupta

DESIGN DISSERTATION (Stage-1)

TOPIC

INTERNATIONAL CONVENTION AND CONGLOMERATION CENTER AT DONA PAULA, GOA

SUBMITTED BY

HARSH DEEPAK KUMAR GUPTA Fifth Year- Sem. IX, B. Arch Dr. D.Y. Patil College of Architecture (Affiliated to Mumbai University)

Nerul, Navi Mumbai, India October 2019

DECLARATION I hereby declare that this written submission entitled “INTERNATIONAL CONVENTION AND CONGLOMERATION CENTER AT DONA PAULA, GOA” represents my ideas in my own words and has not been taken from the work of others (as from books, articles, essays, dissertations, other media and online); and where others’ ideas or words have been included, I have adequately cited and referenced the original sources. Direct quotations from books, journal articles, internet sources, other texts, or any other source whatsoever are acknowledged and the source cited are identified in the dissertation references.

No material other than that cited and listed has been used.

I have read and know the meaning of plagiarism* and I understand that plagiarism, collusion, and copying are grave and serious offences in the university and accept the consequences should I engage in plagiarism, collusion or copying.

I also declare that I have adhered to all principles of academic honesty and integrity and have not misrepresented or fabricated or falsified any idea/data/fact source in my submission.

This work, or any part of it, has not been previously submitted by me or any other person for assessment on this or any other course of study.

Signature of the Student: Name of the Student: Harsh Deepak Kumar Gupta Exam Roll No: 1509027 Date: 23.10.2019

    

Place: Nerul, Navi Mumbai

*The following defines plagiarism: “Plagiarism” occurs when a student misrepresents, as his/her own work, the work, written or otherwise, of any other person (including another student) or of any institution. Examples of forms of plagiarism include: The verbatim (word for word) copying of another’s work without appropriate and correctly presented acknowledgement; The close paraphrasing of another’s work by simply changing a few words or altering the order of presentation, without appropriate and correctly presented acknowledgement; Unacknowledged quotation of phrases from another’s work; The deliberate and detailed presentation of another’s concept as one’s own.

“Another’s work” covers all material, including, for example, written work, diagrams, designs, charts, photographs, musical compositions and pictures, from all sources, including, for example, journals, books, dissertations and essays and online resources.

ACKNOWLEDGEMENT I express my sincere gratitude to my guide Ar. Sanjiv Dongre for his timely discussion and encouragement, which has enabled me to complete my thesis. His mentoring, belief in me and my work were critical to my persistence. His constant support and direction throughout the data collection has been a great help. I sincerely appreciate his time, logical approach and the willingness to help me throughout the semester.

I would like to express special thanks to my parents and my close friends for always inspiring and pushing me to work harder than ever.

LIST OF CONTENTS: 1.

INTRODUCTION: ............................................................................ 5 1.1

AIM AND OBJECTIVES: ................................................................................. 6

1.2

NEED OF THE PROJECT:................................................................................ 6

1.3

SCOPE OF THE PROJECT: .............................................................................. 8

1.4

ARCHITECTURAL INTERVENTION: ............................................................ 9

2.

BACKGROUND STUDY: ............................................................... 10 2.1

WHAT IS A CONVENTION CENTER? ......................................................... 10

2.2

WHAT ARE FILM STUDIOS? ....................................................................... 20

2.3

WHAT IS A MUSEUM? ................................................................................. 25

3.

LITERATURE REVIEW:............................................................... 29

4.

PLANNING AND DESIGN OF EXHIBITION CENTER: ........... 36 4.1

RANGE OF ACTIVITIES ............................................................................... 36

4.1.1

Exhibition facilities: ...........................................................................................36

4.1.2

Characteristics of trade fairs and consumer exhibitions: .................................36

4.1.3

Development of an Exhibition facility:..............................................................38

4.1.4

Exhibition operation: .........................................................................................38

4.1.5

Access and storage: ............................................................................................39

4.2

PLANNING AND DESIGN ............................................................................ 40

4.2.1

Site requirements: .............................................................................................40

4.2.2

Site planning: .....................................................................................................42

4.2.3

Hall design: ........................................................................................................42

4.2.4

Stand layouts and circulation: ...........................................................................43

4.2.5

Engineering services: .........................................................................................45

4.2.6

Reception and registration facilities: ................................................................46

4.2.7

Other accommodation requirements: ...............................................................47

4.2.8

Food and beverage services: ..............................................................................48

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4.3

PERMANENT AND SEMI-PERMANENT EXHIBITIONS: .......................... 49

4.3.1

Range of facilities: .............................................................................................49

4.3.2

Exhibition requirements: ..................................................................................49

5.

PLANNING AND DESIGN OF CONVENTION CENTER: ........ 51 5.1

ENTRANCES: ................................................................................................. 51

5.2

HORIZONTAL AND VERTICAL ARRANGEMENTS: ................................. 51

5.3

CIRCULATION PLANNING: ......................................................................... 52

5.4

SPACE AND FACILITIES:............................................................................. 53

5.4.1

Types of rooms and flexibility: ..........................................................................53

5.4.2

Ratio of space:....................................................................................................53

5.5

AUDITORIUM REQUIREMENTS: ................................................................ 54

5.5.1

CHARACTERISTICS: .....................................................................................54

5.5.2

PLAN SHAPES: ................................................................................................55

5.5.3

SEATING ARRANGEMENTS: .......................................................................56

5.5.4

MEANS OF ESCAPE IN EVENT OF FIRE: ...................................................58

5.5.5

CHANGES IN FLOOR LEVELS AND AREAS: .............................................59

5.6

MULTI-USE HALLS: STAGE FACILITIES: ................................................. 60

5.6.1

PLANNING REQUIREMENTS:......................................................................60

5.6.2

STAGE HOUSE: ...............................................................................................60

5.6.3

DRESSING AND CHANGING ROOMS: ........................................................61

5.7

ENVIRONMENTAL CONTROL SYSTEMS:................................................. 61

5.7.1

VENTILATION AND AIR-CONDITIONING SYSTEMS: ............................61

5.7.2

LIGHTING SYSTEMS IN AUDITORIA: .......................................................62

5.7.3

VARIATIONS IN LIGHTING LEVELS: ........................................................62

5.7.4

STAGE AND PLATFORM LIGHTING: .........................................................62

5.8

BALLROOMS, MEETING ROOMS, FUNCTION ROOMS: .......................... 63

5.8.1

TYPES OF ROOMS: ........................................................................................63

5.8.2

BALLROOMS AND GRAND HALLS:............................................................63

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5.8.3

ROOM DIVISION: ...........................................................................................66

5.8.4

FOOD AND BEVERAGE SERVICE: ..............................................................66

5.8.5

FURNITURE REQUIREMENTS: ...................................................................67

5.8.6

FURNITURE LAYOUTS: ................................................................................67

6.

CASE STUDIES:.............................................................................. 71 6.1

MAHATMA GANDHI CONVENTION AND EXHIBITION CENTRE,

GANDHINAGAR, GUJARAT ................................................................................... 71 6.2

VANCOUVER CONVENTION CENTER, CANADA .................................... 81

6.3

SUNTEC INTERNATIONAL CONVENTION & EXHIBITION CENTER,

SUNTEC CITY, SINGAPORE................................................................................... 92 6.4

NATIONAL MUSEUM OF INDIAN CINEMA, MUMBAI .......................... 100

6.5

NATIONAL MUSEUM OF THE AMERICAN INDIAN .............................. 111

6.6

PINEWOOD STUDIOS, LONDON, U.K. ..................................................... 115

7.

FINDINGS AND ANALYSIS OF CASE STUDIES: ................... 127 7.1

Comparative Analysis of Convention Centre case studies:.............................. 127

7.2

Comparative Analysis of Museum case studies: ............................................. 129

8.

DESIGN BRIEF AND OBJECTIVES: ......................................... 130 8.1

DESIGN OBJECTIVES:................................................................................ 130

8.2

ANTHROPOMETRIC EVALUATION: ........................................................ 130

8.3

CONVENTION CENTRE: ............................................................................ 133

8.4

EXHIBITION CENTRE: ............................................................................... 135

8.5

FILM STUDIOS: ........................................................................................... 135

8.6

NATIONAL MUSEUM OF INDIAN CINEMA: ........................................... 136

9.

SITE: ............................................................................................... 137 9.1

SITE SELECTION CRITERIA: ..................................................................... 137

9.2

DESCRIPTION OF SITE: ............................................................................. 139

9.3

LOCATION: .................................................................................................. 140

9.4

SITE CONNECTIVITY:................................................................................ 143

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9.5

TRAFFIC MOVEMENT: .............................................................................. 145

9.6

LAND USE AROUND THE SITE: ............................................................... 146

9.7

LAND ENVIRONMENT AND OTHER DETAILS: ..................................... 147

9.8

CLIMATE: .................................................................................................... 150

9.9

FLORA AND FAUNA: ................................................................................. 154

9.10 WATER SUPPLY: ........................................................................................ 155 9.11 SITE PHOTOGRAPHS: ................................................................................ 157

10.

STORAGE AND HARNESSING OF WATER: .......................... 159

10.1 WATER FROM MUNICIPAL MAINS: ........................................................ 159 10.2 WATER FROM GROUND: .......................................................................... 160 10.3 WATER FROM RAIN: ................................................................................. 160 10.4 WATER FROM WASTE (WASTE WATER TREATMENT): ...................... 163

11.

ANNEXURES: ............................................................................... 167

11.1 LIST OF FIGURES: ...................................................................................... 167 11.2 LIST OF TABLES: ........................................................................................ 171 11.3 ARTICLES: ................................................................................................... 172 11.4 BIBLIOGRAPHY: ............................................... Error! Bookmark not defined.4

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1. INTRODUCTION: As a country, India has had a history whose implications were manifold. The country has always thrived to progress in fields of education, economy, politics, culture and infrastructure. In all its major leaps of development, India has taken a step beyond through mass conventions. One of such catalysts of evolution is its very own Film industry.

Cinema was introduced to the Indian audience in 1896 at the Watson Hotel in Mumbai.

Even at the inception, it developed in a medium of mass entertainment and a powerful tool for communication.

The first Indian feature film, Raja Harishchandra, was made in 1913 by Dadasaheb Phalke.

Cinema over the last century has become an integral part of Indian life and expression and a major point of reference for Indian culture.

Today, India is the largest film producing country in the world. Indian films and filmmakers have been admired all over the world for the artistic quality and novelty of Indian films. In its aesthetic and linguistic multiplicity, Indian cinema has been capturing the nation’s mood.

A Convention Centre is an architectural platform to promote common interests within various kinds of delegates for further expansion of the same.

Promotion

of

such

interests

happens

through

various

functions

such

as

conventions/meetings/conferences, trade exhibitions, political summits, large scale community gatherings, festivals, etc.

Such centres are strategically built/ placed in major economic, cultural or political hubs of the nation. Thus, their significance lies not only in its role to play an infrastructural host but also to provide a unique vista to the context of the respective city.

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1.1 AIM AND OBJECTIVES: Goa, the land of sun, sand and sea hosts several large scale conventions and exhibitions in form of various festivals. Some of the world class festivals are International Film Festival of India (IFFI), the BRICS (Brazil, Russia, India, China, and South Africa) Summit, the Defence Expo Maritime Summit, etc.

AIM: The following thesis is focused on proposing a multi-functional built facility more like a Conglomeration Centre, at Dona Paula, Goa to conduct various Conventions, Exhibitions as well as Festivals in a synergistic manner. The project is aimed to become a unique vista between the city, its people and the global community.

OBJECTIVES: The secondary objectives aimed to be fulfilled are as follows: 1.

To create a place for social and cultural gathering.

2.

To enhance a platform for international communication.

3.

To create a venue for film shooting, exhibitions and interaction.

4.

To design a flexible facility to accommodate multipurpose uses and different capacities.

5.

To create interactive spaces and landscaping to generate public interest.

6.

To create an architectural icon and a metaphorical gateway to the city.

7.

To design a complex meant for enhancement of Indian Film industry.

1.2 NEED OF THE PROJECT:  Since the main domain of this facility is to host International festivals, delegates from over 65+ countries will be able to practice a productive exchange of thoughts.  Its usual purpose will be to provide a platform for the international/national traders and businessmen to communicate and share information and goods on a personalized level and also to be used culturally and communally to showcase and promote culture, ideas and talent.  The IFFI being the biggest event conducted in Goa for the past 12 years has been a major reason for the economic growth. IFFI aims at providing a common platform for films across the world to be showcased.

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 The facility designed will majorly cater to most of the functional needs of the IFFI, i.e. the screenings, award functions, rendezvous, conferences and seminars.  The facility will also cater to other festivals such as European Film Festival, Goa State Film Festival, Anti-tobacco Festival, Serendipity Festival, etc. Since frequency of such events is occasional/seasonal, the proposal also demands certain facilities in the complex which will add up to revenue generation.  There are two such facilities, Film studios and a Museum.  Film studios will be catering all kinds of shooting activities such as auditions, advertisements, movie scenes, etc.  The Museum will be a tribute to Indian cinema and will educate people coming there from over 65+ countries.

Hence being a complex which provides a platform for promotion of economic, political and cultural aspect of the state of Goa, the proposal acts as a catalyst and economic growth engine for the development of the country.

Figure 1: IFFI-Goa-2016-Festival-Venue-Shyama-Prasad-Indoor-Stadium

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1.3

SCOPE OF THE PROJECT:

The project is envisioned to be a complex that enhances the very strength of Goa i.e. its Tourism industry.  Goa is India's second smallest state in terms of area and the fourth smallest in terms of population. Panaji is the state's capital. Goa is India's richest state with tourism as its primary industry.

According to a study named as ‘IIMB-ICPB Study for Ministry of Tourism, Government of India’ (IIMB-Indian Institute of Management, Bangalore and ICPBIndia Convention Promotion Bureau) which focuses on India as a Global Convention Destination Prospects and Strategies; ‘Goa is in need of an International Convention Centre which can cater to the growing need for a proper convention facility in this city/state.’  Goa has only one airport, the Dabolim Airport, which is a controlled by the Indian Air force. Most air connections to Goa are from Mumbai, New Delhi and Bangalore.  Chartered flights from European cities arrive regularly at the Dabolim Airport and bring over a 100,000 tourists every year. There is a minor port at Margao and cruise liners stop at Goa.  The state has two main railway stations and two national highways connecting to the rest of India.

The RPG-2021 (Draft Regional Plan of Goa) highlights following transitions in infrastructure:

The Konkan railway and South-western railway are doubling their tracks. This will address the crucial task of connecting the new International Airport (which the government has decided to locate at Mopa), to the rest of the state. The cruise terminal near Fort Aguada, to be regulated by Panaji Port, already has a feasibility report that can be developed on a PPP mode with related services, connectivity and infrastructure in this belt.

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The size and diversity of the project, suggests that each area will have unique features that define both, the challenges and the opportunities to stimulate investment and generate a desirable level of success. The facilities will be at par with the best in the industry worldwide, in size and quality; offering an efficient and quality setting for international as well as national meetings, conferences, exhibitions and trade shows.

1.4 ARCHITECTURAL INTERVENTION: The major objective of this project is to design a permanent Conglomeration Centre; a hybrid facility in Dona Paula, Goa, for the masses to meet, exhibit, trade and to suffice the requirements rising out of lack of built space in vicinity of the International Film Festival of India (IFFI), held in Goa every year.

The project would not only host the IFFI and several other summits and exhibitions annually, but also be used by the immediate local community for its various social and cultural purposes. The project being sited in a culture rich state, the facility would help enrich and also showcase its culture along with celebration of multiple festivals throughout the year. Following are the interventions that need to be considered: 1. Master Planning of a diverse complex – Convention centre, Exhibition centre, Film studios and a National Museum.

2. To design each and every structure in an integrated manner pertaining to its construction, services and aesthetics.

3. To develop such a structural grid for every building that it helps achieving flexibility of spaces without hindering aesthetics or services of the building.

4. Developing an aesthetic volumetric composition of the complex in a holistic manner.

Since it is a huge scale mass gathering facility, the project demands appropriate site planning, climate responsive design, aesthetically pleasing building forms and flexible spatial quality.

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2. BACKGROUND STUDY: 2.1 WHAT IS A CONVENTION CENTER?  A Convention Centre is a specially designed multi-functional built facility for provision of an environment to conduct effective meetings, conventions, exhibitions and festivals.  The Centre provides an obstruction free, completely furnished and equipped facility with the added important feature of a professional staff trained to provide a high level of services to the meeting planner and conference attendees.  At such a Centre, all aspects of the facility design, the convention support services, the food and beverage program, and the recreational amenities, enhances and expands the goals of the meeting.

TYPES: 1. EXECUTIVE CONVENTION CENTER: It is oriented towards corporate meetings, including both training and management development. Such centres feature large conference rooms, multiple dining, large breakout rooms and moderate recreational facilities.

2. CORPORATE CONFERENCE AND TRAINING CENTER: They are the largest of several categories. They contain more conference spaces to meet specific training needs.

3. UNIVERSITY CONVENTION CENTER: University conference centres are frequently used by local businesses and organizations to hold meetings, trainings or conferences. Many are also popular choices for weddings and parties, while the most impressive also host world leaders and dignitaries. University conference centres often house state-of-the-art meeting facilities.

4. FESTIVITY CONVENTION CENTER: Such centres provide a platform to celebrate annual festivals based on the context, culture and seasons of specific sites in best possible manner.

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2.1.1

HISTORY OF CONVENTIONS IN THE WORLD:

 Conventions have been held ever since there were enough human beings to gather and discuss pertinent issues.  The public assembly facilities of prehistoric times, however, were not the massive blocks of cement, steel and glass that comprise the convention centres of the 20 th century. A cave most likely served as the first convention centre.  In ancient Greece, political and religious leaders summoned their followers to smaller theatres to conduct debates and lectures. Perhaps, the first known facility in ancient times is Rome's Colosseum.  In the early 19th Century the town hall served as the convention centre.  Often constructed with a low stage, a flat floor and portable seating, this auditorium served as a theatre, lecture and concert hall, arena for athletic events, and the Election Day as well.

Figure 2: The first national political convention was held in 1831 in Baltimore, Maryland for Henry Clay in U.S.A

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2.1.2 NEED FOR CONVENTIONS AND CONVENTION CENTER:  Very evolution of human species happened solely because of their ability to communicate within themselves and with their future generations.  Therefore, the crucial need for communication at a personalized level asks for convention facilities in the society.  The importance of a convention meeting lies partly on what is presented on the platform and on the phenomena created by personal contact (meeting other people).  The increasing urge to host meetings/exhibitions, festivals (in some cases) is the main factor for the demand of constructing a Convention Center to bring in higher tourism and a growth in capital income for the country as a whole.

2.1.3 SIGNIFICANCE OF CONVENTIONS IN TOURISM:  Convention tourism is acknowledged as one of the highest growth areas of the economy worldwide, with an estimated business potential of over 100 billion US dollar per year.  Cities, states, and public authorities have invested huge in the race with competing cities to lure conventions and their attendees to new or expanded convention centres.  Many of these same places have also invested in publicly-owned hotels, new and expanded airports, all designed to support their hunt for conventions and trade shows.  The growth of convention business has increased professionalism in tourism management, advancement in transportation technology and growth in real per capital income as a whole.  According to the concept of Convention centre, the Convention Centres are generally not expected to make profits on their operations or cover their construction costs.  This is a solution to uplift the non-performing organizations and industries. Cities and states usually subsidize the convention centres because they expect that the centres will attract out-of-town delegates, whose expenditure on the hotels, food and beverages and shopping would yield additional taxable revenue.

