Page 1

THE MUSIC DISTRICT A PLACE FOR EXPERIENCING ,EXPLORING AND ENACTING MUSIC

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

I


CERTIFICATE

DR.BABASAHEB AMBEDKAR MARATHWADA UNIVERSITY

MGM’s JAWAHARLAL NEHRU ENGINEERING COLLEGE, AURANGABAD

This is to certify that Ms. Rutuja Todarwal (509109) Of Final Year Architecture has successfully completed the Thesis Report titled “The Music District : A Place for Experiencing, Exploring an Enacting Music” for the fulfillment of B.Arch. Degree Course For the Academic year 2018-2019.

Prof. J.B.Deshmukh (Thesis Guide)

Prof. J.C.Gogte (H.O.D)

Dr. H.H.Shinde (Principal)

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

II


DECLARATION

Date The thesis titled The Music District : A Place for Experiencing, Exploring an Enacting Music has been carried out by the undersigned as a part of the Bachelors Program in the Department of Architecture, Jawaharlal Nehru Engineering College, Aurangabad, under the supervision of Prof. Ar. Jitendra Deshmukh. All the work contained in this thesis is original and where other’s ideas or words have been included, the original sources have been adequately cited and referenced.

Rutuja Todarwal 509139 Final Year, B.Arch Jawaharlal Nehru Engineering College Aurangabad - 431001

III

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


ACKNOWLEDGEMENT

I take this opportunity to gratefully acknowledge the assistance and contributions of everyone who has had faith in me and this project. I would like to express my sincere thanks to my thesis guide Prof. Jitendra Deshmukh for guiding me throughout the research and design process. I also thank my HOD, Prof. Jayashree Gogte, my thesis coordinator, Prof. Mrunal Kashid and other faculty members for their constant advice and efforts.

I'd like to thank my parents and my brother, who gave me their support for the accomplishment of the project and completing it successfully. I also thank them for providing overall support for the five years of architecture. Nothing would have possible without them. A joyous expression of my gratitude to my friends, for being there for me always and for the continuous help throughout this journey. Lastly, I would humbly extend my thanks to all the people who guided me at all points of this process and made this project possible.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

IV


ABSTRACT

V

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


ABSTRACT

Architecture plays a vital role in filtering and forming experiences through perceptions of built and un-built environments. Though architects are not charged with addressing psychological conditions of human, we are responsible for shaping the built environments and therefore we should be aware to the psychological reactions that occur as products of our environments. Architecture is important because of the people who interact with it. Without them building would be massive and hollow sculptures. I believe buildings are supposed to and breathe and transform to accommodate human life. My thesis will be inspired by architecture that enhances the human experience through the built environment by way of creating spaces that provide a scope for flexible opportunities.

ABSTRACT

the live the the

In my thesis the design focus will be on music and spaces that help in creating and experiencing it. I believe that the music is the best medium to produce different types of experiences in all other art forms. The consideration of music and architecture as sister arts has a long history, in spite of the fact that they occupy opposite ends of the spectrum between the immaterial and the material. The intuition that allows us to even consider architecture as ‘frozen music’ or music as ‘molten architecture’ comes from a deep and ancient understanding that, in its very essence, architecture exceeds building, as music exceeds sound. What follows, will be an exploration of the multiplicity of ways to make people aware about different forms of music, respond to the trends in music consumption and provide a platform for the beginners and professionals in the field of music. The principal issues to be addressed through design are acoustics, experimental spaces for music appreciation, interactive sound experience, and facilitation of social interaction. A study of the possible transverse nature between sound, music rehearsal/ recording/ performance, and an interaction with the general public is crucial in the design exploration of this project to understand the relationship that man shares with sound, music, and space.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

VI


TABLE OF CONTENTS Certificate

II

Declaration

III

Acknowledgement

IV

Abstract

V

Contents

VII

1. Thesis Introduction

1

1.1 Thesis Statement 1.2 Cultural Context 1.3 Proposition 1.4 Need and Scope

2. Research

14

2.1 Research Scope

2.2 Understanding the activities and the spaces 2.3 Case Studies – NCPA, Mumbai; and IME, Bangalore

VII

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. Project Brief

44

3.1 Program 3.2

Users

3.3 Requirements

4. Site Study 4.1 City Selection

56

4.2 Location of Site 4.3 Climate and Topography 4.4

Neighborhood

4.5 Site Photos

5. Design Initiation 5.1 Challenges 5.2 SWOT 5.3 Design Determinants 5.4 Spatial Organization

6. Design Approach

75

6.1 Concept Ideas 6.2 Translation of Ideas

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

VIII


7. Design Evolution

835

7.1 The Scheme

7.2 The Form

8. Final Design Panels

92

8.1 Project Introduction 8.2 Case Studies, Site Selection and Site Analysis 8.4 Restaurant and Museum Block 8.5 Auditorium Block 8.6 Amphitheatre 8.7 Underground Car Park 8.8 3D Views 8.9 Model Pictures

Bibliography

IX

99

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

X


1

1


THESIS INTRODUCTION

2


1. T H E S I S I N T R O D U C T I O N

3

|

1.1. T H E S I S S T A T E M E N T

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


1. T H E S I S I N T R O D U C T I O N

INSPIRATION

|

1.1. T H E S I S S T A T E M E N T

"Music is an integral part of all Civic life. It is the medium through which people commune on a plane of universality, through which their souls vibrate understanding that transcends words and ideas and which obliterates the cancer of prejudice and the humiliation of class. Music unites where ideas separate people, and inspires hope where sadness and discouragement ravage the substance of life. The inspiration and life of many a city has been built around its music.“ "C i v i c A r t" by Carol Aronovici

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

4


1. T H E S I S I N T R O D U C T I O N

5

|

1.1. T H E S I S S T A T E M E N T

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


1. T H E S I S I N T R O D U C T I O N

|

1.1. T H E S I S S T A T E M E N T

The first conversation between sound and space occurred in a natural field of prehistoric times, when sound was influenced solely by topography and vegetation. In ancient Greece, Temples and natural amphitheatres served as sound and voice carriers until the Roman theatres and circuses amplified sound by their built-in resonant vessels, and the Gothic cathedrals of the Middle-Ages offered Gregorian chant long reverberation times amidst their architectonic lace. In 2003 the Apple iTunes Music Store opened its doors to avid music listeners who have grown accustomed to state of the art sound technologies and the possibility to experience music anywhere one desires, in a mutable micro-anechoic spatial environment.

PREFACE

Architecture too has morphed considerately in our cities over time, with a conscience for the sounds of our daily activities, and often with a collective musical subconscious to address. In Plato’s ideal city, music was placed high up along the side of gymnastics and philosophy as an essential progressive social form of training. Today we have access to a multitude of sounds and musical pieces produced by an array of performers and their instruments. It is important that these performers get a platform and the audience to widen the outreach of their music. It is equally important to generate a public interest within the general masses regarding the works of the local and international artists. The Music District is a dynamic gathering hub, workspace, and creative playground for the music community. For the novice or pro, it’s a place where anyone can develop the art, learn the business, and share skills and passions with musicians and music lovers.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

6


1. T H E S I S I N T R O D U C T I O N

|

1.2. C U L T U R A L C O N T E X T

Technological advancements in the equipment with time.

Changing trends in user experience of the performances.

7

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


1. T H E S I S I N T R O D U C T I O N

|

1.2. C U L T U R A L C O N T E X T

As time passes, man seeks to improve the experience of sound, music, and space by tuning into technological instruments that seem to fold time. Spectators demand more from concert hall experiences while performers wish for more interaction with their audiences.

CULTURAL CONTEXT

Some performers, musicians, and sound artists have been looking away from conventional spaces to create, perform, and exhibit over the recent past, in search for the progressive place for their art and their interaction with the public. So many artists are turning to nonconventional venues like cafes, gyms etc. to perform due to lack of dedicated venues and ever-increasing number of artists and interested audiences. This has led to the performer having a more intimate connection to the audience while stretching the space for his art. Can this kind of opportunistic happening or chance creating in the experience of music be explored in architecture? In today’s new music and sound centers, experiencing music and sound has become an extremely delicate and specialized branch of our culture. Architecture's role in providing spaces that filter and form human experiences is of a great importance here. Also, we now have new and better instruments to satisfy our senses and that has greatly influenced our culture and our consumption trends. A new challenge presents itself: to observe the various ways by which people get closer to music, sound and architecture, the ways by which people seek to experience music and sound through transversal disciplines to music and sound such as dance, visual arts and film, movement and motion, to name a few. The transversality in sound, music, and space can be explored architecturally by observing the main constant in the experience: the audience and their experiences.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

8


1. T H E S I S I N T R O D U C T I O N

|

1.4. N E E D A N D S C O P E

News articles showing the need and scope of a performance center and museum complex in Navi Mumbai.

9

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


1. T H E S I S I N T R O D U C T I O N

|

1.4. N E E D A N D S C O P E

With the increasing number of musical concerts and cultural events of renowned artists taking place in India, and considering the steady growth of the Indian music industry, a proposal to make a music centre gets justified. Creating a world-class new concert hall at the heart of the rapidly developing city of Navi Mumbai gives a huge scope, considering that the city lacks in such facility. The case for a new state-of-the-art Centre for Music that would ensure Navi Mumbai’s leading role in the future and inspire a new generation. A unique opportunity to make this vision reality: the coming together of Navi Mumbai’s need for such a facility, a compelling idea, audience demand, new transport links, and the potential availability of an ideal site amidst the City’s culturally diverse Hubs – all these combine to make the moment unmissable.

NEED AND SCOPE

A new Centre for Music could be transformative for a new generation of audiences and participants, offering performance excellence and developing engagement and discovery for all in a new setting. Contemporary concert halls have become multi-functional catalysts for urban change. They are more technological and multi-functional than ever before, demonstrating how architecture redefines the modern-day musical performance experience. The proposed facility may allow for simultaneous performances ranging from large productions of internationally known artists to more intimate up-and-coming artist’s shows. Integration of museum experience with the music centre will enable people to understand and appreciate the performances in a better way. The design can integrate theatre with public space and commerce to become a cultural hub that will engage visitors independently of scheduled performances.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

10


1. T H E S I S I N T R O D U C T I O N

11

|

1.4. N E E D A N D S C O P E

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


1. T H E S I S I N T R O D U C T I O N

|

1.4. N E E D A N D S C O P E

According INDIA- THE MUSIC MARKET REPORT Prepared by Canadian Music Week (CMW) and Canadian Association for the Advancement of Music and the Arts (C.A.A.M.A.) The Indian Entertainment and Media industry has experienced tremendous growth in recent years (16% compounded annually), outperforming the country’s economy and most other Indian industries. The extraordinarily high number of foreign investments (e.g. Walt Disney, Turner International, DreamWorks Studios, George Soros) is cited as having been the main driver.