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2.1.4 MICE MARKET (Meetings, Incentives, Conferences and Exhibitions):

MICE is used to refer to a particular type of tourism which large groups, usually planned well in advance, are brought together for some particular purpose.

MEETINGS: 

Meetings can be defined as events designed to bring people together or the purpose of exchanging information.



Meetings held by corporations and other businesses are classified as corporate meetings, and those held by associations are referred to as association meetings.

INCENTIVE TRAVEL: 

Incentive travel refers to the segment of business travel that uses the allure of a trip as an incentive or reward for achievement. A company-paid vacation to a resort for topperforming salespersons.



Sometimes this type of vacation will include motivational seminars, morale-building activities, and other business-related group activities, such as the introduction of new products or promotional campaigns, or training programs for employees.

CONVENTIONS AND EXHIBITIONS: 

The term convention refers to an event that combines both meeting and exposition.



Conventions have the reputation for generating high expenditures on a per visitor basis, as well as creating substantial economic impacts for the host economy.



The many different segments of the tourism industry that benefit from convention expenditures include hotels, restaurants, car rental, ground transportation, entertainment, and retail.



Conventions generate visitor activity, and revenues for hotels, restaurants, entertainment, etc.

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2.1.5 EXISTING SCENARIO OF CONVENTION CENTERS IN INDIA:

Figure 3: Hyderabad International Convention Center

 India's recent development in the convention space, the Hyderabad International Convention Center (HICC) still does not compete to the larger developments in the world.  However, in the recent past during a good year, the HICC generated huge amounts of income for the hotel market of Hyderabad, over and above the business that it generated for its attached Novotel Headquarters hotel.  Realizing the long term potential of this business, the state government and the tourism industry have collectively formed the Hyderabad Convention Visitors Bureau to promote and market the city of Hyderabad.

Figure 4: India International Convention and expo Center

 India International Convention and expo Center (IICC), a world class MICE venue aims to accommodate all of the professional event needs of national and international exhibition, convention and event organizers at Dwarka, Delhi.  Its primary objective is to establish IICC as a global hub for tradeshows, conventions and corporate events which can strategically assist Indian Government in achieving its important national and international goals.

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2.1.6 NEED FOR CONVENTIONS IN INDIAN ASPECTS:  It is evident from the facts that India needs to focus on developing allied infrastructure to attract conference visitors. For a developing nation like India, the bottom up approach entailing investment in Roads, Airports and Hotel rooms is the logical direction ahead, rather than heavy public investments in building stand-alone convention centres.  However, it should be borne in mind, that at least one world-class convention centre needs to be developed in each of the top 10 destinations in the country to demonstrate the capacity to host large international conventions.  Currently, India’s Tourism share is close to 2.4% of GDP, whereas the share of conventions business as a percentage of Total tourism revenues is comparable with other key destinations.  Singapore stands out because of its large share of conventions business in total tourism revenues with close to 30% of total tourism revenues.  India is expected to increase its tourism shares (as % of GDP) in the coming years, with more tourism friendly policies and it is expected that conventions as a percentage of tourism expenditure would also grow.

Figure 5: India- Tourism share in GDP as well as Conventions’ share in tourism revenues

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 ICCA (International Congress and Convention Association) currently tracks close to 14,000 events worldwide; out of which, international meetings add up to 5,269 meetings in 2005.  The market has grown from 4,500 meetings at the turn of century to over 5,269 in 2005.

The US accounted for 376 of these meetings in 2005, while India bagged 47 and was ranked at the 36th position in the world.  While the US attracted nearly 680,000 visitors for the meetings, India played host to 33,000 visitors in the same year. The top destinations for conventions as far as cities are concerned are Vienna, Barcelona, Singapore and Stockholm, while New Delhi hosted the largest number of meetings in India.

Table 1: Geography wise share of conventions

2.1.7 GOA: THE TOURISM DESTINATION  The smallest state in India spread over 3,702 with beautiful pristine coastline, serene lush green forests, hospitable people and a uniquely rich culture.  A rich historical heritage, culture and the architectural splendours of its temples, churches, old houses and cultural diversity have made Goa a favourite with travellers, around the globe.  The state attracted a total of 4 million (3.5 domestic and 0.5 million international) tourists to the state] in 2014.  In 2014, there was a large increase of 30%, in the number of tourists driven by various marketing initiatives, large number of short break tourists and the exposition of St. Francis Xavier.  Goa ranks sixth in World's Best Night Life Cities list by National Geographic.  Goa thrives on tourism. Tourism is the mainstay of Goan economy, contributing 12.5 % of the economy.

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 Goa is one of the few destinations in India where there has been a consistently increasing trend in hotel occupancy for star category hotels. This is despite an increase in the room supply.

Figure 6: Tourist arrival statistics of Goa

2.1.8 EVENTS HELD IN GOA: Goa's scenic beaches and its ability to cater to the ever increasing inflow of tourists, has made it a host to several exhibitions, summits as well as recreational events like film and music festivals.

Figure 7: Sunburn Festival at Goa

SUNBURN –  An electronic dance music festival is held in Goa every year. Sunburn has not only considerably contributed to the Goa's economy, but has also put India and particularly Goa on the world map as a mecca for dance music enthusiasts.

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 The festival has also helped provide local employment and boost resident businesses.  But due to the inefficiency of the government of Goa to cope with the technological and transportation facilities, there have plans made to take the festival out of Goa and to a different location.

THE INTERNATIONAL FILM FESTIVAL INDIA A ten day festival held every year in Goa since 2004, the IFFI has been said to create a ripple effect on the entire economy of the state, which can also be called as a cascading effect that is felt even in the most of rural areas.  Around 2000 people get direct jobs during this 10-day festival. A 15% to 20% rise is noticed every year in the tourist footfalls, during this festival season.

2.1.9 ABOUT INTERNATIONAL FILM FESTIVAL OF INDIA:  The 1st edition of IFFI was organized by the Films Division, Government of India, with the patronage of the first Prime Minister of India. Held in Mumbai from 24 January to 1 February 1952, the Festival was subsequently taken to Madras, Delhi and Calcutta.

In all it had about 40 features and 100 short films.  In 2004 the IFFI was moved to Goa. Since then the IFFI has been an annual event in the state of Goa. The IFFI aims at providing a common platform for the cinemas of the world to project the excellence of the film art, contributing to the understanding and appreciation of film cultures of different nations in the context of their social and cultural ethos, and promoting friendship and cooperation among people of the world.

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2.1.10 EFFECTS OF IFFI:

BOOST FOR TOURISM:  The decision of declaring Goa as the permanent venue for IFFI will offer a pool of opportunities to the natives of the State. Not only will it give the tourism industry a major blow, but will also move Goa beyond the status of a tourist destination.  The IFFI has come as a boon for Goa. The opportunities it has brought with itself are beyond the imagination of a common man. The State will now enjoy substantial benefits in terms of employment and income.  There will be massive spin-offs in the businesses like hotels, airlines, consumer shops and travel agencies. There will also be a relative increase in the investment in infrastructure of the State and make Goa a cultural destination as well.

Figure 8: IFFI at Goa

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2.2 WHAT ARE FILM STUDIOS? ďƒ˜ A film studio is an individual legal entity that is generally also a production company, sourcing the literary property, package the film, and get the movie made by assembling the team and by making the movie from start to finish, which also entails securing distribution, making its own movies under its own brand. ďƒ˜ Further, a film studio is also essentially, a glorified rental facility and brand, that has everything one needs to make a film, which rents or leases out office space, chairs, phones, tables, production gear, and other facilities to other production companies, producers, writers, and directors, some of who may produce films under their own separate brand, or who may have a deal with the studio for a joint production. ďƒ˜ Film studios also have their own marketing, advertising, publicity, and legal department, restaurant, catering, and other crew departments including lighting, electrical, sound stages, etc., whereas production companies alone do not.

TYPES OF FILM STUDIOS:

1. Corporate studios finance their films in-house from the profits they made from other films. They have the means to make movies as well as distribute and exhibit them.

2. Corporate-independent studios are smaller organizations that exist within major (corporate) studios to produce prestige films, specialty films that appeal to a more sophisticated audience, often with lower budgets.

3. Independent studios make smaller films that usually appeal to a niche audience. While the independent studios make their own films, they have to go to the major studios to get their distribution and exhibition.

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2.2.1 HISTORY OF FILM STUDIOS:  Since the advent of commercial cinema over a century ago, the costs and complexity of filmmaking have encouraged producers to develop a factory-oriented approach to production.  This approach coalesced in Hollywood, California in the 1910s, when that locale became the nexus of commercial film production in the United States.  The dominant firms referred to their production facilities as "studios" which invoked the more artistic aspects of filmmaking.

Figure 9: First Hollywood studio- Studio Babelsberg (1912)

 Film production in pre-independent India was defined by important studios located across geographies, in cities like Bombay, Calcutta, Kolhapur, Pune, Lahore and Madras.  The period between 1920s-1950s was marked by the active interconnection of studio personnel, artists, and technologies across regional, linguistic or religious divisions.

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Figure 10: Bombay Talkies (1934)

Figure 11: Gemini Studios (1940), Chennai

 Studios like New Theatres, Prabhat Film Company, Bombay Talkies, Imperial Film Company, Huns Studios, Sagar Movietone, etc. produced important and landmark films.

2.2.2 NEED OF FILM STUDIOS IN INDIA:  The Indian film industry, famously known as Bollywood, is the largest in the world, and has major film studios in Mumbai (Bombay), Kolkata, Chennai, Bangalore and Hyderabad.  Between them, they turn out more than 1000 films a year to hugely appreciative audiences around the world.  For nearly 50 years, the Indian cinema has been the central form of entertainment in India, and with its increased visibility and success abroad, it won't be long until the Indian film industry will be well thought-out to be its western counterpart- Hollywood.

So, in order to diversify the possibility of content creation, Panaji can be a city with its own complex where Film enthusiasts and all other associates can come together to shoot films, auditions, advertisements, etc.

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2.2.3 CONTRIBUTION OF BOLLYWOOD TO INDIAN ECONOMY: (Document referred: Film Clusters: The Case Study of Bollywood and its Contribution in Indian Economy by Agallos Ioannis-Christos)  The Indian film industry contributes the amount of $ 6,200,000 in the Indian economy, according to a report published by PricewaterhouseCoopers (2010).  Also, the film sector has a total production of approximately $ 20.4 billion and contributes more to the Indian GDP compared to the advertising industry.  Although Bollywood represents 16% of India’s film output, it accounts for 40% of India’s film revenues, with a current annual growth rate between 10 and 20%.  This results in the film cluster of Bombay to contribute the largest share of the Indian's cinema revenue in economy in order to grow further.  Since 2010, Bollywood is the largest foreign exporter to the US entertainment market, while attracting significant foreign investments to the production of Indian films, resulting in the influx of large sums in Indian funds.  It is largely due to Bollywood that entertainment now is India’s second biggest growth sector  To sum up, the rapid revenue growth of film industry during the last decade, is mainly due to the global success of Bollywood's films, as mentioned above affects directly the Indian economy, so cinema is evolving into a key sector for the total economic development of India.

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2.2.4 MOTION PICTURES AND MAKING PROCESS:  Filmmaking involves a large number of different individuals or departments working, and can take from a few months to several years to complete.  All of them work together under a Film Director who is also known as captain of the ship. All processes are divided into following steps according to their execution: Development, Pre-Production, Production, Post-production and Distribution.  Users in a Film studio:

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2.3 WHAT IS A MUSEUM?  Museums are a way of interpreting a society’s culture and history.  They are the Architectural solution to educate and get awareness amongst a civilization about their very objects of historic, scientific, artistic and cultural interests.  A museum is a permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.

TYPES OF MUSEUMS: 1. Archaeology museums. They display archaeological artefacts. They can be open-air museums or they can exhibit items in a building.

2. Art museums. Also known as art galleries. They are spaces for showing art objects, most commonly visual art objects as paintings, sculpture, photography, illustrations, drawings, ceramics or metalwork.

3. Encyclopaedic museums. They are usually large institutions and they offer visitors a wide variety of information on many themes, both local and global. They are neither thematically defined nor specialized.

4. Historic house museums. A house or a building turned into a museum for a variety of reasons, most commonly because the person that lived in it was important or something important happened in it. House is often equipped with furniture like it was in the time when it was used. Visitors of the house learn through guides that tell story of the house and its inhabitants.

5. History museums. They collect objects and artefacts that tell a chronological story about particular locality. Objects that are collected could be documents, artefacts, archaeological findings and other. They could be in a building, historic house or a historic site.

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Figure 12: Dr. Bhau Daji Lad Museum at Mumbai

6. Living history museums. Type of a museum in which historic events are performed by actors to immerse a viewer and show how certain events looked like or how some crafts were performed because there is no other way to see them now because they are obsolete.

7. Maritime museums. Specialized museums for displaying maritime history, culture or archaeology. Primarily archaeological maritime Museum’s exhibit artefacts and preserved shipwrecks recovered from bodies of water. Maritime history Museums show and educate the public about humanity's maritime past.

8. Military and war museums. Museums specialized in military histories. Usually organized from a point of view of a one nation and conflicts in which that country has taken part. They collect and present weapons, uniforms, decorations, war technology and other objects.

9. Science Museums. Specialized for science and history of science. In the beginning they were static displays of objects but now they are made so the visitors can participate and that way better learn about different branches of science.

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2.3.1 HISTORY OF MUSEUMS:

Figure 13: Ashmolean Museum at England

 First time a word “Museum” was used to describe something similar to modern museum was in 15th century for collection of Lorenzo de Medici in Florence.  Until 17th century, it was a name for collections of curiosities such were Ole Worm's collection in Copenhagen and John Tradescant's collection in Lambeth.  When John Tradescant's collection became property of Elias Ashmole in 1677, it was moved to University of Oxford to a building especially built for it.  Building was opened for public in 1683 and was named the Ashmolean Museum and is considered to be the first museum open to public that held the name “Museum”.

That marks the moment when “Museum” starts being an institution and not just collection of items and it remained like that during 19th and 20th century.

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2.3.2 NEED OF A MUSEUM IN GOA:  India as a country is a library of innumerable books engulfed with endless historic, scientific, artistic and cultural embodiments. In order for all this treasure to be stored, preserved and showcased in a systematic manner, an Architectural solution in form of a Museum has become widely crucial.  One of the eminent forms of art in this diverse country is Cinema. The origination of Indian Cinema, its evolution with time and technology, its historic moments as well as the very journey of it; all of this needs to be put forth in an organised manner for a layman to understand its vast significance in Indian society.  Since the complex proposed at Dona Paula will host various Film festivals some of which will welcome delegates from over 65+ countries, it heavily demands to showcase India’s strength in entertainment industry which is now known as Bollywood.  To have a single entity within which the rich and diverse culture of Indian Cinema is moulded in form of a Museum; will only add to exposure as well as promotion of Indian Cinema at an International platform.  Since conventions and exhibitions in this complex are going to happen on occasional basis, Museum and the Film studios are those facilities which will be active throughout the year. These 2 facilities will generate revenue on regular basis which may also contribute to the maintenance of other hybrid facilities in the complex.  Existing Museums in Goa: 1. Wax World Museum 2. Naval Aviation Museum 3. Three kings heritage village 4. Goa Chitra 5. Pilar Museum 6. State Archaeology Museum 7. Christian Art Museum

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3. LITERATURE REVIEW:

3.1 ARTICLE BY ANDREA DOYLE- “DEFYING CONVENTION: 7 WAYS CONVENTION CENTERS ARE CHANGING TO STAY RELEVANT”  It used to be simple. You attended a show at a Convention Centre, and there was the exhibit floor, perhaps a stage for speakers, and maybe a dedicated area for seminars.

And that was it.  Today? How about a morning yoga session led from a solar-powered stage, food trucks dispensing gluten-free treats, and a rousing jazz-funk concert?  These features were part of this spring's Natural Products Expo West, a leading trade show in the natural, organic, and healthy products industry, which attracted more than 65,000 industry professionals to the Anaheim Convention Centre in Anaheim, California.  Convention Centres are adapting to allow this new way of learning, along with many other evolving methods of conducting business. Here are seven attributes of today's cutting-edge convention facilities, and how they are helping to change the attendee experience:

3.1.1 Making flexibility a priority: 

Flexibility is the key to successful Convention Centers.



"Successful companies like Apple spend a lot of time designing their facilities, as they want to maximize interaction," – Adrian Segar (Founder of ‘Conferences that Work’)



"They pushed us to see our building in a different light and to use our space in different ways -- ways that further fostered connection between delegates while taking advantage of our waterfront setting" - Claire Smith (Vice President at Vancouver Convention Centre)

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3.1.2 Centres are an extension of the destination: 

To be relevant in the 21st century, Convention Centres must capture the spirit of the destination.



"We heard from some meeting planners that when they are in the Colorado Convention Centre they feel like they are in a big space in a big building that could be anywhere," – Daniel Fenton (Principal of Northern California Office of Strategic Advisory Group)



"Without changes, the study suggests we could run the risk of losing business to other cities that are staying relevant and modifying and expanding their convention and event facilities."

3.1.3 Art and Creativity move front and center: 

Part of the movement to make Convention Centres more destination-oriented has been a trend



"Convention Centres today must provide practical, green, efficient, and easy-to-use space, but art and atmosphere are just as important to create surroundings that are conducive to learning and to conducting business," toward public art displays as part of their design.

3.1.4 Public areas for public discourse: 

Recommendations in the strategic advisory group's study included: o Specialty food and beverage areas o Climbing walls o Pod seating and round tables o Comfortable sofas and chairs

3.1.5 Convention Centres must be healthy and stimulating: 

Lighting, air temperature, and air quality must be optimal



Walls of windows, expansive terraces, and balconies open to river views and cityscapes.

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3.1.6 Convention Centres anchor neighbourhood development: 

Today, convenience is king, which means Convention Centres with a headquarters hotel have an advantage



Restaurants, bars, and other attractions are also vital.

3.1.7 Rising demand for Altruistic Activities: 

The Armory on the Hudson, located in Upper Manhattan, an iconic building in the world of track and field, is also a popular venue for meetings and conventions



It offers interesting spaces including a Hall of Fame Museum, a 70-seat fully equipped theatre.



Many conventions include an altruistic element, a desire of many Millennials, and The Armory is a popular spot for build-a-bike programs



More than 500 Bank of America employees recently participated in a "Bikes for Kids" event

3.2 ARTICLE BY DIMITRIOS LATSIS- “THE BEGINNINGS OF INDIAN CINEMA AS A MUSEUM EXHIBIT”  The article contained a great deal of information on cinema’s place in the museum since the medium’s advent.  Latsis examines the very early adoption of the moving image as a feature in museums during the late 19th century, when it was used to illustrate the technological marvels of the age.  Questions regarding film’s place in the museum are shown to have existed during these early years, ranging from how best to preserve and exhibit the moving image, as well as its merit as an art.  Several figures from these early dialogs are highlighted by Latsis, including poet Vachel Lindsay, who held the unconventional opinion that cinema was every bit the equal of other art forms.

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3.3 ARTICLE BY MARGARET PARSONS- “STILL SEPARATE…BUT EQUAL?”  A further study of film’s history can be found in Margaret Parsons’ Article in which she examines the difficulty the medium had being accepted as an art form.  Important notions of how counterculture comes into vogue in art institutions are raised, showing how the marginalization of cinema in the gallery was successfully challenged

by Art Films.  In so doing, the author reveals a still present unease with cinema in the museum, with the countercultural themes in art films still remaining even after their enfranchisement.

3.4 BOOK BY ALISON GRIFFITH - “SHIVERS DOWN YOUR SPINE: CINEMA, MUSEUMS, AND THE IMMERSIVE VIEW”  Griffiths’ book deals with how new screen-based technologies (televisions, touchscreens) have impacted the museum environment.  The observation that these technologies have a distortionary sensory effect on audiences is made, immersing them into exhibitions and environments. This focuses on the moving image as a tool, rather than an art in itself.

3.5 ARTICLE BY NICKY HAMLYN- “WHAT’S WRONG WITH CINEMA IN THE GALLERY?”  The author examines some of the difficulties regarding how cinema is exhibited in the gallery.  Looking at multi-room exhibitions of the moving image, she observes that certain limitations, principally the factors of standing audiences and movement through galleries, hamper the full inclusion of cinema in a museum setting.  The argument made is that a film should be seen as a complete installation on its own, and can be absorbed by visitors as the totality of an exhibition.  Doing so requires the active ability to reorient viewership through a variety of perception altering features.

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3.6 ARTICLE BY SABRINA DHAWAN- “INDEPENDENT TO STUDIO:HINDI CINEMA AND THE CORPORATE WORLD”

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REVIEW OF THE ARTICLE ABOVE:

Indian Film Industry has established itself well in this country with its huge annual turnover. Due to its ever-growing profitability, corporate world has lured its concerns to Bollywood, transforming its business and social culture. This raises questions of how corporatization will affect Film production and cinema in India.

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Some problems which Film Producers faced in making a Film: 

Government of India didn’t recognise filmmaking as an official industry until 2001



It was impossible for producers to get loans/insurance from banks for their productions



They had to obtain financing from less savoury sources such as ‘The Bombay Underworld’



Scripts were rewritten according to which actors showed up



Contracts were verbal and often violated



Produced films had no guarantees of finding distribution

 A risky endeavour such as this industry was supported by huge powerhouses like Reliance, Eros International, etc. Production houses like these made the Indian filmmaking quite tidy and brought financial transparency. Now, these Production houses offer a one-stop shop for film-production; right from its screenplay development to the film distribution.  Production houses with their services and facilities such as Film studios, ensures Directors and Producers to master every step of this enormously complex process of making a Film.  With more production houses, output simply increases as an outcome of more movies being made. Also, factors like rise of urban audience, multiplex theatres, the evolution of the censor board and changing cultural values whereby parents today are more tolerant of their children’s unconventional choices of a career in Arts has contributed to emergence of such facilities.  Since main metropolitan cities of India has been under the burden of such facilities since its inception in Mumbai, it would be relevant enough to provide a Film studios facility in a complex where already Films are going to be celebrated annually in form of International Festivals.

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4. PLANNING AND DESIGN OF EXHIBITION CENTER: Book referred: Fred Lawson, Congress, Convention and Exhibition Facilities, 2000, Architectural Press

4.1 RANGE OF ACTIVITIES 4.1.1 Exhibition facilities:  Exhibition facilities are provided to meet a wide range of community and commercial needs. They are used to enable visitors to see and obtain specific information about, for example:  Works of art, historical artefacts, scientific discoveries, technological achievements, environmental diversities and cultural heritages;  Products and services which are available to consumers generally or to identified groups of users. Those serving the first group are purpose-built to house mainly permanent collections, such as in art galleries, museums and science centres, and are subjects requiring more detailed examination.  The second group covers three main types of activities: Permanent or long-term displays in show cases, visitor centres and design centres; 

Temporary exhibitions in venues designed and operated for this purpose (trade fair centres, exhibition centres);



Temporary exhibitions set up in other places (in-store demonstrations, concourse stands, agricultural shows, village halls, leisure centres, and stadia).

4.1.2 Characteristics of trade fairs and consumer exhibitions: Trade fair and exhibition centres are usually involved in both trade shows and consumer exhibitions, each of which tend to have different characteristics:

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Features

Trade shows

Consumer exhibitions

Attendance

Invited potential buyers and trade

Open to public

representatives. May include ‘public’ days for other visitors Charges

Subjects

Normally free to bona fide

Visitor entrance charges are large

trade/business users

part of revenue

Specific to the sector. Large

Usually wide ranging domestic

international fairs may have

products and home furnishings; may

specialist sub-sections

be targeted on leisure, toys, gifts, fashion, antiques, art, computers, employment, boats, cars and hobbies

Hospitality

Separate lounges and rooms with

Not involved

food and beverage services Open period

Mostly 3-4 days; large

Large shows often 6-10 days; local

international fairs may extend to

events 2—3 days

5 days Market

National: often with 5-10% or

Mainly regional or local

more inter-national visitors.

Regional: secondary shows covering particular market areas Seminars

Invariably held in parallel

Not usually involved

covering related topics Table 2: Characteristics of Trade fairs and exhibition

 Combined events: Many trade show events which also have a wider public interest (tourism, leisure, motor shows) are extended to include days that are open to the public with charged admission.  Product launches: New products are often featured at both trade and public shows.

Product launches may also be organized as separate events to attract individual

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publicity. These are often staged in prominent venues, including exhibition centres, and many centres provide suites of halls and rooms designed specifically for this purpose.

4.1.3 Development of an Exhibition facility:  Patterns: Once established, trade shows and exhibitions tend to use the same venue repeatedly as a regular calendar event. The repeat cycle is usually every l or 2 years, but may be 3 or 4 years for shows that rotate with other regions.  Timing: Trade shows are generally seasonal, peak months being April, June, September and October, broadly coinciding with the patterns of business travel. Apart from the peak vacation months, consumer events are more flexible but are also timed to suit cyclical family and individual interests.  Growth: Over time, successful shows grow in size, attracting more exhibitors and

taking up more hall space, ultimately leading to a number of possible changes: 

Phased expansion of the venue;



Relocation of the show to a larger venue;



Cloning of more specialist sub-sections.

New shows are constantly being introduced; partly as a result of subject specialization in technology, partly through reorientation towards the service industries sector.

4.1.4 Exhibition operation: Typical programmes for trade shows and exhibitions are: Programme

Small trade shows and

International fairs and

specialist shows

consumer shows

Pre-Exhibition

2-3 days

7-10 days

Active Exhibition

3-4 days

10 days

Post-Exhibition

1-2 days

4-7 days

Table 3: Time schedule for Exhibition operations

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 Leasing charges to an exhibition organizer are generally costed on the overall time and floor areas involved. The organizer’s rates for exhibitions are more often based on the net areas and open period of the show, with conditions stipulated about the time allowed for entry and removal of exhibits.  Construction programmes usually involve: Parties

Roles

Exhibition organizer

Allocation of space

Main contractor

Employed or nominated by the organizer to undertake the stand shell construction

Electrical and other sub-contractors

To connect distribution boxes and cable lines to stands; plumbing etc. connections.

Exhibitor’s own designer and subcontractors

To set out stand display and special decorations. Sub-contractors may include window-dressers, florists, graphics etc.

Exhibitor

Usually brings the items for exhibition to the hall. This may overlap with other decoration. (long distance and imported items are usually sent in advance to storage/bonding warehouses)

Table 4: Roles of People while organizing an exhibition

4.1.5 Access and storage: 1. Access:  All exhibitions require good access for vehicles, construction equipment and exhibited items.  The time allowed for setting up is short, and many vehicles will need to unload at the same time.  Even if one main contractor is nominated for the shell construction, four or five pantechnicons may be required to build an average show covering 2000 m2.  Vehicles bringing in equipment, decorations and exhibits will arrive shortly afterwards.  Peak traffic movements usually occur during break-down period.

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Essential requirements for handling exhibits to ensure a high turnover of hall use include: 

Adequate parking for goods vehicles and trucks, with direct access to loading docks;



Vehicles able to drive to stand locations and drive out by an alternative route;



Supervision of vehicle entry to reduce congestion, combined with security control;



Off-site waiting and parking regulated by an installed call system;



Facilities for unloading and transporting exhibits and equipment direct to the hall, where possible at one level;



Doors, corridors and entrances that allow headroom and width clearance.

If transportation to another floor is involved, vehicular ramps and/or heavy duty lifts to each loading bay must be installed.

2. Storage requirements:  Hall operations: storage for equipment, light fittings, signs, display items, audio-visual aid equipment, extra stands and decorations.  Exhibitors: crate and box storage whilst exhibits are on display - this may be off-site, with charges for handling and space. In other cases, removal of crates may be required.  Bonded secure storage (off site): for exhibits arriving in advance of the show or awaiting dispatch.

4.2 PLANNING AND DESIGN 4.2.1 Site requirements:  Differences between purpose-designed exhibition centres and the exhibition facilities is mainly in terms of scale and specialization.  Each hall is usually self-contained so that it can provide all the services required for exhibitors and visitors independent of the use of other areas, enabling events to overlap and run separately.  Facilities are also provided for outside exhibitions or show extensions (large plant, buildings, structures).  In most cases, one of the largest halls is designed for both exhibitions and multi-use spectator sports and entertainment.

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 This dual use necessitates increased ceiling heights, the installation of telescopic arena type seating, and facilities for sophisticated lighting, air-conditioning, music and public announcement systems, video projection screens, reporters’ booths and recording and broadcasting services.  Multi-use halls usually have alternative entrances for independent operation, with reception and ticketing facilities together with public amenities (refreshments, cloakrooms, toilets).

A. Access:  Good road access to a large market area is essential, together with parking and public transport facilities for the large numbers attending.  With very large numbers of arrivals during the first few hours of an exhibition opening,

circulation planning must take account of: 

The capacity of feeder and access roads and intersections;



The locations of car parks, coach and taxi stands and public transport stations;



Walking distances to the reception lobby and individual halls;



Signage and directions for the various traffic and pedestrian flows;



Transfers within the site from remote car parks and hotels.

B. Location:  The extensive site area requirements together with the need for good access generally mean that new centres have to be located outside city centres.  Essential requirements for a major development include: 

A large site area allowing room for future phased expansion;



Direct access to the city by-pass and main highway network;



Convenient routes from the international airport, sea port and major urban populations;



Regular, fast public transport services, including a railway station linked to the site;



A highly developed technical infrastructure, including adequate utility services.

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4.2.2 Site planning:  Locations for the main buildings and parking areas are often dictated by the access points (junctions, railways), surroundings and circulation routes.  Floor plans need to have separate access for visitors and that from loading docks.  Provision must also be made for future expansion and linkage between halls, and for landscaping to reduce exposure (wind, sun, drainage).  To shorten pedestrian circulation and halls that are designed for public entertainment usually need separate, direct access.  The link buildings are usually extensively glazed to provide relief from the artificially created environment.

4.2.3 Hall design: Single storey halls are usually modular in design, using standard structural systems to facilitate prefabrication and rapid construction. For larger exhibition halls typical provisions are as follows.

A. Structures:  Clear ceiling heights with lightweight roofs are usually 7.6 - 8.6 m (25-28 ft.).  Halls that are also to be used for entertainment may require clear heights of 16.0 m (52 ft.) or more.  Structural grids are kept as wide as possible, and may completely span the hall.  In other cases, column spacing of 30 m across the hall with perimeter wall columns at 15m intervals are common.  The roof structure has to be designed to take heavy suspension equipment, including division partitions.

B. Roof construction: The roof construction must meet specified standards for: 

Sound insulation (environmental noise climates, impact noise from plant, rain etc);



Thermal insulation and solar reduction (energy conservation, plant requirements);



Loading (climatic cycles, roof mounted plant, roof access, suspension loads);

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

Fire safety (surface flame spread, structural integrity, fire resistance);



Engineering equipment, ducting, cabling, pipe work, fittings (space, access, support);



Maintenance (access, protection, differential movement, condensation control).

C. Walls:  The lower levels of walls (to a height of at least 2 m) are liable to be damaged by scraping and impact.  The upper areas may use systems of panelling or sheeting which meet fire safety standards and provide a degree of sound absorption.  Doors giving access from loading docks must have large, high openings for vehicles, and are usually mechanized for easy movement. Separate exit routes are usually required.

4.2.4 Stand layouts and circulation: A. Stands:  Shell and individual stands are normally used in major exhibitions.  Shell stands are mainly planned on the basis of 9-15 m2 (97-160 sq. ft.) units although

free-form displays can be much larger.

B. Interior streetscape: To create a highly image able space by using the strategy of interior streetscape design, 5 mapping elements: path, edge, node, district and landmark will provide the guiding principles for trade show spatial allocation. Conceptual drawings are shown as follows:

PATH: Public hallways in between the exhibition booths.

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NODE: Intersection or transit stops

DISTTRICT: Cluster of exhibition booths

EDGE: Area in between the public area and exhibition booths

LANDMARK: Appealing and unique vision to attract visitors.

Figure 14: Five mapping elements within trade show

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C. Occupancies:  Maximum occupancies for exhibition halls are based on 1.5 m2 per person, including stand personnel, and this is used in calculating emergency exit widths.

D. Circulation routes:  Visitor circulation in the hall should be planned on a simple grid arrangement, with stand frontages on each side of the aisles.

 Free-standing displays are mainly sited in the centre of the hall, to create animation and variety.

 Access to emergency exits within the required travel distances must be maintained.

Figure 15: Relationship of spaces within a trade show

4.2.5 Engineering services: A. Building engineering services:  Many services are mainly housed in the ceiling voids, and include air ducts, electric cabling or bus-bars in trunking or raceways, fire detection and sprinkler systems, and speaker, closed-circuit television and computer systems connected to information panels and screens.

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B. Air-conditioning:  Air changes: For large exhibition halls a rate of 6-10 air changes per hour is usually adequate, but for multiple uses higher rates may be specified.  Distribution: The positioning and design of diffusers must avoid air being blown into any particular exhibit area and also the obstructive effect of the stands.

C. Lighting:  Natural lighting is often a disadvantage in display halls, but must be provided in concourses, entrance lobbies, restaurants and other ancillary areas.

D. Security and communication systems:  Extensive provision must be made for safety, security and communications. In large halls the requirements may extend to entertainment displays and spectator events, involving Urge video walls or screens, projection equipment, camera monitoring, editing and relay facilities (including outside broadcasts) and sophisticated sound amplification systems.

4.2.6 Reception and registration facilities: The central reception hall is the main focus of circulation. Its location is determined by the need for convenient pedestrian access: 

From public transport terminals (rail station, bus and tram stops links to airports);



From car and coach parks (or transfer terminals);



To the various halls and other facilities.

Registration facilities:  The area required for the registration hall, counters, attendant desks and turnstiles must be calculated for the peak rates of arrivals, and the objective is to process visitors through with minimum delay and congestion.

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4.2.7 Other accommodation requirements: A comprehensive range of services must be offered to both visitors and exhibitors. As a rule, this will include a choice of food and beverage service, cloakrooms, toilets, first aid facilities, offices, hospitality rooms, travel and hotel reservations, public telephones, paging and announcements, a press centre and some shopping facilities.

A. Sanitary facilities: Toilets are typically located near the entrance, but in a large complex, additional toilets should be provided near cafe and restaurant services. In each case, a toilet area for the disabled must be included. Toilet requirements are: For maximum occupancy (visitors plus exhibitors)

per 500 m2 area of the hall

Men Water closets

2

Urinals

5

Washbasins

5 Women

Water closets

7

Washbasins

7

Table 5: Toilet Requirements for Exhibition Centre

B. Other requirements:  First aid centre: In larger exhibition complexes, more than one first aid centre should be provided. A centre usually consists of a reception area, a treatment room fitted with a clinic sink and waste disposer, and a small staff office. Often a disabled person’s toilet is included in the centre.  Exhibition organizer: An office will be required by the resident organizer over the whole period of the show, together with a secretarial office. In a larger fair this will be extended to a suite of rooms.

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 Press room: This usually includes exhibition literature, offices and facilities for interviews and photography.  Travel bureau and other shops: For overseas visitors and exhibitors requiring travel information and other assistance, a travel bureau is required in all international fairs.

This is usually provided as a permanent unit in the public concourse, together with a bank/currency exchange and one or two retail outlets.  Shipping and forwarding office: This facility is required to arrange the ordering, customs clearance and dispatch of exhibited products. One or more offices will be required for an international fair.  Hospitality rooms and suites: These may be needed for the use of exhibitors if their stands are not large enough to entertain important guests. Rooms and suites may be reserved in an associated hotel, and in other cases meeting rooms can be temporarily converted to this use.

4.2.8 Food and beverage services:  Service modules: For operational reasons, food service areas, bars and kitchens are usually grouped together to form service modules which can be largely standardized in design.  Requirements: 

As a rule, the main use of restaurants arises from specialist trade shows whilst public exhibitions generate a greater need for snacks and self-service facilities.



Food service areas need to be open for most of the time an exhibition is in progress, with a high seat turnover at peak demand times (12.00-14.30 hrs).



In most cases, each 40-50 m2 (430-540 sq. ft.) of exhibition space will require one cafeteria or restaurant place (1.5-1.8m2) plus about 1 m2 of bar and lounge space.

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4.3 PERMANENT AND SEMI-PERMANENT EXHIBITIONS: 4.3.1 Range of facilities: Roles

Types of centres

Types of exhibits

Visitor centre

National collections

Cultural

Museums

Regional collections

Art galleries

Local collections

Science centre

Private collections

Visitor centre

Company sponsored Privately

Commercial-

operated

cultural

Private collections Design centre

Designed exhibitions Company displays Leased space

Commercial

Trade centre Display

Featured exhibitions

cases Table 6: Types of exhibitions

4.3.2 Exhibition requirements: The following summary outlines some of the key matters that should be taken into account in the planning stage. 

The viewing arc for acute vision without moving the head is up to about 54° wide, 27° upwards and 10° down from the eye level, and this is the basis on which displays, exhibitions and notices are normally planned and positioned.



Large displays and paintings need to be viewed from a distance of about 1.5 times the maximum width of the object.

Page | 49



Exhibits may be mounted in display cases which can be the full standing height, viewed from one, three or all sides, or lower, showing the view (tilted or level) from the top.



Viewing gangways between two display cases must be at least 1.4 m wide. If the gangway is also used for circulation or is between large exhibits, the width should be increased to 2.8 m.

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5. PLANNING AND DESIGN OF CONVENTION CENTER: Book referred: Fred Lawson, Congress, Convention and Exhibition Facilities, 2000, Architectural Press

5.1 ENTRANCES:  Separate access is required for visitors, staff, goods and service vehicles and emergency requirements.  The public face of the building needs to generate interest, express its role and create a landmark whilst retaining harmony with the character of the seating.  Employee entrances should be separated from those used by the public and lead directly to a controlled area.  Vehicular access is required for vehicles delivering food, beverages, supplies and equipment, for contract services and for removal of garbage.  If necessary, a good lift may be installed for transit to tickets on higher or lower floor levels.

5.2 HORIZONTAL AND VERTICAL ARRANGEMENTS:  Side-by-side arrangement of the main facilities enables each to be designed individually, simplifying structural requirements and reducing vertical transportation.  Vertical stacking of the auditoria and/or main halls is more economical in the use of land, and enables space below tiered floors to be more efficiently used.  Exhibition halls at levels above or below ground may require extensive ramp and loading bay construction.  Different levels may also be used to separate the public facilities from support areas such as plant and equipment rooms, stores, the main food production kitchens and employee changing and support facilities.