TRENDS AND SHIFTS IN THE ENTERTAINMENT ENVIRONMENT

According to the Federation of Indian Chambers of Commerce and Industry (FICCI) the industry was worth Rs. 563.9bn (US$12bn) in 2008 and is forecast to reach Rs. 929.5bn (US$19.9bn) by 2013. The TV sector was the biggest contributor to the industry’s growth in 2008 with revenues up 9.3% at Rs. 244.7bn (US$5.2bn). The filmed entertainment sector registered an 11.5% increase in revenues with a value of Rs. 107bn (US$2.3bn). The Indian Music Industry (IMI) estimates the music industry to be worth around Rs. 10.2bn (US$219m) currently. Music sales, ringtones and royalties account for around 92%, 5% and 2.5% of total revenues respectively. Whilst there has been steady decline in sales of physical formats (now accounting for less than 60% of industry revenues c/w 87% in 2005), an initiative by leading music companies such as TSeries and Saregama to release MP3s on CD, at price points similar to cassettes, is likely to help offset some of the decrease. Digital music recorded a 33% growth in 2008 although these revenues did not fully compensate for declining physical sales. Whilst music from new Hindi films is still popular (40% market share), non-film albums and remixes are gaining in popularity with the advent of satellite TV. Devotional music produced by smaller local companies is also well received. With a growing consumer class, young population and increasing spending, India’s Media and Entertainment industry continues to be an attractive and viable market for investors. As the country continues to move in a digital direction there will be a significant increase in online and wireless streaming and downloads of TV shows, movies, music and games with reduced costs for content and delivery.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

12


2

13


RESEARCH

14


2. R E S E A R C H |

2.1. R E S E A R C H S C O P E

Views Around

Recording Studios/ Classes

Museum

Auditorium s/Concert Halls

Topography

Site and Surroundings

Spaces

Activities

Public

Explore

Experience

Perform

Understanding the constituents of the project and their overlaps.

15

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.1. R E S E A R C H S C O P E

The primary research would focus on studying the various spaces – their meaning, requirements and qualities, also, the activities to be carried out in them.

RESEARCH SCOPE

The secondary research would be the case studies and their analysis. The inferences and architectural conclusions from them would help in the design development and will be an important part of the research. The case studies would also supplement the primary research in understanding the spaces that are a part of the area program. The following case studies have been done : - National Center for Performing Arts, Mumbai - Indian Music Experience, Bangalore

The tertiary research would be concerned with the design development and would go hand in hand with it. The theories and philosophies related to concept development, design strategies, suitable landscaping, etc that is responsive to the context, climate and the site views would be taken up briefly. Overall, the research would aim at comprehending the needs of the various spaces and their overlaps with each other and the surroundings.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

16


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Geographical distribution of traditional forms of music in India

This map represents the musical diversity of India on a regional basis. The map illustrates the great traditional forms of music in India. Traditional music in India is divided in two types, folk music and classical Music. This map shows the different folk type music, classical forms of music, famous indigenous musical instruments, different famous personalities and some famous local songs.

This graphic shows the rise and fall of popularity of contemporary music genres in India.

17

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

The major activities to be housed in the proposal are – • • •

ACTIVITIES AND SPACES

Musical Performances Music related exhibits Music recording and teaching

Spaces and structures that house the above activities are required in the proposal – • • • •

Performing Spaces Museum Galleries Recording and rehearsal studios Teaching spaces

The trends and forms of musical performances prevalent today have to be considered while looking at the activities to be proposed. In addition to these, public spaces that increase the sociability appeal of the project will be proposed.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

18


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Traditional performance

19

Musical drama performance – related arts

Western Classical performance

Traditional performance

Contemporary rock performance

Dance performance – related arts

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Music has always been ingrained in India’s culture, with musical instruments found at archaeological digs dating back as early as 2500 BC. And cave drawings in central India depict even older dancers and what could be musical instruments —some 10,000 or 20,000 years older. Considering the millennia that have passed since then, it’s no surprise that Indian music has evolved, from folk and early classical to pop, rock and electronic music. Traditional Formats – There are two main schools of Indian classical music: the Hindustani style of the North and the Karnatak (also spelled Carnatic and Karanatic) of the South. The Hindustani style features a number of Turko-Persian musical elements not found in the more varied and, in some ways, complex Karnatak style.

FORMS OF

MUSIC PERFORMANCES PREVALENT IN TODAY‘S SCENARIO

Contemporary Formats – Like the Western bands of the ’60s borrowed from Indian classical and folk music, Indian musicians learned from American and European performers. The rock and metal scenes, though not nearly as pervasive as the movie-inflected Indian pop scene, has been growing over the last few decades, thanks in no small part to the introduction of music-oriented TV channels and bands like Parikrama, Coshish, Still Waters and Underground Authority. In turn, hip-hop names like Brodha V, Divine and Naezy are helping slowly convince mainstream Indian culture that the genre isn’t one to be looked down upon. Western Classical Formats – The spread and following of western classical music in India is taking pace slowly as increasing number of artists are conducting shows in the venues of NCPA and other such. Western classical music education has improved with the help of numerous institutions in India. Institutions like KM Music Conservatory (founded by Oscarwinning Composer A.R.Rahman), Calcutta School of Music, Eastern Fare Music Foundation, Delhi School of Music, Delhi Music Academy, Guitarmonk and many others are dedicated to contributing to the progress or growth and supporting Western classical music. In 1930, Mehli Mehta set up the Bombay Symphony Orchestra. The Bombay Chamber Orchestra (BCO) was founded in 1962. In 2006, the Symphony Orchestra of India was founded, housed at the NCPA in Mumbai. It is today the only professional symphony orchestra in India and presents two concert seasons per year, with worldrenowned conductors and soloists. So basically, providing a platform for the music performances in India today would mean considering both the the traditional forms as well as the contemporary forms of music and also the increasing interest of the people in western music formats.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

20


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Auditoriums • An Auditorium is a room built to enable an audience to hear and watch performances at venues such as theatres. • The floor area of the hall including the gangways (excluding the stage should be calculated on the basis of 0.6 to 0.9 sq.m per person. • The height of the hall is determined by such considerations as ventilation, presence of balcony and the type of performance. • The average height may vary from 6 m for small halls to 7.5 m for large halls. Ceiling may be flat but it is preferable to provide a slight increase in the height near the center of the hall. • The volume per person required ranges between 3.5 to 5.5 cu.m • It is recommended that the distance of the farthest seat from the curtain line should not normally exceed 23 m.

Most common plan forms for auditorium. (Code of practice for Acoustical Design of Auditoriums and conference halls, 1998)

Amphitheatre • An amphitheatre is an open-air venue used for entertainment, performances and sports. • A contemporary amphitheatre, in the sense in which the word has come to be popularly used now , is an acoustically vibrant performance space, particularly one located outdoors. • Contemporary amphitheatres often include standing structures, bandshells, sometimes curved or bowl-shaped, both behind the audience and the stage, creating an area which echoes or amplifies sound, making the amphitheatre ideal for musical or theatrical performances. • One of the first aids to good sightlines is an effective slope. Seats may be set on a rising parabolic curve , or on two different inclines, a fairly mild slope for lower half near the stage and a steeper slope for the upper half.

21

An example plan for 1000-seat amphitheatre

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Alternative Live-Music Venues

SPACES FOR

• With the changing trends of music consumption seen in many cities, one prominent trend is the use of alternative music venues being used for performing gigs. Parks, warehouses, coffee shops, restaurants are some of the spaces that are being turned into a musical experience to be cherished. Also, it provides a great platform for the emerging artists to showcase their talent and become more confident in their work. It gives them a chance to create a special event and atmosphere that is centered around their music. • Every performance for the audience, instead of being passively enjoyed, becomes a spectacle to actively engage with. What one would call “mistakes" in a larger venue, become special, shared experiences with the audience in an intimate setting: an actor momentarily forgetting a dialogue or a slight stutter during a song, followed by a shared smile of acknowledgement.

Cuckoo Club – An alternative performance space in Mumbai

PERFORMANCE

Auditorium – Catering to all traditional, contemporary and western music performances along with related arts like musicals, dances, etc

Amphitheatre – For holding outdoor concerts and gigs. Mostly used for contemporary form performances.

Alternative live-music venue – For holding performances in an informal place to increase the comfort of the audience. Any kind of music can be played and it also gives a great platform for the emerging artists.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

22


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Contemporary expressions

To know about the early days of independent ‘indie’ rock music in India. Discovering the classical legends who were pioneers of the world music movement, and taking a look at some of the enablers and iconic venues of contemporary music in India.

Living traditions

To understand what sruti, raga, tala, gharana, dhrupad, khayal, kutcheri really mean. Learning about the origins of classical music, understanding the basic concepts of Karnatic and Hindustani classical music.

Melting pot

Indian music is a confluence of many influences. From colonial times, musical interactions have enhanced and enriched cultures. This exhibit shall eExplore interesting and lesserknown stories about the histories of musical instruments such as the violin and the harmonium.

Indian Music Instruments

A display of over 100 musical instruments from across the country, along with information on their origins, making and playing techniques.

Stories through song

Since the first ‘talkie’ in the 1930s, music has been an inalienable part of the movies in India. To discover the landmarks and legends of Hindi film music and find the diverse influences of various genres of music in film songs, and find some special songs that bring back memories of childhood, youth or romance.

Reaching out

From the gramophone to the mobile phone, the way that music has been recorded and disseminated has evolved. Here, visitor shall trace the journey of recorded sound in India, learn about the pioneers of recording, and the way that technology has impacted music.

The stars

In this gallery a hundred luminaries of the Indian music shall be featured whose sounds, continues to resound among us. Their gift to us – the shared human experience we call music – binds, heals and inspires.

23

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

MUSIC EXHIBITS


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Indoor Galleries • A very important aspect of museum design - the visitors need a clear idea of the layout of the exhibition rooms. • Interconnecting all the rooms with a central atrium enables visitors to orient themselves and choose the rooms they wish to visit. • The building should accommodate the needs of people with any kind of disability. • Space requirements are governed by the size of the collection, the method of display, the size of the artifacts and the projected rate of growth of the collection. • All types of exhibitions should be provided for – core exhibits, temporary exhibits and travelling exhibits.

Outdoor Museum Spaces

SPACES FOR EXHIBITIONS

• Not limiting the museum experience just to the indoors, outdoor exhibits broadening the scope of the kind of installations. • These installations can form a part of the landscaping elements too • These may be interactive play installations that can increase the engagement with the users.

Digital Immersive Exhibits • The idea of providing with such exhibit spaces is to make the visitor feel a part of the whole experience and the idea behind the exhibit himself with the three sound perceiving senses, namely sight, vision and touch, indulged and overwhelmed by the exhibit. • The technical requirements of such exhibits have to be provided properly. • Sound systems and digital screens have to be installed adequately achieve the required output.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

24


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Activities that promote learning and studying of various forms of music •

Recording of songs

Music classes

Production of songs

Music Rehearsals

MUSIC EXPLORATION

25

A Recording Studio

Music classroom with acoustic treatments

A musicians group rehearsing their performance

Jamming studios

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.3. U N D E R S T A N D I N G T H E A C T I V I T I E S A N D S P A C E S

Recording Studios • A recording studio is a specialized facility for sound recording, mixing, and audio production of instrumental or vocal musical performances, spoken words, and other sounds. • The typical recording studio consists of a room called the "studio" or "live room“ equipped with microphones and mic stands, where instrumentalists and vocalists perform; and the "control room", where sound engineers, sometimes with record producers, as well, operate professional audio mixing consoles, effects units, or computers with specialized software suites to mix, manipulate (e.g., by adjusting the equalization and adding effects) and route the sound for analogue recording (on tape) or digital recording on hard disc. The engineers and producers listen to the live music and the recorded "tracks" on high-quality monitor speakers or headphones.