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5.3 CIRCULATION PLANNING: Movements of visitors and members of the public need to be carefully designed to ensure clear directions, convenience and safety. Particular attention should be to the peak flow of people, particularly on egress from each main area of escape in case of emergency. As a rule, the aim is to ensure evacuation of any room or level within 2.5 minutes.  Signs: Directional sign should be provided at all junctions, changes in direction, escalator and lifts, and at entrances to the rooms. For ease of reading, the optimum position is between 30° and 10° below the horizontal from the viewing position.  Corridors and passages: Corridors must be designed to serve as means of escape in the event of fire and lead to safe exits from the building. The walls and flooring must resist marking damage, and ceilings should allow acoustics absorption.  Changes in level: Steps must be positioned in line with walls and openings where they can be anticipated, clearly indicated (by lighting, contrasting edges) and provided with handrails.

Ramps for wheelchair should not exceed a pitch of 1:12, and may need to be separated from other routes.  Escalators: The floor area taken up by escalators is extensive, but is justified in a large complex where the main assembly halls or auditorium are on floors above ground level. The angle of elevation is usually 30° (maximum 35° in restricted space), with approach lengths of 1.8m and 2.7 m at the top and bottom of incline.  Elevators: Passenger elevators should be positioned near the main stairs, with a lobby waiting area adjacent.

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5.4 SPACE AND FACILITIES: 5.4.1 Types of rooms and flexibility: Facilities for meetings include auditoria with tiered, permanent seating and a stage, and flat-floored halls and rooms using loose furniture.

The sloping floor of an auditorium limits flexibility in layout, but changes are possible by: 

Removal of rows of apron seats to extend the stage or create an arena type flat floor.



Conversation of alternative rows of seats into tables (incorporated in the seat design)



Use of removable writing tables (built into arms of seats)



Physically division of the space by closing off segments, particular levels of balconies.



Elevation of the seating and floor into the ceiling, leaving a flat floor exposed.



Rotation of blocs of seats to form separate rooms



Use of telescopic (bleacher) seating over part or the whole area.

5.4.2 Ratio of space: Meetings and other organized events often overlap, requiring the provision of separate access, facilities and services.

Most congress involve a range of activities, for example, Plenary sessions

Large group meetings for the full attendance

Parallel sessions

Alternative choice of lectures/symposia

Break-out sessions

Group participations in workshops, seminars, etc.

Banquets, functions

Formal dining, usually with invited speakers

Receptions

Gatherings and introductions, social contacts

Table 7: Range of activities in Convention Centres

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5.5 AUDITORIUM REQUIREMENTS: 5.5.1 CHARACTERISTICS: An auditorium with tiered seats enable large number to be accommodated together in comfort with good acoustics, clear views and a close, individual relationship with the platform and presentation.  Location:  

Public access separation from other conference activities; Stage/ performers access and back stage provisions;



Noise entry shielded by outer meeting rooms and double skin construction;



Vibration-structural design, use of mountings;



Daylight- in foyer and break-out areas.

Figure 16: Screen viewing requirements

 Size and capacity: 

Space requirement depend on the seat geometry, seating density, number of floors and platform design.



For well-spaced seating on one floor and including gangways, apron and booths, an auditorium area of 0.8-0.9 m2 per seat (excluding the stage) may be used for preliminary planning.

 Design objectives for good acoustics: Psychological conditions: 

Relationship between the speaker and audience-affected by size of the audience, circumstances, spaciousness, relative positions, elevation of the speaker;

Page | 54



Arousal and appreciation levels-environmental and physical comfort, sound strength and clarity, masking, distortion and distraction

Physical requirements: 

Good direct sound-determined by the shape and size of the hall, distance to the side and rear positions, row-to-row sight line clearances and design of balconies;



Early reinforcement of direct sound-position and construction of reflecting panels and design of electronic amplification system;



Freedom from discrete echoes and strong envelopment sound- selective absorption and diffusion, adjustment of reverberation for different conditions;



Control of noise entry- limitation of masking/distracting noise by planning, zoning and separation of areas (sound locks), appropriate noise insulation standards and acoustics specification for engineering services and equipment;

5.5.2

PLAN SHAPES:

 Polygonal plan: The hexagon and it’s extended or modifies forms are used extensively as the basic plan for multi-use theatre-congress-concert halls.  Fan-shaped plan: This plan enables the maximum number of seats to be concentrated within the arcs giving the best viewing and listening conditions.

Rows of seats may be in a concentric curve to provide each with a forward-facing view of platform.

Figure 17: Fan-shaped Plan

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ďƒ˜ Circular and oval plans: 

Encircling formats, as in arenas and coliseums are also used for major conventions and congress meetings, in addition to serving a wide range of community needs such as indoor sports, displays, rallies and pop concert.

5.5.3 SEATING ARRANGEMENTS:

Figure 18: Seating arrangement in an Auditorium

Figure 19: Seating Dimensions

Page | 56

 Sight lines: 

When the audience is seated on one level, the sound is strongly absorbed at a grazing angle above and around the heads of the audience.



To some extent this can be improved by raising the speaker on a platform or stage and staggering seats in successive rows out of line.



In an auditorium the floor is also inclined in a series of steps to elevate successive rows of seats.



To provide the profile, sight lines need to be calculated and drawn from representative seating positions in each row both across the longitudinal section of the hall and from other side angles.

 Main criteria: 

Focal point on platform-stage heights vary from 800-1100mm, and the focus is usually taken at 50mm above the furthest point of stage for acting (for multiple use); allowance must be made for any thrust stage;



Eye level when seated-usually taken as 1120mm along the central line



Vertical distance between the average viewer’s eyes and top of the head-preferably 125mm (minimum 100mm)



Maximum vertical angle-elevated view from the nearest seats must not exceed 30°(discomfort); maximum angle down from balcony 35°, preferably 30°(vertigo); recommended clearance is normally for successive rows; for widely spaced staggered seats it may be for alternate rows;



Sight lines continue over across aisles, balconies and other obstructions



Theoretical floor rake is a pergola; gangways may have a maximum slope of 1:10(1:12 for wheelchair users and at steeper inclines must have even, regular treads and risers extending the full width.

Page | 57

5.5.4

MEANS OF ESCAPE IN EVENT OF FIRE:

An exit time of 2.5 minutes for evacuation of the audience from the auditorium is normally planned. Local fire requirements must be consulted, but the following are guidelines in following: 

Maximum travel distances —18 m from gangway or 15m from seat (Continental);



Exits — at least two for up to 500 on each level, plus an additional exit per 250;



Exit widths — based on 45 persons per minute per unit width of 520—530 mm.

Number of people on each

Minimum no. of door

Minimum width of

level

exits

door (mm)

300

2

1200

400

2

1350

500

2

1500

750

3

1500

1000

4

1500

Table 8: Number of fire escapes required



Exits must be indicated with permanently illuminated signs; emergency lighting system must be installed



Exit route must lead directly to a place of safety with no reduction of width;



Exit doors must open in the direction of egress with emergency release mechanism;



Staircases must not have more than 16 steps in each flight nor fewer than two; treads/risers must be 275/180 mm and consistent;



Ramps must not exceed 1:12 in lengths of 4.5 m; exit routes for wheel chairs may need to be separate;



The fire escape routes must be enclosed by fire resisting construction, with limits on the combustibility and structural integrity of linings, and must be kept clear and maintained.

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5.5.5

CHANGES IN FLOOR LEVELS AND AREAS:

Changes in the level of floors to provide for multiple activities include: 

Hydraulic ram or scissors-type stage lifts to raise or lower sections of a stage; these are often used to form an apron or thrust stage when fully extended, or to increase the seating area or form an orchestra pit;



Stages that may be retractable or made up from moveable platforms;



Stepped seating, which may be formed from wheeled or air floated rostrums, cut and fill rostrums, hinged units, retractable bleacher seating, hydraulically operated platforms or moveable floors (see page 68).



Vertical division may be practicable using: Folded or telescopic extending partitions lowered from the ceiling or raised from the floor;

Figure 20: Changes in floor levels

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5.6 MULTI-USE HALLS: STAGE FACILITIES: 5.6.1 PLANNING REQUIREMENTS:  Large congress and auditoria are often designed to allow alternative uses, with stage facilities for the performing arts. Significant extra costs are incurred both in stage construction and in the means of adapting space, acoustics and other requirements, but the feasibility may be justified by increased utilization and community benefits.  Multipurpose exhibition halls may be adapted for spectator sports and other types of performances, for product launches and large-scale events.  Ballrooms invariably use platforms for music, meetings, presentations and product display.  Planning considerations for multi-use facilities must take into account the need for access for stage scenery and other backstage requirements, for example: 

Access for stage equipment, properties and displays - loading dock, goods lifts, direct routes, workshops, storage, control;



Entry and facilities for performers - control, changing/dressing rooms, green room;



Stage and event management - technical systems, administration, box office facilities.

5.6.2 STAGE HOUSE:  The installation of a fully equipped stage house with a flying system for scenery requiring a high fly tower for the suspension rigging will depend on the economics of the situation and practical constraints.  In other cases, the grid system over the stage may be modified to become a simple structural framework supporting a variety of stage equipment.  This will usually include pulleys and blocks for stage scenery, curtain track borders, a cyclorama track, stage lighting bars, a false ceiling and adjustable acoustic reflectors.

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5.6.3 DRESSING AND CHANGING ROOMS:  As a rule it is not economical to provide for the largest possible cast.  Touring companies are generally limited in scale, and the variety of use likely in a multiuse center will demand considerable flexibility in room allocation.  On occasions, a large choir or orchestral group may use hotel rooms or spare rooms within the center as temporary changing rooms.  A minimum provision for a multi-use center in which concerts, recitals and plays are likely to be regularly performed is indicated below.

Requirements

Rooms

Places per room

Area of each room (m2)

Individual dressing

3-4

1

15

2

4

18

3-4

8

24

rooms for principals, conductors, soloists Shared dressing rooms for minor principals Communal changing/dressing Table 9: Area required for dressing rooms

5.7 ENVIRONMENTAL CONTROL SYSTEMS: 5.7.1 VENTILATION AND AIR-CONDITIONING SYSTEMS:  A wide range of air handling systems are used in conference centres, ranging from variable air volume (VAV) heat recovery systems in the main auditorium and large halls.  Although thermal gains and losses are minimized by internal siting and the absence of windows, an auditorium presents particular problems in the design of air quality control systems due to; 

High ceiling heights and separated areas (balconies, stage areas) requiring zoned provisions;



High installed heat loads from stage lighting and projection system;



High radiant as well as convection component in the heat load from both (the lighting and audience) Page | 61

5.7.2 LIGHTING SYSTEMS IN AUDITORIA:  Lighting systems in large auditoria can generally be divided into house lighting, stage lighting, emergency lighting and specialized requirements, such as for televising of events and visual aids.  The following details are more specific to auditoria and multiuse centers: 5.7.3 VARIATIONS IN LIGHTING LEVELS:  Direct lighting from ceilings gives a high light utilization directed on to the seating areas.  For a windowless room, an illumination of 400 lux on the horizontal plane at seat level should be provided, and this may need to be increased to 500 lux for a multi-use hall Conditions

Illuminance (lux)

Notes

Cine and slide viewing

5-10

Minimum. Notes just perceptible with 30-50 lux provided at speaker’s desk

Overhead projector

80

increased to 80-100 lux for television viewing

Stage performances

Down to minimum

Safety lighting of aisles and exits

(house lights)

permitted

maintained

Table 10: Variations in lighting levels.

5.7.4 STAGE AND PLATFORM LIGHTING:  Stage lighting must be versatile to meet different requirements.  In congress and convention use, stage lighting must provide for:



Balanced directional illumination of the speaker and other groups of people (chairperson, panels, etc.) On the stage or fore-stage;



Illumination of the stage area generally to avoid excessive contrasts;



Service levels of lighting, required for visual information and display boards (500 lux on vertical planar surfaces)



Separate controlled illumination of backcloths, emblems and other features;



Television and photography requirements (levels of lighting, contrasts, glare).

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5.8 BALLROOMS, MEETING ROOMS, FUNCTION ROOMS: 5.8.1 TYPES OF ROOMS:  A wide range of rooms is required to accommodate differences in the types of meetings, social events, hospitality and exhibition requirements, as well as in the numbers of participants.  In many cases different groups also overlap, and the areas they use must be separated.  Invariably the rooms provided for these purposes have fiat floors to allow rearrangement of furniture, and the larger halls usually have moveable partitions to allow division into alternative sizes.  These rooms may be broadly grouped by size and function: Type

Capacity

Other uses

Ballrooms/grand halls

500-2000+

Banquets, receptions, exhibitions

Seminar halls/ large rooms

200-500

Banquets, functions, presentations

Meeting/ conference rooms

25-100

Business lunches

Table 11: Types of meeting rooms

5.8.2 BALLROOMS AND GRAND HALLS:  Ballrooms are essentially dual-purpose, serving as the main banquet hall and the meeting room for very large groups such as in plenary sessions.

Arrangement

Theatre style

Classroom style

Reception/buffet

banquet

Area/seat

0.85

1.6

0.7

1.2

580-600

310-325

710-725

410-425

(m2) Room size 500 (m2) Table 12: Area requirement of different types of meeting rooms

 Seating plans: With a flat floor it is necessary to raise the speaker on a platform or dais to improve the sight lines and direct sound.

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For most situations, a system of sound amplification will be required, and this must be designed to suit the proposed seating layouts. In planning this area, provision must be made for: 

Fire escape requirements — maximum travel distances to safe exits for each mode of use;



Service entrance to each area from banquet kitchen and furniture store;

 Example of ballroom seating: (Source:https://uiu.edu/resources/auxiliary-services/event-planning/venuesballrooms.html) Following are the layout options used in a ballroom in UPPER IOWA UNIVERSITY:

Layout no.1: Combined Ballrooms featuring 72" round tables of 10 chairs each

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Layout no.2: Ballrooms A & B set with lecture style chairs facing the stage and Ballroom C separated for a banquet setting.

Layout no.3: Ballroom C configured for a classroom style training session

Layout no.4: Combined ballrooms for a Summit

Page | 65

5.8.3 ROOM DIVISION: Division of a large room into separate areas involves several design complications: 

Large, heavy partitions mast be used;



The spaces formed are often disproportionate in shape;



Problems may arise in access, the locations of projection rooms and other support services;



High levels of sound insulation are difficult to achieve;



Complex technical systems are required to meet the changing volumetric conditions,

It is usually necessary to use twin panel leaf or double partitions. Flanking sound paths (through edges, suspension area, Ceiling voids) must also be sealed, and transmission of impact noise and vibrations controlled.

5.8.4 FOOD AND BEVERAGE SERVICE:  Ballroom and banquet areas (including divided space) need to have individual service access from the kitchens and pantries supplying food and beverages.  Close proximity is essential to ensure rapid service, and the banquet satellite kitchen or pantry is a specialized area equipped with large capacity refrigerators and regeneration ovens based on the maximum numbers and menu choices to be provided .  Basic preparation of the food may be carried out in a central kitchen, requiring some form of dedicated system of food transportation between the kitchen areas.  Service access is also required to the beverage stores, wine cellars, furniture and equipment stores, and for exhibits  Table and seating plans within the banquet room must take account of the positions of both the public and service entrances.  The latter must be located and designed to facilitate speedy, efficient, in-obtrusive service.

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5.8.5 FURNITURE REQUIREMENTS: The range of furniture required to meet the different functions of the ballroom requires some rationalization, and flexibility is s key consideration. Other essential requirements include: 

Ease of handling and storage - weight, stacking, damage in stack, trucks and dollies required for transportation, storage space and dimensions;



Strength and mechanism - frame and joint construction, method of folding, breakdown and assembly, simplicity of locking and fixing, strength and stability in use, risk of injury from protruding, sharp or serrated parts;



Interchangeability and multiple use - inter-changeability of components (table tops and bases), multiple uses (platforms) and varied shapes and layouts (buffets, banquets)

5.8.6 FURNITURE LAYOUTS:  Optimum room dimensions depend on the proposed furniture layouts, and alternative seating plans must be prepared for the capacities required for each mode of use.  For a banquet, dinner or business lunch, the net area per place must include the table area and occupied seat area, plus an allowance for seat movements and space around for circulation and service.  Similar allowances apply to classroom layouts, with space for a seat-way behind each row of occupied seats.  Seat-ways are required in front of each row of occupied seats arranged theatre style.  Banquets, dinners: Two arrangements are commonly used: 

For social gatherings - separate circular tables seating 6, 8 or 10 (sometimes 12);



For formal occasions, weddings and speeches - a top row of joined tables with other rows (sprigs) at right angles.

Page | 67

ďƒ˜ Following are the layout options depending on proposed functions:

Figure 21: Theatre style seating

Figure 22: Inverted classroom style seating

7

Page | 68

Figure 23: Perpendicular classroom style

Figure 24: Classroom style

Page | 69

Figure 25: Central conference tables

Figure 26: Square and inclined groupings

Page | 70

6. CASE STUDIES: LIVE CASE STUDY – 1 6.1 MAHATMA GANDHI CONVENTION AND EXHIBITION CENTRE, GANDHINAGAR, GUJARAT

Figure 27: Mahatma Gandhi Convention and Exhibition Centre SOURCE: Author

.

Location – Gandhinagar, Gujarat Developed by – The Leela Inaugurated at – January, 2011 Construction cost – 215 Cr. INR Owner/ Client – Government of Goa Purpose – An idea driven world class project designed w.r.t its context

6.1.1 AN OVERVIEW: 

Close to 22,000 sq. mt. of air-conditioned facilities sprawled across 34 acres and built to accommodate 15,000 delegates.



The MMCC is an integrated development comprising of a Heads of States Centre, Convention facilities, Exhibition halls, an open-to-air amphitheatre, Expansive lawns, Retail shops and easy access to Dandi Kutir, India's largest & only museum on the life & principles of Mahatma Gandhi and the 300 room hotel, The Leela Gandhinagar.

Page | 71



Inspired by the tenets of Mahatma Gandhi, this architectural marvel has an abundance of natural light & airy spaces.



While the innovatively designed spinning wheel generates energy that helps illuminate the complex.



Access to the mound-shaped Dandi Kutir by way of a suspension bridge is symbolic of the Dandi March that played a significant role in India's Independence Movement.

Figure 28: Site SOURCE: Google Maps

Figure 29: Vidhan Sabha SOURCE: Google Maps

6.1.2 ACCESSIBILITY: 

International Airport, 20 Km



Gandhinagar Railway Station, 1 Km (under-construction)



Ahmedabad Railway Station, 29 Km

6.1.3 ABOUT MMCC: 

The Father of the Nation – Shri Mohandas Karamchand Gandhi, is also known with reverence as Mahatma. Gandhinagar – the Capital City of State of Gujarat –derives name from Father of the Nation.



Since Gandhinagar did not have any major structure related to Mahatma Gandhi, it is considered to have a memorable and iconic complex build in the remembrance and homage to Mahatma Gandhi and was called as Mahatma Mandir.



Mahatma Mandir, is planned to house facilities such as photo gallery, meditation hall, Garden with installation of Multimedia enabled artefacts on the life and philosophy of Mahatma Gandhi, etc.

Page | 72

Figure 30: Site Plan SOURCE: MMCC Factsheet

6.1.4 CONVENTION CENTRE:

Figure 31: Main Convention Hall SOURCE: Author



Viewing Galleries can accommodate 5500 delegates in theatre style



With an area of 96m x 58m, the multipurpose, pillar-less Main Convention Hall has a ceiling height of 11m & is divisible into 3



8 multi-lingual interpretation booths



Movable modular stage-pieces, lighting trusses, in-built hanging hooks with a capability to hold up to two tonnes



20 additional meeting venues to accommodate parallel sessions ranging from 61000 delegates



Plug and Play Sound Reinforcement System



Controlled temperature and lighting for thermal and visual comfort. Video conferencing, projection system, etc.

Page | 73

 Area programme of Convention Centre:

 Architectural Character of the Convention Centre – Mahatma Mandir: 

Structure - Works are of exposed RCC Precast Panels



Basic Finishes - Flooring consists of Granite, Kota Stone, IPS.



Ceramic & Glazed tiles.



Carpet (imported) in the Main Convention Hall, Seminar Rooms, Meeting Rooms, Conference Rooms, Viewing Gallery, etc.



Glass Glazing of double height towards entrance area. Glazing is of sheet glass, plate glass, and translucent glass



Internal wall surfaces are plastered, coloured, covered with



MDF Board, Sound Reinforced with fabric material,



External wall surfaces are of exposed RCC Page | 74



Ceilings: Gypsum Board, False Ceiling, etc.



Doors: Acoustic Doors, Glass Doors and Fire Doors



External areas are paved with paver block granites, stone,



pavers blocks along with soft and hard landscaping



Roads alongside the Convention Hall are of bituminous carpet

Figure 32: Conference Room SOURCE: Author

Figure 33: Pre-function Area SOURCE: Author

Figure 34: Seminar Hall SOURCE: Author

Page | 75

Figure 35: Pre-function Area SOURCE: Author

6.1.5 EXHIBITION CENTER:

Figure 36: Exhibition Hall SOURCE: Author



Halls with extensive Viewing Galleries and height of upto 12m.



Flexible, heavy duty floor for showcasing heavy machinery and other industrial / medical equipments



Easy plug & play SRS facilities and telecommunication systems



Wide alley back of the house service areas to aid swift movement of exhibits and equipment

Page | 76

 Area programme of Convention Centre:

 Architectural Character of the Exhibition Center: 

Structure - Works are of exposed RCC Precast Panels



Basic Finishes - Flooring consists of VDF Flooring in all three exhibition halls with provision of cable trenches.



Glass Glazing of double height towards entrance area. Glazing is of sheet glass, plate glass, and translucent glass



Internal wall surfaces are of acoustic treated gypsum board and coloured with paint.



Sound Reinforced with wool and fabric material



External wall surfaces are of exposed RCC



Ceilings: Double Height



Doors: Acoustic Doors, Glass Doors and Fire Doors.



Lobby area is of granite floors



Area between Convention Center and Exhibition Center is paved with paver blocks and has water bodies.

Page | 77

 Area programme of Food Court:

 Architectural Character of the Food Court: 

Structure - Works are of exposed precast RCC Panels, block masonry, and glass glazing.



Basic Finishes - Flooring consists of vitrified tiles



Glass Glazing of double height of about 12 m towards entrance area.



Glazing is of sheet glass, plate glass, and translucent glass



Internal wall surfaces are of cement plaster and coloured with paint



Ceilings: Gypsum Board



Doors: Acoustic Doors, Glass Doors and Fire Doors.



Lobby area is of granite floors



Surrounding area is of bituminous carpet and paver blocks.

Page | 78

Figure 37: Roof Garden with a view of Vidhan Sabha SOURCE: Author

Figure 38: Central vista to the Museum SOURCE: Author

Figure 39: Open Air Theatre SOURCE: Author

Figure 40: Convention and Exhibition Center SOURCE: Author

Page | 79

Figure 41: Buffer Area SOURCE: Author

Figure 42: Bridge Pylon with wind mills SOURCE: Author

ďƒ˜ Inferences: 1. Project has been design in phases dividing 4 sets of functions distinctively: Convention, Exhibition, Museum and Garden.

2. Planning of the complex is done on the basis of existing axis due to Vidhan Sabha i.e.

Design with a rational as well as contextual approach.

3. Most of the priority while planning the complex has been given to the flexibility and security of the spaces.

4. Cross sections have been designed so as for maximum natural light to enter into all humongous spaces.

5. Design has completely developed with functional approach as well as its unique ideology.

6. Sustainable approach is also considered in form of wind turbines, green roof and use of maximum natural light.

7. Design succeeds in creating an identity of a unique gateway for the capital of the state.

Page | 80

NET CASE STUDY – 1 6.2 VANCOUVER CONVENTION CENTER, CANADA

Figure 43: Vancouver Convention Center



Location – British Columbia, Canada



Designed by – LMN Architects, Seattle



Inaugurated – 2009



Construction cost – 6323 Cr. INR



Owner/ Client – BC Pavilion Corporation

6.2.1 About VCC: 

The Vancouver Convention Centre is one of Canada’s largest convention centers.



It has a 6-acre “living roof” which is the largest in Canada.



The Vancouver Convention Centre expansion is a 100,000 sq.m. Project that achieved Leadership in Energy and Environmental Design (LEED) Platinum certification.

6.2.2 Purpose of study: 

Aesthetics and design of the building



Design features of the building



Incorporation of the living green roof system in the building



Areas of the various components: It will help to figure out the area that should be allowed for each of the requirements.

Page | 81

Figure 44: Pre-function Area

6.2.3 Aesthetics of the Building: 

Situated on Vancouver’s waterfront, the Vancouver Convention Centre West is designed to bring together the natural ecology, vibrant local culture, and built environment, accentuating their interrelationships through the architecture.



The desire to maintain view corridors from the downtown core limited the overall building height, and has given the project a horizontal emphasis.



Shallow, sloping roof planes supporting an extensive green roof create an architectural landform that is both an appropriate visual connection between the city and its natural context, and a reflection of local ecology and cultural values.



The use of glass enhances the waterfront development, provides spectacular views of mountains, oceans and parks.



The design approach creates a community experience that is simultaneously a building, an urban place, and an ecosystem.



The project is a result of a thoroughly integrated approach to architecture, natural system and technology.



The geometry is an extension of the ground plane, reflecting the topography of the region, and they help the building blend into the waterfall.

Page | 82

6.2.4 Design features of the project: The central design challenge was to create and integrate a 22-acre development program at the intersection of the urban realm and the marine habitat. Each environmental interface is carefully considered, roughly grouped into a landscape habitat, and a human habitat.

1. Landscape Habitat: 

One of the most spectacular green features of the building is its six-acre living roof (the largest in North America).



Since the building functions as an extension of the park system, acting as a link in the continuous waterfront ring of green spaces, this feature completely fits with the objective of the building.



It is home to an impressive 400,000 indigenous plants as well as several hives of bees.

2. Human Habitat: 

The distinctive form of the Convention Centre took shape in response to interior requirements as well as to outside influences.



It accommodates a variety of programmatic functions, including 93,000 sq. m. of convention space (with exterior plazas and walkaways, a ballroom, meeting rooms), exhibition space, 8400 sq. m. of retail space and parking.



To provide continuity between its interior and exterior, the entire building perimeter is glazed.



This transparent boundary helps tie in the 400,000 sq.ft of walkaways, bike paths and open spaces that the centre provides beyond the building envelope.



Natural ventilation and extensive daylighting not only contribute to the building’s sustainability goals, but also enhance the user experience.

6.2.5 The living green roof: 

While the project employs a wide range of green strategies, including on-site water treatment, deep seawater cooling and heating, and a giant skirt designed

Page | 83

to help restore local fish habitat, the single most visible component to the environmental strategy is the building’s living roof. 

The Convention Centre’s 2.4 hectare (6 acre) self-maintaining, regenerating, living roof is the largest green roof in Canada and presented some unique challenges both in design and construction.

Figure 45: Living green roof system

A. The role of green roofs:



A key component of the overall building envelope design, a living roof is comprised of plants, growing medium, drainage medium, and an irrigation system, all of which work together as part of the overall roof system.



Living roofs provide benefits for both the building and the environment. The build-up of growing medium and the associated plant layer protect the roof membrane from ultraviolet light degradation and mechanical damage.



Water evaporation from the growing medium and transpiration from the plants contribute to the reduction of building heat gain.



In addition to these building-related benefits, a living roof can provide significant improvements to storm water management by detaining turnoff and reducing peak flows.

Page | 84

B. Choice for the type of green roof



With a roof area of 6 acres, the issues of weight, envelop design, storm water management, growing medium retention on sloping surfaces, irrigation water volumes, and plant types were among the initial technical problems the team singled out to be resolved.



In addition, clear spans able to accommodate rooms in the range of 7,400 sq.m with the minimum possible roof structure needed to be carefully considered.

C. Technical details



This plant palate can grow in 15cm f growing medium and enabled the architects to meet the structural limit of dead load of the roof.



The living roof overlay comprised of a drain mat/filter cloth drainage layer over the roof insulation, 15cm of growing medium, drainage runnels and a drip irrigation system.



The largest and most challenging area of the roof’s many sloping planes is 1.5 acres in size. An arrangement of 45cm-wide, rock-filled aluminum-edged runnels crisscross diagonally over the various roof planes directing storm water into ten around building drainage system around the roof perimeter.



The building’s piled foundations, and long structural spans meant that considerable attention to be paid to avoid overloading of the roof.

Figure 46: Living green roof system

Page | 85

6.2.6 Area statement: The West Building is directly adjacent to Canada Place which houses the East Building. The West Building consists of: 

20,490 sq.m. of convention space.



440 parking stalls.



Surrounding the building are 37,000 sq.m and public open spaces.



A total project area of 14 acres (57,000 sq.m.) of land and 8 acres (32,000 sq.m) over water.

Figure 47: Terrace with ocean foyer

6.2.7 Exhibition level (West building): 

The exhibition level is located below the ground level and is accessible through the escalators and stairs on the ground level as well as the parking.



It occupies 1,860 sq.m of pre-function space and consists of 3 exhibition halls namely A, B and C which are divisible as per the user need.



This level occupies an area 20,485 sq.m flexible exhibition space which is divisible into three halls.



22 loading bays with dock levellers and ramps are provided for convenient driveon access for the exhibition halls.

Lower Ground floor plan

Page | 86

6.2.8 Level 1 

The entrance to this level is through a flight of steps and an escalator located in the entrance lobby on the ground floor.



This level consists of the ballrooms and the meeting rooms with varying ceiling heights due to the sloping green roofs.

Ground floor plan

6.2.9 Level 2 

The level 2 of the Vancouver convention centre consists of 24 meeting rooms covering an area of 2,745 sq.m and 3,872 sq.m of pre function space.



The size of meeting room ranges from 70 sq.m to 706 sq.m.



These rooms can be configured as per user needs and have been designed as per theatre, classroom and boardroom style of seating arrangement.

First floor plan

Page | 87

6.2.10 Level 3 

The level 3 of the Vancouver Convention center consists of 6 executive level meeting rooms with spectacular harbour and mountain views.



They cover an area of 818 sq.m while the pre function space covers an area of 546 sq.m.



The size of meeting room ranges from 59 sq.m to 604 sq.m. They have been designed as per theatre, classroom and ballroom style of seating.



The unique six acre living roof featuring a variety of 400,000 indigenous plants is visible from this level.

Second floor plan

West Building sections

Page | 88

West Building sections

6.2.11 Functionality: 

The West building is a masterpiece of both functional and sustainable design.



The foyer on the ground has been designed in such a way that the users do not feel that they are caught up in a mechanical space with no character.



There is no separate entrance for the VIPs. Only 2 pedestrian entrances are provided for an either sides of the building.



Large pre function spaces have been provided in front of the meeting rooms as well as the ballrooms.



Ramp is provided only on the western entrance which is 7-8m wide.



Extensive use of controlled daylighting has been incorporated very well in all the circulation as well as per pre function spaces.



The height of the ballroom varies from 10.5m to 16.75m due to its sloping nature and has a capability to accommodate 3000 people in a dining arrangement to 6000 people in a theatre style arrangement.



Fire exits do not open directly into an open space. 3 fire exits have been provided which lead to level 1 of the building.



The exhibit halls have a capacity to accommodate 12,000 people. It has large column spans to accommodate maximum clear space.



The upper convention floors are organized with a central core of flexible meeting and function rooms supported by service spaces.



The centrally located kitchen served only the events managed by the Vancouver Convention Centre. The restaurant located on the western deck of the building is served by the food companies who have their own private stalls.

Page | 89

6.2.12 Inferences: 

The convention centre has been planned in a way that it visually enters the surrounding roads and buildings; preserves the environment and creates spectacular views of the surrounding landscape.



The Vancouver Convention Centre West brings together the natural ecology, vibrant local culture and built environment.



With an ultra-clear structural glass skin on all sides, extensive daylight and views set up an extroverted, community-friendly relationship and maximize the use of natural daylight in the building’s public spaces.



A six-acre living roof that is the largest in Canada acts as an insulator to mediate the exterior air temperature, contributes to the building’s storm water utilization, and integrates with the waterfront landscape ecosystem.



The convention centre’s exhibition space is 300 x 735 ft. (90 x 225 m) with a 90 x 120 ft. (27x36 m) structural grid, and the building has a maximum clear roof span of 180 ft. (55m).

Figure 48: West Ballroom

Page | 90

Figure 49: Exhibition Hall

Figure 50: Meeting Room

Figure 51: Pre-function Area

Figure 52: Outdoor plaza

Page | 91

NET CASE STUDY – 2 6.3 SUNTEC INTERNATIONAL CONVENTION & EXHIBITION CENTER, SUNTEC CITY, SINGAPORE

Figure 53: Suntec International Convention and Exhibition Centre

Location – Suntec city, Singapore Purpose of study – To understand planning of a diverse complex

6.3.1 INTRODUCTION: 

A multiuse project on an 11.7-hectare (28.9-acre) site located within the new, master-planned Marina Centre central business district of Singapore.



The mega development comprises five blocks of office space, including one 18story and four 45-story office towers; the largest international exhibition and convention center in Southeast Asia; Singapore's largest shopping and entertainment center; and two basement levels of parking for 3,200 cars, a landmark fountain, and other amenities.



The office towers have a total capacity of up to 30,000 workers.

Page | 92

6.3.2 LOCATION ANALYSIS: 

Singapore has been ranked as Asia’s top convention city for 21 years by Union des associations Internationals. It is one of the top ten convention cities of the world.



Distance

from

International

Airport:

Changi Directly

accessible from the airport via the East Coast Expressway. 

Driving time: Approximately 15 minutes.

Figure 54: Location plan of SCIEC

6.3.3 SITE AND SURROUNDINGS: 

Suntec city is built on reclaimed land adjacent to two large existing mixed-use developments that include eight office towers (2.3 million square feet), three shopping malls (2 million square feet), and five hotels (3.000-plus rooms). The hotels are linked to Suntec City by pedestrian bridges.

Figure 55: Site surroundings

Page | 93



The site is L-shaped, with the nearly equal legs connected at a central point. This shape encourages the creation of a continuous district and also creates an extensive boundary with its neighbours.



The highly structured urban space caters to both vehicles and pedestrians and is covered with extensive landscaping that shades the stone-paved pedestrian plazas.



Located at the convergence of Singapore's business, financial, entertainment, and tourist districts, Suntec City's office towers are just a 20-minute drive from Changi International Airport and one kilometre from Raffles Place, Singapore's "Wall Street."



The rapid transit interchange and major subway stations are just a short walk away. A $5 billion expansion being undertaken by the Singapore government will link Suntec City directly to the national subway system.

6.3.4 PLANNING OF THE COMPLEX: 

Designed to be a "city within a city", Suntec City's overall objective was to integrate various development components into a coherent urban center that also connects and relates to adjacent developments and to the larger Singapore CBD.

 Concept: 

In

its

entirety,

resembles a left

Suntec

City

"hand." The

convention center represents the "wrist," the 18-story office block is the "thumb," and the four 45-story office towers depict the "fingers."

The "palm" is cradling a "ring," the fountain, and its cascading water flows

inward,

representing

the

retention of wealth and bringing prosperity to tenants and visitors alike.

Figure 56: Concept of SCIEC

Page | 94

 The Fountain: 

The landmark Fountain Terrace—the focus of the development—hails a majestic bronze-ringed, elevated fountain on the external plaza, which is linked to the retail podium.



The fountain is the heart and civic core of Suntec City, and it symbolizes the wealth of the project. Measuring 21 meters (69 feet) in diameter and supported by four bronze legs 13.8 meters (45.2 feet) high that weigh 85 tons, the fountain is the largest in Southeast Asia. A central vertical jet shoots water up 30 meters (98.3 feet) from the center of the pool, while four perimeter water jets reach 9 meters (29.5 feet). The base of the fountain converts into a stage for a variety of uses, such as dances, concerts, light and sound shows, and promotional activities.

Figure 57: Fountain Area

 Office towers: 

The clad office towers are designed with no internal columns to permit efficient office space planning.



The space is arranged around a central service core to allow for maximum views and natural light.



Typical floor areas for the high-rise office towers range from 930 sq. m. to 1300 sq. m.; Suntec City Tower has the largest floor plates within Singapore's CBD, at 28,000 net square feet.



Separate high-speed elevators serve the low-, mid-, and high-rise zones, while special car and fire elevators provide added features.

Page | 95

 SCIEC: 

The 100,000-square-meter SICEC is the largest convention and exhibition center in the Southeast Asia Pacific region, with a total gross area of 1 million square feet.



The eight-story center has a 12,000 sq. m. column-free convention hall on Level 6 that can seat up to 12,000 delegates and has an $8.2 million custom-engineered telescopic seating system (7,560 seats).



Its 12,000 sq. m. exhibition hall has an acoustic floating floor system to dampen sound and vibration; it can be subdivided into three smaller halls by moving the walls.

Figure 58: Level 3 Convention Center

 Level 4: 

The exhibition space also houses: o A 600-seat auditorium; o 26 meeting rooms catering to groups of from 20 to 400 people; o A 3,300-square-meter (35,484-square-foot) art gallery; o A ballroom accommodating up to 2,000 people; o A 1,700-square-meter (18,280-square-foot) central kitchen designed for on-site catering; o Direct two-way access to the convention floor for 20- and 40-foot container trucks for easy exhibition build-up and take-down; o State-of-the-art audio, visual, and lighting equipment, including the world's most

advanced

digital

congress

network

for

teleconferencing

and

videoconferencing via satellite; o A simultaneous interpretation system for up to 12 languages.

Page | 96

Figure 59: Level 4 Exhibition space

 Special Features: 

The largest integrated privately owned commercial development in Singapore



Inspired by traditional Eastern symbolism, incorporating elements of Feng Shui to promote prosperity



Postal, banking, telecommunications, travel, and medical and dental services; shopping; dining; and entertainment.

Figure 60: Convention Center with 6000 capacity

Page | 97

 Project data:

Page | 98

 Inferences: 

The SCIEC is a project which is well planned within a complex whose scale includes ample of facilities.



Spaces like exhibition halls are designed considering flexibility as foremost priority.



Project is well synchronized with advanced technologies that make container trucks accessible to upper floors.



Inclusion of iconic landscape element like the fountain and water garden adds to its uniqueness and aesthetics.

Page | 99

LIVE CASE STUDY – 2 6.4 NATIONAL MUSEUM OF INDIAN CINEMA, MUMBAI

Figure 61: National Museum of Indian Cinema SOURCE: Author

Location – Mumbai, Maharashtra Developed by – Museum Advisory Committee Inaugurated at – January, 2019 Construction cost – 140.61 Cr. INR Owner/ Client – Ministry of Information and Broadcasting Government of India Purpose of study – To understand ways of portraying everything related to Cinema for a visitor to perceive it in a tangible way.