Rehearsal Spaces

SPACES FOR EXPLORATION

• A music rehearsal space is a room or number of rooms dedicated to music-making. • A professionally soundproofed practice room(s) is an acoustic environment defined by its purpose and layout, designed to keep sound inside and unwanted sound out. Spaces can combine rehearsal and recording functions. Music rehearsal spaces are unique in response to their users, location and the building they are housed in developed over several years. • Rehearsal spaces serve local musicians and to make access easy are usually located in urban areas.

Sound Labs • The function of this space is to experience music and sounds of different kind, also to sample new music which is created in the studios. • It shall be a space for listening, sampling and experiencing music. • The spaces vary depending on sounds and volumes – a possible manipulation of the spaces depending on the sounds being heard. • The equipment used in these spaces will be headphones, music control systems, - technology to digitally create and manipulate the sounds. • Intended to optimize the experiences of sound

Classrooms • These shall be used to teach the instruments and sings to the students of the local area, • Proper sound insulation is to be provided for the individual rooms.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

26


2. R E S E A R C H |

2.4. CA S E S T U D I E S

N.C.P.A., MUMBAI 1

27

A MULTI-VENUE, MULTI-GENRE CULTURAL CENTER

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Case study to understand and study –

CASE STUDY

1

Different types of indoor and outdoor music venues and their design considerations.

Study of acoustic treatments for various purposes.

Scattered planning of programs in the complex

Brainchild of JRD Tata and Dr. Jamshed Bhabha, it is

the first multivenue, multi-genre cultural centre in South Asia.

With

5 theatres, art gallery, library, restaurants and various outdoor venues,

NCPA hosts more than

700 events an year.

Inaugurated in 1969, it

Conceptualized by

aims to promote India’s artistic heritage

Ar. Philip Johnson.

in the fields of music, dance, theatre, film, literature and photography.

The NCPA complex occupies an area of

about 32,000 sq. metres at Nariman Point,

on land reclaimed from the sea.

Designed, detailed and executed by

Patell Batliwala & Associates The Centre regularly presents performances and workshops by leading artists from around the country and also from overseas. It is ideally suited to host large productions, including fully staged operas and ballets.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

28


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Earthy tones & white used in the exterior throughout the complex.

Stone Cladding in natural tones.

Interesting landscape of outdoor venues. Stone Cladding in natural tones.

ARCHITECTURAL LANGUAGE

EXTERIORS Cafeteria

Pathways and Steps in the outdoors.

Utilities also follow the same scheme.

Steps to Basement

29

Although the complex has been built in parts over a period of three decades, a common architectural language on the exterior of the blocks binds the whole complex as one. Natural tones of stone with contrasting white bands have been used.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

Cararra Marble staircase in JBT

2.4. CA S E S T U D I E S

Foyer space for GDT

ARCHITECTURAL

Interior of GDT

LANGUAGE INTERIORS Interior of JBT

The interior spaces, unlike the exteriors, all display a different mood as per the acoustic and space requirements of the individual theatres. The fact that all the blocks have been constructed in different times is evident in the variety of interior spaces.

Foyer space for TT

Foyer space for TT

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

30


2. R E S E A R C H |

2.4. CA S E S T U D I E S

LITTLE THEATRE

GODREJ DANCE THEATRE

EXPERIMENTAL THEATRE

THEATRE PLANS TATA THEATRE

31

JAMSHED BHABHA THEATRE

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

THEATRE CAPACITY

USES

THEATRE FACILITIES

LITTLE THEATRE

GODREJ DANCE THEATRE

EXPERIMENTAL THEATRE

TATA THEATRE

2.4. CA S E S T U D I E S

JAMSHED B. THEATRE

114

177

267 Maximum

1010

1109

Small Screenings, Talks, Seminars, Performances of new artists.

Dances, Classes, Workshops, Film Screenings, Lectures and Seminars.

Black-box auditorium ideal for both musical performances and presentation type events.

Chamber concert music, dance, drama and film screenings

Large format orchestra, fullscale operas, major musicals

- 23.7x14.2x9.5m - timber flooring on M.S. framing - Proscenium Stage

STAGE FEATURES

- 6.6x5.5x4.0m - Timber flooring on concrete base - Proscenium stage

- 9.0X5.6X2.4m - Timber flooring on M.S. Slotted angle frames - Proscenium Stage

- 9.7x7.3x0.7m Maximum - Wooden modules can be stacked to make the stage of required dim.

- Timber on concrete flooring - No proscenium - Semi-circular Rotating Thrust Stage - Radius 7m

DRESSING ROOMS

3 dressing rooms – 8.5 sq.m each

2 dressing rooms – 15 sq.m each

3 dressing rooms – 13.7 sq.m each

6 dressing rooms – 4 solo and 2 group

10 rooms on 4 floors solo and group

FOYER SIZE

74.5 sq.m

158 sq.m

158 sq.m

600 sq.m

930 + 465 sq.m

Small Venue for upcoming talent and admin conferences

Special acoustics with both reflective and absorptive materials. Foyer can be used for small gatherings.

Flexible seating and stage spaces – can provide complex assymetrical seating arenas Additional 3 side balconies

Rehearsal rooms provided Fan-shaped theatre Convex-concave ceiling designed for better sound distribution

Additional rehearsal rooms and Museum. Orchestra shell can be erected Orchestra pit provided

SPECIALITIES

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

32


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Scattered planning of the theatre spaces within the complex, dividing the complex into 6 blocks. The spaces between the built masses is efficiently used for outdoor venues.

INDEX

SITE PLAN 33

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

A B C D E F G H I J K L M N O P Q R

– – – – – – – – – – – – – – – – – –

Corporate Office Libraries Little Theatre West and East Rooms Box Office Jamshed Bhabha Theatre Basement Parking Cafeteria Sea-view Rooms Tata Theatre Membership Department Amadeus Lounge Central Open-Air Space Piramal Art Gallery Experimental Theatre Godrej Dance Theatre Sunken Garden AC Plants and Substation


2. R E S E A R C H |

2.4. CA S E S T U D I E S

The complex houses 5 closed performance spaces that have completely different interior language and acoustic characters. This shows the designer’s sensitivity to the performance quality output and the user-experiences.

INFERENCES

The spaces between the blocks form outdoor venues showing a celebration of both volume and void. The whole complex is united in its exterior character of whites and natural earthy stones. The potential of site gets utilized in the apartment zone where the buildings reach 15+ floors. The rest of the complex is maximum of G+4 Structure.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

34


2. R E S E A R C H |

2.4. CA S E S T U D I E S

I.M.E. BANGALORE 2

35

AN EXPERIENTIAL CENTER FOR INDIAN MUSIC

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Case study to understand and study –

CASE STUDY

2

The experiential aspect of a museum by the point of view of a visitor.

Ways in which music can be put to display in a museum.

Uni-directional top-to-bottom flow of the museum.

Brainchild of musical stalwarts like musicologist Dr Pappu Venugopala and Carnatic vocalist Mansi Prasad, it is the first of its kind

experiential music museum in India.

With

sound garden, 8 galleries, learning center, café and a store

IME expects more than

5 lakh visitors annually.

The museum aims to educate the visitor on the forms of Indian music across themes from traditional to contemporary, with a focus on being experiential and not a mere display of musical instruments.

Located in JP Nagar, Bengaluru, the museum stretches

four stories and around 2 acre area, with eight galleries in display.

Designed by

Architecture Paradigm, Bangalore Museum design by

Gallagher & Associates

Since it is a museum, it has artifacts and exhibits of music instruments over the eras. But it is an experiential museum as well, which means you can actually play the instruments & do more.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

36


2. R E S E A R C H |

2.4. CA S E S T U D I E S

ARCHITECTURAL LANGUAGE

EXTERIORS AND LIGHT

On the exterior are bold curve forms in gray tone. Coloured elements like stained glass and graffitti add quirkiness to the structure.

37

On the inside in the exhibit space intervals, controlled light is brought in dramatically through unusual openings. These openings also give a view of the existing plantation on the site.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.4. CA S E S T U D I E S

ARCHITECTURAL LANGUAGE

TALL SPACES AND ELEMENTS

Elements like Murals, balconies, open-air theatre, colored glass, quirky openings, bridge and pop color of the staircase in foyer make the structure interesting.

The foyer and courtyards are tall spaces that overwhelm the visitors by its volume. The existing trees on site were integrated with the museum design.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

38


2. R E S E A R C H |

2.4. CA S E S T U D I E S

First Floor -2 galleries –

Reaching out, Stars.

-Learning Center (3 classrooms) -Music Store -Balcony overlooking Café area.

Ground Floor

Basement Floor

-Sound Garden -Box Office -Double height main foyer -Learning Center (2 classrooms, 1 staffroom) -Café -Music Store -Security room -Concluding Theatre -Wall of fame -Parking for 14 cars and 20 twowheelers -Services Store -Office Area -Seminar Room -Meeting Room

39

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Terrace Floor

-Open-air theatre -Restaurant -Temporary exhibition space

FLOOR–WISE

Third Floor -Introductory theatre -4 galleries –

DISTRIBUTION

Contemporary expressions, Traditions and transitions, Songs of the people, Melting pot.

OF PROGRAM

-Overview of the instruments gallery

Second Floor -Instruments gallery -2 galleries – The

melting pot, Stories through songs.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

40


2. R E S E A R C H |

2.4. CA S E S T U D I E S

Installations like these attracted users and became anchor points where the visitors spent a significant time interacting with the installations.

Sound garden

Interactive Installations

These kind of installations gave a sense of wonder to the users due to uniqueness and ability to tune emotionally with the viewer. Instruments gallery

USER RESPONSE Installations that trigger emotions

Installations like these are overpowering on our senses and leave us with one-ofits-kind experience.

Immersive Installations

41

Functional Recording studio

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


2. R E S E A R C H |

2.4. CA S E S T U D I E S

This museum is a perfect example of how experiential quality of a place is appreciated by the general public. Music enthusiasts or not, young or old, the experience here is inviting for all due to the various interactive installations.

INFERENCES

The digitally immersive environments, sound garden, instrument gallery and such places become points of attraction due to their ability to interact with the users. The curves of the building combined with the tall heights of spaces and the dark gray tone give the structure a bold and appealing form.

The learning center in the project, provides for a platform for the local students to learn to play various musical instruments.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

42


3

43


PROJECT BRIEF

44


3. P R O J E C T B R I E F |

45

3.1. P R O G R A M

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. P R O J E C T B R I E F |

3.1. P R O G R A M

The Music District will be a dynamic gathering hub, workspace, and creative playground for the music community at large. For the novice or pro, It will be a place where anyone can develop the art, learn the business, and share skills and passions with musicians and music lovers. A living laboratory, it will continuously evolve to meet the ever-changing needs of the music world.