6.4.1 AN OVERVIEW: 

The Museum is housed in two buildings – the New Museum Building and the 19th century heritage building, Gulshan Mahal – both at the Films Division complex.



The Museum showcases history of India Cinema and has ample artefacts, digital elements including kiosks, interactive digital screens, information based screen interfaces, etc.

Page | 100



Film properties and costumes, vintage equipments, posters, copies of important films, promotional leaflets, sound tracks, trailers, transparencies, old cinema magazines, statistics covering film making & distribution etc. are displayed in a systematic manner depicting the history of Indian cinema in a chronological manner.



NMIC not only provides a store house of information to the laymen, but also help film makers, students, enthusiasts and critics to know and evaluate the development of cinema as a medium of artistic expression.

6.4.2 GULSHAN MAHAL:  G+1 storeyed building.  19th century heritage building.  Colonial Architecture.  Centrally air-conditioned.  Total footprint area: 1100 sq. m.  Total Height: 9-10 m  Artificial lighting.

Figure 62: Gulshan Mahal

Gulshan Mahal - Ground Floor Plan

Page | 101

6.4.2.1

GALLERY 01- ORIGIN OF CINEMA:

 Dimensions: 12m X 6.6m X 6m  Categories: 

Indian tradition of visual story-telling.



History of the motion picture.



Beginning of cinema.



Marvel of the century reaches India.



Beginners

6.4.2.2

Key Plan

GALLERY 02-INDIAN SILENT FILM:

 Dimensions: 9m X 6.6m X 6m  Categories: 

Pioneers of silent era.



Glimpses of silent era.



Heroines of Indian silent cinema.



Raja Harishchandra movie portrait.

6.4.2.3

Key Plan

GALLERY 03 - ADVENT OF SOUND:

 Dimensions: 6.6m X 6.6m X 6m  Categories:

6.4.2.4



Early attempts to render sound.



The momentous changes.



The story of Alam Ara and its impact.



Talkies spread across India.

Key Plan

SEMI-OPEN WALKWAY OF TIMELINE:

 A semi-open walkway showcasing Cinematic marvels of Indian cinema.

Key Plan

Page | 102

6.4.2.5

GALLERY 04 - STUDIO ERA:

 Dimensions: 6.6m X 6.6m X 6m  Categories: 

The rise of studio system.



Rise of stardom in Indian Cinema.



Cinema society symbiosis.



Heightening the nationalist spirit.



Devdas across Indian screens.

6.4.2.6

Key Plan

GALLERY 05 - IMPACT OF WORLD WAR II:

 Dimensions: 6.6m X 4.2m X 6m  Categories: 

Film and social turbulence.



Chandralekha and its impact.



Cinema and Politics.



Winds from outside- India’s first International Film Festival.



The changing scenario.

6.4.2.7

Key Plan

GALLERY 06 - CREATIVE RESONANCE:

 Dimensions: 9m X 6m X 6m  Categories: 

Creative resonance.



Golden oldies.



Superstars.

Key Plan

Figure 63: Creative Resonance showcase SOURCE: Author

Page | 103

Gulshan Mahal - First Floor Plan

6.4.2.8

REGIONAL CINEMA:

 Dimensions: 6.6m X 6.6m X 4.5m  Multi-lingual cinemas of India

Key Plan

GALLERY 07 – NEW WAVE AND BEYOND:

6.4.2.9

 Dimensions: 3m X 7.2m X 4.5m  Categories: 

Changing looks of Indian Cinema



The Indian new wave and beyond Key Plan

Figure 64: Indian Silent Film SOURCE: Author

Figure 65: Advent of sound SOURCE: Author

Page | 104

6.4.3 NEW MUSEUM BUILDING: 

G+5 storeyed building.



19th century heritage building.



Modern construction.



Centrally air-conditioned.



Total footprint area: 1400 sq. m.



Total Height: 22-24 m



Artificial lighting.

6.4.3.1

Figure 66: New Museum SOURCE: Author

th

4 FLOOR:

Fourth Floor Plan

This floor exhibits the whole paradigm of Indian cinema covering every single avatar it took with the timeline. Following are the aspects it covers: 

Tent and travelling cinema.



The bioscope shows



Silent era and travelling cinema.



Playhouses and cinema halls



Legendary studios in India.



New nation and its cinema.



Documentaries and short films.



Cinema and popular culture.

Figure 67: Exhibition hall SOURCE: Author

Page | 105



Linguistic multiplicity in Indian cinema.



Publicity.



Dadasaheb Phalke Awards



Queens of Silver screen.



Indian Film Music



Song, dance and

Figure 68: Exhibition hall SOURCE: Author

choreography. 

6.4.3.2

Costumes and make-up.

3rd FLOOR:

Figure 69: Exhibition hall SOURCE: Author

Third Floor Plan

This floor manifests how cinema essentially became the product of technology and the human genius imbued in it with a sense of Art and Aesthetics. Following are the aspects it covers: 

4 stages of film making.



Cameras in Indian cinema.



Lamps and Lights.



Animation film: Indian perspective.



3D cinema



Satyajit Ray and his cameras.

Figure 70: Exhibition hall SOURCE: Author

Page | 106



Sound in cinema.



Silent to Talkie: Talkies.



Sound recording and editing.



Film editing.



Indian cinema’s technological journey.



6.4.3.3

Figure 71: Exhibition hall SOURCE: Author

Film making.

2nd FLOOR:

Second Floor Plan

This floor comprises of ‘Children’s film studio’ where various high-tech equipments have been used to give children an experience one of its kind.

Following are the aspects it covers: 

Sounds of Foley.



Stop motion Animation.



Digital green screen.



Virtual makeover.



Cine-Quiz



Editor’s desk



Colour contrast.



Visual effects.

Figure 72: Exhibition hall SOURCE: Author

Figure 73: Exhibition hall SOURCE: Author

Page | 107

6.4.3.4

1st FLOOR:

First Floor Plan

Figure 74: Exhibition hall SOURCE: Author

This floor showcases Gandhi-cinema. The one movie he watched in his life, movies made on his life in chronological manner, and other artefacts. Following are the aspects it covers: 

Sounds of Foley.



Stop motion Animation.



Digital green screen.



Virtual makeover.



Cine-Quiz



Editor’s desk



Colour contrast.



Visual effects.

Page | 108

6.4.3.5

GROUND FLOOR:

Ground Floor Plan

It has the entrance to the building with a full height atrium. Following are the spaces provided on this floor. 

Entrance lobby



Pre-function area



Reception area



Auditorium 1- 185 seats, Auditorium 2 – 215 seats



Service core: Lifts, escalators, toilets, drinking water, etc.



Museum shop



Museum information kiosk

Page | 109

6.4.3.6

LOWER-GROUND FLOOR:

Lower-Ground Floor Plan

This floor houses an office hall along with necessary service areas for building management. Service areas include: 

Main electrical room



Control room and special room



Water tanks

6.4.4 Inferences: 

Planning of the new Museum building is purely based on visitor’s path.



Exterior and interior of Museum has no relation as such.



Artificial lighting has been used in abundance.



Precautions for fire emergencies have been taken care of.



Ample of space is provided for artefacts, projector screens, instruments and information kiosks.



Pre-function areas have been provided at appropriate areas.



All spaces were centrally air-conditioned.



Spaces were column free and flexible enough to modify.

Page | 110

NET CASE STUDY – 3 6.5 NATIONAL MUSEUM OF THE AMERICAN INDIAN

Figure 75: National Museum of American Indian

Location – Washington D.C Inaugurated at – 1989 Owner/ Client – Kevin Gover Purpose of study – To understand guided flow in a Cine-museum

6.5.1 AN OVERVIEW: 

The National Museum of the American Indian (NMAI) in Washington, D.C., features the lifeways, history, and art of indigenous peoples throughout the Western Hemisphere.



The museum on the National Mall is one of three sites that make up the National Museum of the American Indian.



The museum is also comprised of a public facility in the Alexander Hamilton U.S. Custom House in Lower Manhattan and the Cultural Resources Center (CRC), a research and collections facility in Suitland, Maryland.



The Welcome Desk is located on the first level. NMAI staff provide information on current exhibitions, museum programs, and membership.

Page | 111

6.5.2 

LEVEL 4- THEATER AND EXHIBITIONS: Visitors begin with a short film ‘Who We Are’ in the Lelawi Theater. Then visits the two exhibition galleries to learn about Native beliefs and history.

6.5.3 LEVEL 3- SPECIAL EXHIBITIONS AND FAMILY ACTIVITIES: 

Visitors can explore Native art and culture in the special exhibition gallery.



Discover the foundations of the Inka Road in the exhibition The Great Inka Road: Engineering an Empire.



Visitors can also enjoy hands-on displays in the family-friendly imaginations Activity Center.

Page | 112

6.5.4 LEVEL 2- CHANGING EXHIBITIONS AND MUSEUM SHOPS: 

Here, visitors discover the Native communities of Washington, D.C., in Return to a Native Place.



View changing exhibitions in the Sealaska Gallery and they can visit the museum store for one-of-a-kind gifts and souvenirs.

6.5.5 LEVEL 1- POTOMAC ATRIUM, THEATRE AND CAFES: 

Visitors can join a tour in the Potomac Atrium or catch a performance or film in the Rasmuson Theater.



Feast at the Mitsitam Cafe. Enjoy a beverage at the Espresso Bar.

Page | 113

Figure 76: NMAI- Atrium space

Figure 77: NMAI- Exhibition space

6.5.6 Inferences: 

Planning of the building is purely based on visitor’s path.



Exterior and interior of Museum has no relation as such.



Each and every floor has been assigned with appropriate activity leading to idealistic spatial organisation.



Presence of an atrium adds up to aesthetics of the interior space.



Curved facades and curved walls give a unique character to the Museum.



Use of stairways for vertical transport in the atrium allows visitors to feel the sanctity of atrium while moving from one point to another.

Page | 114

NET CASE STUDY – 4 6.6 PINEWOOD STUDIOS, LONDON, U.K. 

Location – London, U.K



Inaugurated- 1935



Owner/ Client – Kevin Gover



Purpose of the study- To understand site circulation in a studio complex.

6.6.1 AN OVERVIEW: 

Pinewood was built in 1936 on a country estate. New stages, viewing theatres and cutting rooms were added in the 1960s and other facilities upgraded.



Two new sound stages were opened in 1999, and two digital widescreen television studios were added in 2000-01.



Pinewood is approximately 20 miles north-west of London.

6.6.2 LOCATION:

Figure 78: Pinewood Studios SOURCE: Google maps

Pinewood Studios is a British film and television studio located in Iver Heath on the outskirts of Slough (a major town bordering London), it is 2 miles (3.2 km) from Uxbridge, and approximately 17 miles (27 km) west of central London. It is just 8 miles from Heathrow airport and 20 miles from central London.

Page | 115

6.6.3 MASTER PLAN OF THE COMPLEX:

Figure 79: Master Plan of Pinewood Studio Complex

Page | 116

Indoor stages and supporting offices are all buffered from the main street.

Resting area for the cast and crew.

Post-production services.

Heavily secured Entry point with enough parking spaces.

Zoning and the dispersal of the functions from the entry point 6.6.4 STAGES AND FACILITIES: 1. STAGES: ďƒ˜ Stage 3: L x B x H = 66m x 48m X 15m (3200 sq. m.)

Figure 80: Stage 3

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ďƒ˜ Stage Q: L x B x H = 65m x 43m X 15m (2800 sq. m.)

Purpose-built, and 15m high, Q Stage serves the needs of film and television production. 465 sq. m. of production accommodation, workshops and production offices adjoin the stage.

Figure 81: Stage Q

Figure 82: Stage Q catwalk area

Figure 83: Stage Q

Page | 118

2. PRODUCTION ACCOMMODATIONS: 2.1 Offices: 

Provision of flexible office spaces is done. Right from standard to deluxe, both individual as well as interconnecting spaces are provided.

Figure 84: Office space

2.2 Workshops: 

Workshops spaces range from 90 to 1000 sq. m. and cater for any size production.

Located conveniently close to stages.



They can accommodate plastering, carpentry, SFX, props, poly sculpturing, paint or steel work, action vehicles, armoury, greens, CFX, costume and wardrobe, crowd, drapes, electrical, fibre glass, foam, prosthetics, SFX, spraying and transport.



Some workshops are interconnecting.

Figure 85: Workshop space

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2.3 Dressing rooms: There are 5 types of dressing room provide a relaxed environment and are located close to stages. 

Super Star: living areas and en-suite bathroom facilities. 2 sofas, 1 armchair, 2 coffee tables and uplighters. Square shelfing unit and a make-up unit.



Deluxe Star: en-suite bathroom facilities, 2 sofas, a coffee table, uplighters and makeup unit.



Star: a sofa, a coffee table and a make-up unit.



Standard Plus: a sofa and a coffee table



Standard: a sofa and a coffee table.

Figure 86: Dressing room

2.4 Make-up and Hair rooms: 

They include make-up and back wash chairs, fresh towels and enough space to accommodate prosthetic and full body cast work.

Figure 87: Make-up room

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2.5 Meeting rooms: 

Whether it’s for a production meeting or a read-through, flexible meeting spaces range from traditional boardrooms to formal classroom.



They are provided with comfortable seating, telephone conferencing facilities and video conferencing in many.

Figure 88: Meeting room

2.6 Storage Areas: 

With versatile utility rooms ranging from 15 to 1000 sq. m., they can cater for all production needs, whether its for crowd holding, rehearsals or camera and sound equipment storage.

Figure 89: Storage area

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3. THEATRES AND EDITING STUDIOS: 3.1 Powell Theatre (Re-recording theatre): 

Screen size: 10.3m X 4.2m



No. of seats: 44



Functions: Mixing console, Monitoring, Projection, Playback/ Record

Figure 90: Powell Theatre

Figure 91: Powell Theatre

Page | 122

3.2 Voice Over Recording Booth: 

Screen size: 2m X 1.2m



This room is in the centre of the post production building, it is mainly used for television projects and nearfield mixing as well as premixing and prep work in support of the main theatres.



It also has a dedicated voice over recording booth.

Figure 92: Voice Recording Booth

Figure 93: Voice Recording Booth

Page | 123

3.3 Studio for television and nearfield mixing: 

Screen size: 2m X 1.2m



It is mainly used for television projects and nearfield mixing as well as premixing and prep work in support of the main theatres.

Figure 94: Editing Studio

3.4 Theatrical P-mixing AMD Mastering: 

Screen size: 5.4m X 2.5m



It is a medium sized room suitable for Theatrical P-Mixing and mastering.



It offers the full film experience to productions with more challenging budgets.

Figure 95: Theatrical Editing Studio

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3.5 Preview Theatre: 

Screen size: 9.5m X 4.2m



It is capable of running all film & digital formats.



The theatre has a seating capacity of 115 seats.



It also has a coffee shop in the foyer for pre or post screening discussions making it a perfect venue for preview.

Figure 96: Preview Theatre

Figure 97: Preview Theatre

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6.6.5 Inferences: 

Entry into the site should be positioned in such a manner in order to access all other functions easily from that point



Only one entry is desired along with a service entry



The zone where the cast and crew will reside should be near the entry



Studios, workshops and backlots should be placed in close proximity



The functions are spread out but arranged within the range of the internal access roads



Huge areas are dedicated for car parking at different points which tries to meet the demand for both film shooting and TV studios



Since the demand in terms of area is much less in TV studios, most of its studios and supporting functions are placed in a single building mass, even though they can use the filming studios



The Post Production Offices are near the entry point and next to TV studio complex in order to serve people who can only avail the post production services without affecting the ongoing shooting areas

Page | 126

7. FINDINGS AND ANALYSIS OF CASE STUDIES: 7.1 Comparative Analysis of Convention Centre case studies:

Topic

Location

Vancouver

Mahatma

Convention

Convention

Center

Center

Vancouver

Hyderabad

Easily Connectivity

accessible by private vehicles

Well connected by road and railway transport

Located in the capital of

Spatial organization

Located on

Gujarat,

water,

purposely

reclaimed

zoned for

land

commercial and business tourism

Response to Architectural character

climate technology developed

Green roof Public spaces

created as public space

Contemporary And climate responsive

Green roof as well as open airamphitheater

Suntec International Convention

Inferences

Center Singapore Well connected by different road network and public transport

Encouraging more public participation and approachable commercial hub.

Developed in an existing popular place with various amenities around with

Create space within an enclosure and approachable

traffic flow.

Response to climate and

Geometrical

geometrical

minimalism

contemporary Space between

Public spaces

buildings i.e.

to be well

fountain area

designed for

used as public

comfort and

space

safety

Page | 127

No vehicular Vehicular movement

movement inside the site or public area

Pedestrian movement

Transportation

movement inside the site

movement along the periphery of public space

Organized

Organized

pedestrian

pedestrian

pedestrian

movement

movement

movement

Vehicular

Pedestrian and Pedestrian and

traffic

vehicular

vehicular

restricted at

traffic is

traffic is

the entry

segregated

segregated

parking along with VIP parking on surface

Dynamic Planning

vehicular

Vehicular

Organized

Basement

Parking

Restricted

plan with bold form

VIP and surface parking provided

Basement parking along with VIP parking on surface

Polygonal

Rectangular

building with

shaped

dynamic

building with

facade

folded roof

Restricted vehicular movement inside the site Pedestrian movement should create an experience Pedestrian and vehicular movement to be segregated for safety Surface parking required according to size of vehicles Dynamic module arrangement

Table 11: Comparative Analysis of Case studies

t

Page | 128

7.2 Comparative Analysis of Museum case studies:

Topic

National

National

Museum of

Museum of

Indian Cinema

American Indian

Mumbai

Washington D.C.

Location

Inferences

Spaces are Spatial organization

organized

Spaces are

Organize the

chronologically as organized as per a

spaces with a

per Cinema’s

dedicated flow

derived flow.

evolution The building has

Building has a

flexible internal

fluid form in

Architectural

spaces and

terms of its floor

Geometrical

character

exterior is

plates and stone

minimalism

cladded with

cladding on the

aluminum.

exterior

Public spaces

Few green

Public spaces to

pockets in form of Plazas are

be well designed

gardens is

for buffer as well

provided

provided.

as breaks

It is guided from Visitor’s movement

4th floor to the 1st

It is guided in the

floor

same manner

chronologically.

Functional

Planning

Planning for

Functional

visitor to see

planning with

maximum

curves and

exhibits in one

atrium.

stretch.

Visitor movement should create an experience

Planning which leads to full utilization of exhibits and artefacts.

Table 12: Comparative Analysis of Case studies

t Page | 129

8. DESIGN BRIEF AND OBJECTIVES: 8.1 DESIGN OBJECTIVES: Primary objectives of the proposal are: 

The design must create a Conglomeration Centre which systematically accommodates a Convention and Exhibition Centre, a Museum and a Film Studios facility.



The Centre must take full advantage of its location so that the area can be experienced as a world class Conglomeration and Entertainment precinct.



The design must have a synergic output in terms of its Architectural Expression while embracing the utility of public realm spaces in and around the site.



Proposal must have optimum flexibility in terms of the utility of different facilities while giving the priority to celebration and civic events.



Proposal must aim to suffice the area requirements to hold the biggest of the events in the world (International Film Festival of India-IFFI).

Secondary objectives of the proposal are: 

To generate economic benefits for the citizens as well as the Government of Goa.



To create a unique destination gateway to the state of Goa.