THE FACILITY

Need some practice time with your band before you go into the studio, or on the turntables before your next big show? Maybe your music business or non-profit is ready for its own dedicated co-working desk, or tenant office, within our 5 building 1 acre campus? How about connecting with others to volunteer at local festivals or community radio, or working with experienced industry mentors who can help push your sonic ideas into the world via marketing, management, and touring? Whether you’re an experienced instructor, eager student, resident musician from afar, hometown hero about to break out, or budding music tech entrepreneur, this facility will have the spaces, connections, and resources to assist, across all musical genres and skill levels. However big or small your dream, this facility will to help people find their place in music.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

46


3. P R O J E C T B R I E F |

47

3.1. P R O G R A M

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. P R O J E C T B R I E F |

3.1. P R O G R A M

The building type for this thesis project is an amalgamation of existing building types such as Music Museums, Art Galleries, recording studios, and concert halls. In relation to the research aspect of this thesis, the proposed building type is an experimental center where the correlative nature of sound, music, and space will be explored, tested, and exhibited for the public. The proposed program is born of the socio-cultural need to further develop a building complex that will house the exploration of the spatialisation of sound and music to offer an array of listening and hearing experiences to the visitors and professional users.

PROGRAM

The proposed program results from the desire to provide a place that can showcase the role of architecture in forming human experiences with the aid of sound and music that affects us all in a given space and context. Although the proposed building type could equally fall in the categories of educational facilities and entertainment complexes, the program resembles more that of a performance center equipped with museum gallery. Rehearsal spaces, recording studios, and dance spaces are integrated in the program to answer to a particular need for such spaces in the city of Navi Mumbai for the music community. Learning spaces are also included in this program for their exploratory nature’s relation to the building type and their relation to this thesis proposal.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

48


3. P R O J E C T B R I E F |

49

3.2. U S E R S

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. P R O J E C T B R I E F |

USERS

3.2. U S E R S

The building’s main purpose is to house a performance music center. It will also cater to the fields of music experience through a museum of sound and music and music exploration through learning center and recording spaces. Along with this, the related fields of music exploration like dances, film screenings, musical plays, etc. also find a platform at this center. The building’s primary users are musicians, artists, performers, producers, and the public at large. The building’s urban and civic role is to provide a place for cultural exchange and entertainment. Its regional role is to provide musicians and the public alike with an unconventional music center and a progressive sound and music experience.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

50


3. P R O J E C T B R I E F |

Small Auditorium

3.3. R E Q U I R E ME N T S

Experimental Theatre

Performance Theatre

Concert Theatre

Outdoor Venues

Restaurant/ Club

MUSIC PERFORMANCE ADMINISTRATION Admin

Ticketing

MUSIC EXPERIENCE Museum

MUSIC EXPLORATION Learning Center

SERVICES Utilities

51

Building Services

Parking

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. P R O J E C T B R I E F |

3.3. R E Q U I R E ME N T S

Based on the program to be designed, the major program requirements are put under the 3 aspects of – music experience, music exploration and music performance as follows. The areas and space requirements have been worked out keeping in consideration the standard area requirements and studying the program activities of two case studies – NCPA, Mumbai and IME, Bangalore.

REQUIREMENTS (PROGRAM ACTIVIES AND THEIR APPROXIMATE SIZES)

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

52


3. P R O J E C T B R I E F |

53

3.3. R E Q U I R E ME N T S

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


3. P R O J E C T B R I E F |

3.3. R E Q U I R E ME N T S

REQUIREMENTS (PROGRAM ACTIVIES AND THEIR APPROXIMATE SIZES)

The program has an area of approximately 3.6 acres. A suitable site has to be selected considering additional area for landscaping and outdoor circulation based on development of design.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

54


4

55


SITE STUDY

56


4. S I T E S T U D Y

|

4.1. C H O I C E O F C I T Y

Location of Navi Mumbai in India – Nearby cities

Navi Mumbai City Boundary

57

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


4. S I T E S T U D Y

NAVI

MUMBAI

IT is one of the largest planned cities in the world, a satellite city that has been growing at breakneck pace, but minus the congestion, traffic snarls, pollution and haphazard planning that are the bane of any Indian city.

CHOICE OF CITY

Originally conceived as a satellite city to Mumbai, Navi Mumbai is today one of the fastest-growing cities in India. New developments, including an international airport, many SEZs and a smart city will result in further acceleration of growth here. India’s financial and commercial capital was growing at a frightening pace, and the planning authorities were unable to keep pace with the developments. Being an island, surrounded on all sides by the sea and creeks, Mumbai had no place to grow. For that, one had to seek opportunities in the hinterland. Thus, the plan of Navi Mumbai was conceived.

|

4.1. C H O I C E O F C I T Y

Cosmopolitan crowd – culturally diverse and creative willing audience.

Good Connectivity and developing transport links – to major cities like Mumbai and Pune.

Growing demands – of places to perform and platform entertainment & cultural exchange.

Successful precedents – like NCPA and Prithvi Theatre in Mumbai.

Availability of Land – and free space for developments as proposed.

Shift in development from Mumbai – due to better living conditions .

City developing at a fast rate – More projects like science park, and such are coming up. A project like music center will receive a positive response in such a setting. Lack of recreational and such dedicated centres in the city of Navi Mumbai. – At present, there is only Vishnudas Bhave Auditorium in Airoli (capacity of 1000 people) serving as a platform for performances at this scale for the creative individuals.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

58


4. S I T E S T U D Y

|

4.1. C H O I C E O F C I T Y

Basic infrastructure worth â‚š40 billion is already in place within the city of Navi Mumbai. The city boasts a reliable supply of electricity from various sources, and excellent motoring conditions, with numerous flyovers, broad roads, and parking lots. It has a connectivity with Mumbai through two road links between the two cities and a rail line. The site lies in the posh and developing area of CBD Belapur. Hence, the basic infrastructure for water and electricity are easily available for the site. Morbe dam in the Raigad district provides for the municipal water supply in Navi Mumbai and has adequate water stock to ensure uninterrupted water supply in the region. Transportation and communication lines are also well-sought around the proposed site with proper local public transport mediums available. A number of projects are under work which aim to increase the connectivity between Mumbai and Navi Mumbai. Upcoming Metro line will join Belapur CBD and Mumbai suburban line in its Phase-I. Cidco is planning to relaunch its hovercraft service from Vashi, Belapur, Nerul, and Airoli to Gateway of India. The coming up of an international airport in Navi Mumbai also widens the audience base and feasibility of transport.