To create an impactful experience for delegates/ film enthusiasts from all over the globe.

8.2 ANTHROPOMETRIC EVALUATION: After a number of permutations and combinations in area programme, pertaining to capacity of the site to withhold Conventions, Festivals and other functions; following are the progressive site zoning which led to the final area programme of the complex:

Page | 130

Figure 98: Progressive layout 01

Figure 99: Progressive layout 02

Figure 100: Progressive layout 03

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Figure 101: Progressive layout 04

Figure 102: Progressive layout 05

Page | 132

8.3 CONVENTION CENTRE: 8.3.1 CONVENTION FACILITIES:

FUNCTIONS

NO.S

EACH

MAIN CONVENTION HALL SEMINAR HALL 1 SEMINAR HALL 2 SEMINAR HALL 3 BOARD ROOM 1 BOARD ROOM 2 BOARD ROOM 3 MEETING ROOM 1 MEETING ROOM 2 MEETING ROOM 3 SCREENING ROOM TYPE 1 SCREENING ROOM TYPE 2 SCREENING ROOM TYPE 3 THEATRE SCREENS FOOD COUNTER V.I.P LOUNGE 1 V.I.P LOUNGE 2 V.I.P LOUNGE 3 FOOD COURT BUSINESS CENTER OFFICES MEDIA LOUNGE PRESS CONFERENCE ROOM CAFÉ AND BAR (with Kitchen) FOYERS (Reception, registration, storage) PRE-FUNCTION AREAS SERVICES

1 8 8 4 8 8 4 8 8 4 10 10 10 4

5000 300 600 1200 50 75 100 25 50 100 75 100 150 300 100 75 150 300 1500 150 300 150 600 1200

7 7 7 1 20 1 1 3

TOTAL AREA (sq. m.)

5000 2400 4800 4800 400 600 400 200 400 400 750 1000 1500 1200 100 375 750 1500 1500 3000 300 150 1800 1200 3625 As required 31525

SEATING CAPACITY 5880 250 500 1000 20 30 40 8 16 32 80 100 150 250

200 120 200-250

Page | 133

8.3.2 AUDITORIUM: FUNCTIONS STAGE BACK STAGE AREAS AUDITORIUM SEATING PANTRY PRESS LOUNGE VVIP LOUNGE PRE-FUNCTION AREA PROJECTION ROOM CAFETERIA (WITH KITCHEN) TOILETS (his+her) SERVICES

NO.S

2 2 4 1 1

EACH

100 60 50 1200 50 1200

TOTAL AREA (sq. m.)

250 250 4500 200 120 200 1200 50 1200 As required As required 7970

SEATING CAPACITY

5000

1000

8.3.3 E.S.G OFFICE (ENTERTAINMENT SOCIETY OF GOA):

TECHNICAL TEAM POSITION

G.M A.G.M ASSISTANTS EXECUTIVE MEETING/CONFERENCE ROOM Total people

NO. 1 1 5 15 1 22

AREA (sq. m.)

30 30 50 90 90 290

NO. 1 1 15 1 17

AREA (sq. m.)

30 30

ACCOUNTS POSITION

M.A A.M.A EXECUTIVE MEETING/CONFERENCE ROOM Total people

90 90 240

ADMINISTRATIVE DEPARTMENT POSITION

H.R. HEAD PROGRAMMER EXECUTIVE Total people

NO. 1 1 6 8

AREA (sq. m.)

30 30 90 150

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C.E.O OFFICE NO. 1 1 2

POSITION

C.E.O CABIN ASSISTANT Total people

AREA (sq. m.)

45 10 55 735

Total footfall in Convention Centre as per anthropometric assumptions = 28600

8.4 EXHIBITION CENTRE: FUNCTIONS EXHIBITION HALL TYPE 1 VIP VIEWING GALLERY TYPE 1 PRE-FUNCTION AREAS EXHIBITION HALL TYPE 2 VIP VIEWING GALLERY TYPE 1 PRE-FUNCTION AREAS FOOD COURT TOILETS (his+her) SERVICES

NO.S

EACH

2 2 2 4 4 4

3000 200 1000 1500 200 500 2000

TOTAL AREA (sq. m.)

6000 400 2000 6000 800 2000 2000 As required As required 19200

Total footfall in Exhibition Centre as per anthropometric assumptions = 13333

8.5 FILM STUDIOS: FUNCTIONS OPERATING STAFF OFFICE PREVIEW THEATRE TYPE 1 PREVIEW THEATRE TYPE 2 OPEN-AIR THEATRE SOUND RECORDING STUDIOS INDOOR STUDIOS (12MT. HEIGHT) WORKSHOP SHEDS (8 MT. HEIGHT) MEETING/LECTURE ROOM CAFETERIA (with Kitchen) TOILETS/WASHROOM SERVICES

NO.S

EACH

1 2 2 1 2 2 2 4 1

100 250 500 600 100 2000 600 50 500

TOTAL AREA (sq. m.)

100 500 1000 600 200 4000 1200 200 500 As required As required 8200

SEATING CAPACITY 200 500 800

200

Total footfall in Film Studios as per anthropometric assumptions = 5500

Page | 135

8.6 NATIONAL MUSEUM OF INDIAN CINEMA: FUNCTIONS

NO.S

ADMINISTRATION ENTRANCE LOBBY AND ATRIUM

700 600

TOTAL AREA (sq. m.)

700 600

EACH

PERMANENT GALLERIES A. STORY OF INDIAN CINEMA B. OUTCOMES OF INDIAN CINEMA C. CULTURE THROUGH CINEMA D. IDENTITIES THROUGH INDIAN CINEMA E. EMOTIONS THROUGH CINEMA F. TECHNOLOGY IN CINEMA

7 6 4 4 4 4

80-140 80 80 80 80 80

400 660 480 320 320 320 320

EXHIBITION AREAS A. EXHIBITION HALL TYPE 1 B. EXHIBITION HALL TYPE 2 C. EXHIBITION HALL TYPE 3

6 6 2

330 415 150

1980 2490 300

1 2 2 2 2 1

830 120 120 150 150 450

1

800

830 240 240 300 300 450 525 800

RESOURCE CENTRE/LIBRARY LECTURE HALLS DANCE STUDIOS AUDIO-VISUAL ROOMS WORKSHOPS/MULTI-PURPOSE ROOMS CAFETERIA (with Kitchen) for staff STORAGE AREAS CAFETERIA (with Kitchen) for visitors SERVICES

SEATING CAPACITY

215 110 100 100 215

As required 12575

Total footfall in National Museum as per anthropometric assumptions = 2515 TOTAL FOOTFALL OF THE BUILT COMPLEX DURING FESTIVALS = 50000 TOTAL BUILT-UP AREA = 33025 + 735 + 7970 +12575 + 8200 + 19200 = 80205 m2 Note: The complex has a proposed 5-star hotel on a site adjacent to west of the main site.

Page | 136

9. SITE: 9.1 SITE SELECTION CRITERIA: 9.1.1 

STRENGTH:

Goa has rich tourism resources, they include: Picturesque landscape, beautiful mountains (the Western Ghats) and serene rivers like the Mandovi, Zuari, 105 km of palm-fringed shoreline with fabulous beaches.



Wildlife sanctuaries at Bondla, Mollem, Cotigao in the Ghat region and Salim Ali Bird Sanctuary at Chorao Island.



Tranquil Lake at Mayem and breath-taking waterfalls and Dudhsagar.



Heritage monuments- many Churches reflecting Baroque or traditional Portuguese style of architecture with exquisite interiors.



Rich cultural heritage- Celebration of various Hindu and Christian festivals through fairs, dances, fun and frolic, a mix of Konkani and Portuguese traditions.



High Level of literacy and working knowledge of English.



Pleasant climate for most part of the year, ranging from 24°- 35° in summer and 21°- 32° in winter-plenty of warm sunshine which attracts lakhs of foreign tourists.



Fairy developed tourism related and supportive industries: Reasonably developed hotel industry and inexpensive, popular paying guest accommodation systems.



Acceptable levels of local public transport facilities.



Decent network of financial services.



Large number of rural and handicrafts/cottage industrial units, cashew processing units, etc.

 Accessibility by all modes of transport: 

By air directly from Delhi, Mumbai, Chennai, Bangalore, Pune, Cochin, Agathi, Sharjah & Kuwait apart from direct chartered flights from Europe.



By rail from anywhere from India by Konkan railway via Mumbai, Mangalore and South Central railway via Londa/Castle rock



By road from Mumbai, Pune, Bangalore and other important cities in the states of Maharashtra, Karnataka, Kerala, etc.



By sea – Luxury Catamaran service from Mumbai except during monsoons.

Page | 137

9.1.2 

OPPORTUNITIES:

Goa has enormous potential for development of new product ideas, some of which are the latest craze in the Western world today.



Heritage Tourism: The state has an abundance of old mansions, palaces, several forts, renovated and opened up for tourism.



Health Tourism: Western tourists have great regard for the ancient Indian practices of treatment and Goa can capitalize on the same by opening health parlours similar to those in Kerala



Educational Tourism: The state has an already established base of a reputed university - medical, engineering and law colleges, institutes of management, catering technology hotel management, etc.



Business Tourism: Goa is already an established centre for conferences and conventions for domestic and multi-national companies. The state has also hosted major political conventions like Commonwealth Heads of Government meeting in 1983.



Entertainment Tourism: One of the features of modern tourism, completely absent in Goa, is entertainment complexes such as amusement parks, water parks, cable car rides, aquariums, casinos, sound and light shows, etc.



Cultural Tourism: The Carnival in Goa is one of the unique festivals in the world, attracting lakhs of domestic and International tourists, every year.

9.1.1 GEOGRAPHY: 

Goa occupies a narrow strip of the Western Indian Coastline.



Length- 105 km, Width- 65 km, Area- 3702 sq. kms.



Surrounded in North by Sindhu Durg district of Maharashtra, in West by Arabian Sea and in East and South it is surrounded by Belgaum and Karwar districts of Karnataka



The state is situated on the slope of Western Ghats and is in heavy rainfall zone, having an average rainfall of 3200 mm per annum.



The climate is temperate with temperatures ranging from 15.7 C to 35.6 C.

Page | 138



The state is intersected by an extensive network of waterways, important among them being Terekhol, Mandovi, Zuari and Talpona rivers.



Goa has been organized into 2 districts.



North Goa- comprises of 6 talukas covering an area of 1736 sq. kms.



South Goa- comprises of 5 talukas covering an area of 1966 sq. kms.



In terms of topography, Goa falls into 3 distinct areas: Western Ghats, the midland region and the coastal region

9.2 DESCRIPTION OF SITE: 

The site is located at Dona Paula, Goa, India



Dona Paula is situated in Tiswadi taluka of North Goa



80% of Dona Paula has a coast line- some part facing Arabian Sea and some facing the Zuari River.



It is a former village, and tourist destination, in the suburbs of Panaji, in the state of Goa, India.



It is today home to the National Institute of Oceanography and just alongside it lies the Goa University and the International Centre Goa.



The local municipal corporation is known by the name of Corporation of the City of Panaji (CCP).

Figure 103: Map of India

Figure 104: Talukas of Goa

Page | 139

9.3 LOCATION: 

Dona Paula is a secluded bay only 6 km from Panaji with a magnificent view of the Mormugao harbour.



The idyllic rocky tourist attraction lies at the spot where the Mandovi and the Zuari rivers meet the Arabian Sea.



Dona Paula is nested on the south side of the rocky, hammer-shaped headland that divides the Zuari and Mandovi estuaries.



Taleigao is a small town falling in the Tiswadi taluka. It's planning and development is authorized by the North Goa Planning and Development Authority (NGPDA).



The Taleigao town is a developing town, not far away from the major hub (capital city) Panjim- Most parts of Taleigao are reclaimed areas over a hill.

Figure 105: Tiswadi Taluka SOURCE: Google Maps

Figure 106: SITE SOURCE: Google Maps

Page | 140

SITE

Figure 107: Draft Regional Plan of Tiswadi Taluka SOURCE: RPG-2021

Page | 141

Figure 108: Taleigao Outline Development Plan

Page | 142

9.4 SITE CONNECTIVITY:

Airport 

The

international

airport is about 26 kms. away from the site. 

By car it takes 40 minutes to reach the site from airport.

Figure 109: Access from Airport SOURCE: Google Maps

Madgaon railway Station 

The major railway station Madgaon is about 36 kms. away from the site.



By

car

it

takes

approximately 1 hour to reach the site from station.

Figure 110: Access from Madgaon Station SOURCE: Google Maps

Karmali railway Station 

Karmali

railway

station,

which is closer to the site is about 20 kms. away from the site.

Figure 111: Access from Karmali Station SOURCE: Google Maps



By car it takes 32 minutes to reach the site.

Page | 143

Site surroundings and site connectivity within 15 km are shown in below table: Sr. No.

Particulars Nearest Railway

1.

Name

Distance &Direction

 Karmali Railway Station

20 Km in E

 Goa International Airport,

26 Km in S

Station

2.

Nearest Airport

Dabolim Nearest Populated

3.

Area

5.

Nearest Highway

6.

Nearest Road

 Panaji City

5.6 Km in N

 Goa University

2.6 Km in E

 Dona Paula View Point

2.6 Km in SW

 NH-66 (Panvel-Kochi)

6 Km in E

 NH-748  Dr. E Borges Road

Adjacent, S

 Dr. Jack De Sequeira Rd

1.6 Km, W

 Goa University 7.

8.

Nearest Educational

 National Institute of

Institutions

Oceanography

Nearest Hospital

 Manipal Hospital Goa  Dona Paula Chapel

9.

Place of worship

2.45 Km in N

 Church of Our Lady of

2.6 Km in E 1.9 Km in W

0.5 Km in W 2 Km in W 3.4 Km in W

the Cape

10.

Water Bodies

11.

Forest

 Arabian Sea

4 Km in W

 Zuari River

0.6 Km in S

 Mandovi River

4.7 Km in N

 Bandh Vaddo Forest

2 Km in E

Table 13: Site Surroundings

tt

Page | 144

9.5 TRAFFIC MOVEMENT:

Towards Panjim city

Towards Airport

Figure 112: Site SOURCE: Google Maps



The southern side of the site is parallel to the 2 lane two-way road.



The road connects to the highway that runs from the International Airport, Goa.



The road is not highly trafficked, since it’s on the outskirts and is used by very few, like The Goa university and International Centre Goa.



The road also connects to the National Highway running from Panvel to Kochi.

Figure 113: Transportation System SOURCE: RPG-2021

Page | 145

9.6 LAND USE AROUND THE SITE:

Figure 114: Site SOURCE: Google Maps



Site area = 53.16 acres (215130 sq. m.)



Land use around the site is quiet diverse.



There’s a 20m wide road on south of the side followed by series of bungalows.



Also, on south of the side across the road is International centre of Goa.



Since Taleigao is a developing town, most parts of the town are vacant and proposed for future commercial projects.



There are few hotels around the site especially the famous Cidade de Goa.

Figure 115: Land use around the site SOURCE: Author

Page | 146

9.7 LAND ENVIRONMENT AND OTHER DETAILS: 1. Population - Population of the North Goa district (as per 2011 Census) is 817761 with a population density of 471 persons/ sq. km.

2. Physiography - Physio graphically North Goa district can be broadly divided onto four distinct morphological units from west to east namely: a. Coastal plain with marine land forms on the west, b. Vast stretch of plains adjoining the coastal plain, c. Low dissected denudational hills & tablelands towards the east, and d. Deeply dissected high Western Ghats denudational hills along the eastern most part of the district.

3. Soil type – Soils of the North Goa district can be classified into 3 types namely Laterite soil, Saline soil and Alluvial soil: a. Lateritic soil is the major soil type in the district. It is highly porous & permeable, slightly acidic with low pH values, low in organic matter, Calcium and Phosphorus. b. Saline soil in the district occurs in the flood plains of Zuari and Mandovi rivers in Tiswadi, Barges and Ponda talukas. It also occurs in Pernem taluka. The soil is deep, poorly drained and less permeable. It is saline, high in pH and contains humus and organic matter. c. Alluvial soil occurs as very thin strip along the coastline towards western part of the district. It is reddish brown to yellowish, coarse 5 grained and confined to narrow valleys of rivers. It is well drained, acidic with low pH and organic content.

Note: Site proposed for the project has Alluvial soil 4. Geology – a. During the Sub – Recent and Recent times, the rocks have been subjected to lateritisation of varying thickness. Thus, laterite occurs extensively covering almost all the formations in North Goa district. b. Coastal alluvium occurring along the coastal plains consists of fine to coarse sands with intercalations of sandy loam, silt and clay.

Page | 147

5. Topography – a. The site has gentle slopes with both ridges and valleys. b. The 2 highest points (49m) of the site are- one at the South-East corner and the other at North-West corner. c. The lowest point (40m) of the site is right in the center of the site. d. The site being on a hill is of laterite rocks and red sand around the site.

Figure 116: Contour Map of the site SOURCE: Author

Page | 148

6. Hydrogeology – a. The occurrence and movement of ground water depends upon the type of rock formation, structure, topography, rainfall, recharge etc. b. Ground water in the North Goa district occurs in rocks having primary porosity & permeability or in those having secondary porosity acquired due to weathering, leaking, tectonics, solutions etc.

SITE

Figure 117: Hydrogeology Map of North Goa SOURCE: Groundwater Information Booklet, North Goa District

Page | 149

9.8 CLIMATE: 9.8.1

Meteorological Data:

a. Meteorological parameters are responsible for dispersion and diffusion of pollutants in the atmosphere. b. Thus, the Assessment of the existing meteorological conditions in the vicinity of a source of pollutants is vital for assessing air quality in the area. c. The main parameters are temperature, humidity, rainfall, winds and cloud cover. d. The meteorology and air environment of the area are discussed in subsequent sections.

Figure 118: Mean Average Temperature Graph of Dona Paula SOURCE: www.meteoblue.com

Figure 119: Cloud Cover Map of Dona Paula SOURCE: www.meteoblue.com

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9.8.2

Sun path:

1. Summer Solstice: Date – 21st June, Time – 14:00 pm Azimuth - -64.67°, Altitude – 68.80°

Figure 120: Sun path at the site SOURCE: www.andrewmarsh.com

2. Spring/Vernal Equinox: Date – 20th March, Time – 14:00 pm Azimuth - -127.73°, Altitude – 65.27°

Figure 121: Sun path at the site SOURCE: www.andrewmarsh.com

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3. Autumn/Fall Equinox: Date – 23rd September, Time – 14:00 pm Azimuth - -121.75°, Altitude – 62.34°

Figure 122: Sun path at the site SOURCE: www.andrewmarsh.com

4. Winter Solstice: Date – 22nd December, Time – 14:00 pm Azimuth - -150.88°, Altitude – 45.68°

Figure 123: Sun path at the site SOURCE: www.andrewmarsh.com

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General Details: Goa features a tropical monsoon climate being near the Arabian Sea, has a hot and humid climate for most of the year. 

The month of May is the hottest, seeing day temperatures of over 35℃ (95℉) coupled with high humidity.



The monsoon rains arrive by early June and provide respite from the heat. Most of Goa's annual rainfall is received through the monsoons which last till late September.



The mean annual rainfall is 3200 mm.



Goa has a short winter season between

mid-December

and

February. 

These months are marked by nights of around 21℃ (70℉) and days of around 28℃ (82℉) with moderate amounts of humidity. Further inland, due to altitudinal gradation, the nights are a few degrees cooler.



During monsoons, the prevailing westerly monsoon winds would be a major task to be dealt with.

Figure 124: Sun path at the site SOURCE: Author

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9.8.3

Wind rose:

Figure 125: Wind Rose diagram of the site SOURCE: www.meteoblue.com

9.9 FLORA AND FAUNA: 9.9.1

Flora:

1. Goa is located on the west coast of India in the region known as the Konkan.

2. Forest cover in Goa stands at 1,424 km², most of which is owned by the government.

3. The important forests products are bamboo canes, maratha barks, chillar barks and the bhirand.

4. Coconut trees are ubiquitous and are present in almost all areas of Goa barring the elevated regions.

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5. A

large

number

of

deciduous

vegetation

consisting

of teak, sal, cashew and mango trees are present. Fruits include jackfruits, mangos, pineapples and blackberries.

9.9.2 Fauna:

1. Goa's state animal is the Gaur, the state bird is the Ruby-throated yellow Bulbul, which is a variation of Black-crested Bulbul.

2. Foxes, wild boars and migratory birds are found in the jungles of Goa. 3. The avifauna includes kingfishers, mynas and parrots.

4. Numerous types of fish are also caught off the coast of Goa and in its rivers. Crabs, lobsters, shrimps, jellyfish, oysters and catfish form some of the piscine catch.

5. Goa also has a high snake population, which keeps the rodent population in control.

6. Goa has many famous National Parks, including the renowned Salim Ali bird sanctuary located in Tiswadi Taluka.

9.10

WATER SUPPLY:

9.10.1 Background: Goa receives good annual rainfall and is endowed with perennial rivers that are well distributed and flow across the State to empty finally in the Arabian Sea.

9.10.2 Surface water: 1. The Water Resources Department, have prepared Master Plans for the river basins covering 86% of the surface water resources, to assess water availability.

2. Experts concluded that the Mandovi, Sal, and Zuari basins are ‘water deficient’.

3. The Department has sought to augment river water through construction of several dams, canals, tanks and bandharas to harness and store the annual run-off of the rivers.

4. Water Supply: 

Goa’s rain-fed rivers are the primary source for potable water for the State.



As per PWD, the water demand of the state of Goa in 2018 was 236 MLD and by 2025 it will be around 340 MLD.

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

Sector wise, the demand will be as under: Domestic Sector- 201 MLD Industrial Areas- 98 MLD Tourism sector- 41 MLD



As per the Goa Infrastructure Analysis, 2007 by GCCI, a multi-pronged approach is needed to address water supply needs by:  Reducing distribution losses and wastage;  Putting rainfall on tap;  Improvements to regional water treatment plants;  Implementing education in water conservation.

9.10.3 Ground water:

1. The drinking water needs of about 8 % of the population is addressed by ground water reserves.

2. The CGWB estimates the entire ground-water reserves at 426 MLD. 3. However all of this may not be utilizable because of specific spatial and temporal distribution.

4. Industry is the highest consumer of ground-water meeting half of its demand through this source.

5. In some areas of the state, especially the mining belt, people prefer to use water from wells over piped water especially in the monsoons because the quality of piped water is poor due to high turbidity.

6. In coastal areas too, there is high level of ground water extraction because of a higher demand-supply gap.

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9.11

SITE PHOTOGRAPHS:

Figure 126: 20 m wide main road at South of the site

Figure 127: Existing bus-stop at main road

Figure 128: Existing 9m wide road at West side of the site

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Figure 129: East View of the site

Figure 130: West View of the site

Figure 131: West View of the site

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10. STORAGE AND HARNESSING OF WATER: 10.1

WATER FROM MUNICIPAL MAINS:

a. Ground storage

Ground storage is used to reduce treatment plant peak production rates and also as a source of supply for re-pumping to a higher pressure level.



If the terrain permits, this design location of ground tanks at elevation sufficient for gravity flow is preferred.



Concrete reservoirs are generally built no deeper than 20-25 feet below ground surface.

b. Elevated storage

For a complex as huge as 53 acres, it is a must to have various kinds of elevated storage tanks.



2 types to go about this are: Conventional Overhead Tanks and Elevated Water Reservoirs.



E.W.R (Elevated Water Reservoirs) helps in 3 ways- water pressure, safety and cost. There are various types of E.W.Rs: Reinforced Concrete Reservoir, Elevated Steel Reservoir, and Elevated Plastic Tanks.

Figure 132: Flow and Storage of water in the site

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10.2 

WATER FROM GROUND:

To store/retain water in the ground in the site, one can provide maximum green cover for water to percolate into the ground.



Bore wells are the best way to store ground water.



Advantages of high ground water table:  Ground water generally does not get polluted, if it is away (at least 20m) from the sanitary works. The water gets filtered while percolating through sand & stones. Therefore groundwater remains pure and clean.  Since bore well is closed, no risk of getting contaminated.  Since it is closed no danger of children or animals falling into it.  Temperature of deep water remains stable. It feels cool in summer and warm in winter.  Since bore are deep, chances of water remaining available in summer are more.

10.3

WATER FROM RAIN:

Annual rainfall in Goa is 3200 mm. Yet 2 rivers- Zuari and Mandovi are water deficient.

This only means rainwater isn’t being harvested properly. Following are the ways to go about Rainwater Harvesting.

A. Percolation pits

A simple hole dug into the ground. It facilitates groundwater recharge through infiltration of surface runoff into the soil or rock.



Several pits are placed across an area and are planted with appropriate plant species.



Planting native plants/trees around these pits adds up to the water retention and prevents soil erosion too.



Proper contour trenching needs to be done for water to flow into these pits. (for both: roof water and surface run-off water)



These eventually increase the groundwater table and the site becomes capable of having bore-wells for extraction of groundwater.

Page | 160

Figure 133: Schematic diagram of a percolation pit

B. Artificial water bodies

A constructed wetland to harvest water for following advantages:  High ground-water table  Passive cooling in summers  An eco-system with a biodiversity  Adds up to aesthetic landscaping  Excavated soil can be re-used for various purposes.

Figure 134: Schematic diagram of an artificial water body

Page | 161

C. Rainwater tanks

With proper storm water drainage design, rainwater from the roofs of the buildings in the site can be stored and re-used for non-rainy seasons.



Living Green Roof can also conserve rainwater with its own additional advantage:  Insulation to summer heat and rainwater  Aesthetic appeal to overall structure  An ecosystem full of native plants, insects, etc.

Figure 135: Schematic diagram of a living green roof and rainwater drainage 0

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10.4

WATER FROM WASTE (WASTE WATER

TREATMENT): For proper waste water treatment, the supply for different water uses itself should be segregated. This is in order for treated (recycled) water to be put in the desired supplying tank.

Figure 136: Schematic Flowchart of waste water

10.4.1 SEPTIC TANK: 

It is a tank where soil wastes from flushing tank is collected for it to be filtered for re-use or clean disposal to municipal sewer.



It gives out effluent water, sludge, scum and methane gas.



Effluent water can be either sent to RZTS (Root Zone treatment System) or to the Soaking Tank.



Sludge can be used as a Manure



Methane gas can be sent to Bio-mass Plant for energy generation.

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Figure 137: Schematic Diagram of Septic Tank and Soak Tank

Figure 138: Location of percolation pits and artificial water bodies in the site

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10.4.2 ROOT ZONE TREATMENT SYSTEM: 1. RZTS are sealed filter beds consisting of a sand I gravel I soil system, occasionally with a cohesive element, planted with vegetation which can grow in wetlands.

2. After removal of coarse and floating material the wastewater passes through the filter bed where biodegradation of the wastewater takes place.

3. This clean water can be re-used in flushing tanks, for car wash or for landscaping purposes.

4. Location of RZTS: 

The location is to be selected in such a manner that drinking water sources are not impaired. The site must be safe from flooding.



The following precautions shall be taken:  RZTS have to be marked clearly as wastewater treatment systems.  The site should be accessible for maintenance.  Natural slope should be used, to avoid the need for pumps.



It is recommended to use locally available filter material to reduce the construction cost.

5. Pre-treatment: The following anaerobic pre-treatment systems are especially suitable for small RZTS dealing with domestic sewage: 

Multi-Compartment Septic Tank



Imhoff Tank



Baffle Reactor



Biofilm Up-flow Reactor

6. Filter Media: 

The design of the correct filter media according to the available material is the most important step in the design process.



If the material is too coarse the wastewater will flow too fast;



If it is too fine clogging and overflow will occur.

Page | 165

7. Construction Details: 

A freeboard of at least 20 cm (distance from bed surface to the upper edge of the lateral sealing) is to be provided.



There should be free access to all operational points, like manholes, pumping stations, maintenance locations and sampling points. The access has to be constructed in a way, that crossing of the filter bed is avoided.



RZTS should be designed in such a way that they are integrated into landscape as much as possible.



Protective measures against the undesired water inflow are indispensable such as bunding all around.

8. Plantation: 

Selection of species



Planting techniques

Figure 139: Schematic Diagram of Root Zone Treatment System

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11. ANNEXURES: 11.1

LIST OF FIGURES:

Figure 1: IFFI-Goa-2016-Festival-Venue-Shyama-Prasad-Indoor-Stadium................. 7 Figure 2: The first national political convention was held in 1831 in ......................... 11 Baltimore, Maryland for Henry Clay in U.S.A .......................................................... 11 Figure 3: Hyderabad International Convention Center .............................................. 14 Figure 4: India International Convention and expo Center ........................................ 14 Figure 5: India- Tourism share in GDP as well as Conventions’ share in tourism revenues ................................................................................................................... 15 Figure 6: Tourist arrival statistics of Goa .................................................................. 17 Figure 7: Sunburn Festival at Goa ............................................................................ 17 Figure 8: IFFI at Goa ................................................................................................ 19 Figure 9: First Hollywood studio- Studio Babelsberg (1912) .................................... 21 Figure 10: Bombay Talkies (1934) ........................................................................... 22 Figure 11: Gemini Studios (1940), Chennai .............................................................. 22 Figure 12: Dr. Bhau Daji Lad Museum at Mumbai ................................................... 26 Figure 13: Ashmolean Museum at England .............................................................. 27 Figure 14: Five mapping elements within trade show ............................................... 44 Figure 15: Relationship of spaces within a trade show .............................................. 45 Figure 16: Screen viewing requirements ................................................................... 54 Figure 17: Fan-shaped Plan ...................................................................................... 55 Figure 18: Seating arrangement in an Auditorium ..................................................... 56 Figure 19: Seating Dimensions ................................................................................. 56 Figure 20: Changes in floor levels ............................................................................ 59 Figure 21: Theatre style seating ................................................................................ 68 Figure 22: Inverted classroom style seating .............................................................. 68 Figure 23: Perpendicular classroom style .................................................................. 69 Figure 24: Classroom style ....................................................................................... 69 Figure 25: Central conference tables ......................................................................... 70 Figure 26: Square and inclined groupings ................................................................. 70 Figure 27: Mahatma Gandhi Convention and Exhibition Centre ............................... 71 Figure 29: Vidhan Sabha .......................................................................................... 72

Page | 167

Figure 28: Site .......................................................................................................... 72 Figure 30: Site Plan .................................................................................................. 73 Figure 31: Main Convention Hall ............................................................................. 73 Figure 32: Conference Room .................................................................................... 75 Figure 33: Pre-function Area .................................................................................... 75 Figure 34: Seminar Hall ........................................................................................... 75 Figure 35: Pre-function Area ................................................................................... 76 Figure 36: Exhibition Hall ........................................................................................ 76 Figure 37: Roof Garden with a view of Vidhan Sabha .............................................. 79 Figure 38: Central vista to the Museum .................................................................... 79 Figure 39: Open Air Theatre ..................................................................................... 79 Figure 40: Convention and Exhibition Center ........................................................... 79 Figure 42: Bridge Pylon with wind mills .................................................................. 80 Figure 41: Buffer Area ............................................................................................. 80 Figure 43: Vancouver Convention Center ................................................................. 81 Figure 44: Pre-function Area .................................................................................... 82 Figure 45: Living green roof system ......................................................................... 84 Figure 46: Living green roof system ......................................................................... 85 Figure 47: Terrace with ocean foyer ......................................................................... 86 Figure 48: West Ballroom ........................................................................................ 90 Figure 49: Exhibition Hall ........................................................................................ 91 Figure 50: Meeting Room......................................................................................... 91 Figure 51: Pre-function Area .................................................................................... 91 Figure 52: Outdoor plaza .......................................................................................... 91 Figure 53: Suntec International Convention and Exhibition Centre ........................... 92 Figure 54: Location plan of SCIEC........................................................................... 93 Figure 55: Site surroundings ..................................................................................... 93 Figure 56: Concept of SCIEC ................................................................................... 94 Figure 57: Fountain Area .......................................................................................... 95 Figure 58: Level 3 Convention Center ...................................................................... 96 Figure 59: Level 4 Exhibition space ......................................................................... 97 Figure 60: Convention Center with 6000 capacity .................................................... 97 Figure 61: National Museum of Indian Cinema ...................................................... 100 Figure 62: Gulshan Mahal ...................................................................................... 101 Page | 168

Figure 63: Creative Resonance showcase ............................................................... 103 Figure 64: Indian Silent Film .................................................................................. 104 Figure 65: Advent of sound .................................................................................... 104 Figure 66: New Museum ........................................................................................ 105 Figure 67: Exhibition hall ....................................................................................... 105 Figure 68: Exhibition hall ....................................................................................... 106 Figure 69: Exhibition hall ....................................................................................... 106 Figure 70: Exhibition hall ....................................................................................... 106 Figure 71: Exhibition hall ....................................................................................... 107 Figure 72: Exhibition hall ....................................................................................... 107 Figure 73: Exhibition hall ....................................................................................... 107 Figure 74: Exhibition hall ....................................................................................... 108 Figure 75: National Museum of American Indian ................................................... 111 Figure 76: NMAI- Atrium space ............................................................................. 114 Figure 77: NMAI- Exhibition space ........................................................................ 114 Figure 78: Pinewood Studios .................................................................................. 115 Figure 79: Master Plan of Pinewood Studio Complex ............................................. 116 Figure 80: Stage 3 .................................................................................................. 117 Figure 81: Stage Q.................................................................................................. 118 Figure 82: Stage Q catwalk area ............................................................................. 118 Figure 83: Stage Q.................................................................................................. 118 Figure 84: Office space .......................................................................................... 119 Figure 85: Workshop space .................................................................................... 119 Figure 86: Dressing room ....................................................................................... 120 Figure 87: Make-up room ....................................................................................... 120 Figure 88: Meeting room ........................................................................................ 121 Figure 89: Storage area ........................................................................................... 121 Figure 90: Powell Theatre ...................................................................................... 122 Figure 91: Powell Theatre ...................................................................................... 122 Figure 92: Voice Recording Booth ......................................................................... 123 Figure 93: Voice Recording Booth ......................................................................... 123 Figure 94: Editing Studio ....................................................................................... 124 Figure 95: Theatrical Editing Studio ....................................................................... 124 Figure 96: Preview Theatre..................................................................................... 125 Page | 169

Figure 97: Preview Theatre..................................................................................... 125 Figure 98: Progressive layout 01 ............................................................................ 131 Figure 99: Progressive layout 02 ............................................................................ 131 Figure 100: Progressive layout 03........................................................................... 131 Figure 101: Progressive layout 04........................................................................... 132 Figure 102: Progressive layout 05........................................................................... 132 Figure 103: Talukas of Goa .................................................................................... 139 Figure 104: Map of India ........................................................................................ 139 Figure 105: Tiswadi Taluka .................................................................................... 140 Figure 106: SITE .................................................................................................... 140 Figure 107: Draft Regional Plan of Tiswadi Taluka ................................................ 141 Figure 108: Taleigao Outline Development Plan .................................................... 142 Figure 109: Access from Airport ............................................................................ 143 Figure 110: Access from Madgaon Station ............................................................. 143 Figure 111: Access from Karmali Station ............................................................... 143 Figure 112: Site ...................................................................................................... 145 Figure 113: Transportation System ......................................................................... 145 Figure 114: Site ...................................................................................................... 146 Figure 115: Land use around the site ...................................................................... 146 Figure 116: Contour Map of the site ....................................................................... 148 Figure 117: Hydrogeology Map of North Goa ........................................................ 149 Figure 118: Mean Average Temperature Graph of Dona Paula ............................... 150 Figure 119: Cloud Cover Map of Dona Paula ......................................................... 150 Figure 120: Sun path at the site............................................................................... 151 Figure 121: Sun path at the site............................................................................... 151 Figure 122: Sun path at the site............................................................................... 152 Figure 123: Sun path at the site............................................................................... 152 Figure 124: Sun path at the site............................................................................... 153 Figure 125: Wind Rose diagram of the site ............................................................. 154 Figure 126: 20 m wide main road at South of the site ............................................. 157 Figure 127: Existing bus-stop at main road ............................................................. 157 Figure 128: Existing 9m wide road at West side of the site ..................................... 157 Figure 129: East View of the site ............................................................................ 158 Figure 130: West View of the site........................................................................... 158 Page | 170

Figure 131: West View of the site........................................................................... 158 Figure 132: Flow and Storage of water in the site ................................................... 159 Figure 133: Schematic diagram of a percolation pit ................................................ 161 Figure 134: Schematic diagram of an artificial water body ..................................... 161 Figure 135: Schematic diagram of a living green roof and rainwater drainage ........ 162 Figure 136: Schematic Flowchart of waste water .................................................... 163 Figure 137: Schematic Diagram of Septic Tank and Soak Tank .............................. 164 Figure 138: Location of percolation pits and artificial water bodies in the site ........ 164 Figure 139: Schematic Diagram of Root Zone Treatment System ........................... 166

11.2

LIST OF TABLES:

Table 1: Geography wise share of conventions ......................................................... 16 Table 2: Characteristics of Trade fairs and exhibition ............................................... 37 Table 3: Time schedule for Exhibition operations ..................................................... 38 Table 4: Roles of People while organizing an exhibition ........................................... 39 Table 5: Toilet Requirements for Exhibition Centre .................................................. 47 Table 6: Types of exhibitions ................................................................................... 49 Table 7: Range of activities in Convention Centres ................................................... 53 Table 8: Number of fire escapes required ................................................................. 58 Table 9: Area required for dressing rooms ................................................................ 61 Table 10: Variations in lighting levels. ..................................................................... 62 Table 11: Types of meeting rooms ............................................................................ 63 Table 12: Area requirement of different types of meeting rooms............................... 63 Table 11: Comparative Analysis of Case studies..................................................... 128 Table 12: Comparative Analysis of Case studies..................................................... 129 Table 13: Site Surroundings ................................................................................... 144

Page | 171

11.3

ARTICLES:

11.3.1 Article from Times of India:

Page | 172

11.3.2 Article from Times of India:

Page | 173

11.3.3 Article from Business Standard:

11.4 

BIBLIOGRAPHY:

Lawson, F. (2000). Congress, Convention & Exhibition Facilities. Architectural Press



Regional plan of Goa 2021 (RPG 2021)



https://study.com/academy/lesson/film-studios-types-environment.html



http://www.historyofmuseums.com/museum-facts/types-of-museum/



http://www.historyofmuseums.com/



http://www.successfulmeetings.com/Strategy/Meeting-Strategies/DefyingConvention--7-Ways-Convention-Centers-Are-Changing-to-Stay-Relevant/?p=1



https://www.vancouverconventioncentre.com/



https://filmsdivision.org/nmic.html



https://www.pinewoodgroup.com/studios



https://www.andrewmarsh.com



https://www.meteoblue.com Page | 174