59

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

INFRASTRUCTURE OF THE CITY


4. S I T E S T U D Y

|

4.1. C H O I C E O F C I T Y

CBD Belapur comes under the jurisdiction of NMMC. However, CIDCO, as a planning authority, has rights on the open plots in these five nodes.

CONCERNED AUTHORITIES A N D D. C. R.

All the necessary permissions required for building any structure are to be obtained from the Municipal Commissioner, NMMC. All development shall be in accordance to the Development Control Regulations for Navi Mumbai Municipal Corporation, 1994. The proposed building will be considered under Assembly use group as per clause no. 16.3.5 of the said DCR.

With the provision under the clause 16.5 and 16.6, the land use of proposed site can be changed to suit the proposed project by taking necessary permissions from CIDCO.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

60


4. S I T E S T U D Y

|

4.2. L O C A T I O N O F S I T E

Area of plot – 8 acres

61

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


4. S I T E S T U D Y

|

4.2. L O C A T I O N O F S I T E

OPEN PLOT FOR SITE PROPOSAL

SITE LOCATION The site is located in the administrative hub of CBD Belapur. The immediate areas of influence are the nearby nodes of Nerul, Khargar & Seawoods. These areas are the culturally most diverse and economically forward groups in the City. As such the target audience is expected from the whole Navi Mumbai and cities nearby.

The 8 acre plot is located in sector 30 of CBD Belapur, Navi Mumbai on a branch road of Sakharam Patil Marg that branches from the Mumbai Highway.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

62


4. S I T E S T U D Y

|

4.3. C L I M A T E A N D T O P O G R A P H Y

North-East View

63

North-West View

Hills on the west side

North-East View

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


4. S I T E S T U D Y

|

4.3. C L I M A T E A N D T O P O G R A P H Y

MACRO The climate in the city of Navi Mumbai is tropical. During most months of the year, there is significant rainfall in Navi Mumbai. There is only a short dry season. There is not much temperature fluctuation between the hottest and coolest months. MarchJune are the hottest (summer). October and November are also high temperature months owing to October Heat. The driest months are January, February and March with 0 mm of rain. Most precipitation falls in July, with an average of 1160 mm.

The design shall consider the year-around warm and humid climate in the design aspects.

CLIMATE MICRO Hillsides experience a cooler micro-climate due to elevation, greenery and faster wind flows. The presence of no-development hill slopes around the site with its natural vegetation provide for psychologically soothing atmospheres. The Parsik hills on the north-east of the side give a scenic-view. Also, larger openings and glazing can be provided on these sides considering the sun-path. Towards the end of the site on northern side, a 180 degree view of hills is available.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

64


4. S I T E S T U D Y

|

4.3. C L I M A T E A N D T O P O G R A P H Y

1

2

3

4

SITE 5

TERRAIN

6

VIEWS 8 7

8

1 7 2

65

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

3

4

5

6


4. S I T E S T U D Y

|

4.3. C L I M A T E A N D T O P O G R A P H Y

Terrain model of the area around the open plots with the plot boundary marked.

Built Structures around the site placed to study the context.

Slope line of terrain on North Side – 30m rise from left to right length of 380m.

Slope Line of terrain on South Side – 45m rise from right to left length of 380m.

Site terrain view

East-facing elevation of Site

STUDY MODEL PICTURES OF SITE

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

66


4. S I T E S T U D Y

|

4.4. N E I G H B O R H O O D

The proposed site has an access road that branches from the Mumbai Highway, thus giving a good road connectivity.

The CBD Belapur Railway and Metro Station is located at a short distance from the site.

ACCESSIBILITY The airport under construction at Ulwe, Navi Mumbai is at a less than hour away from the site by road.

NMMT and BEST provides bus services for inter and intra nodal transportation within the city.

Auto rickshaws provide inter as well as intra nodal public transport across the city. Taxis operating from designated taxi stands provide the means to travel to further destinations. Taxis charge a fixed rate approved by the R.T.O. details of which can be found on popular local transit apps of the city.

67

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

TO THE SITE


4. S I T E S T U D Y

|

4.4. N E I G H B O R H O O D

Proposed Site

MUSIC COMMUNITY

Small Establishments for performance or learning music.

AROUND

The only auditorium in Navi-Mumbai that can host large performances- Vishnudas Bhave Auditorium (Capacity – 1000 people)

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

68


4. S I T E S T U D Y

|

4.4. N E I G H B O R H O O D

Tall Overlooking Buildings

69

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


4. S I T E S T U D Y

PARSIK HILLS RESIDENTIAL COMMERCIAL AREA AREA

|

4.4. N E I G H B O R H O O D

PARSIK HILLS RESIDENTIAL AREA

NERUL NODE

KHARGAR NODE

SITE AND NEIGHBORHOOD

CBD BELAPUR NODE

SEAWOODS NODE

RESIDENTIAL AREA MUMBAI PROPOSED SITE HIGHWAY UNDER 12.5% SCHEME

NODEVELOPMENT ZONE

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

70


4. S I T E S T U D Y

|

4.5. S I T E P H O T O S

B

C

A

SITE PHOTOS (APPROACH

C

D

AND NEARBY A

B

D

71

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

BUILDINGS)


4. S I T E S T U D Y

|

4.5. S I T E P H O T O S

SITE PHOTOS (TOP VIEW FROM SIDE BUILDING

)

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

72


4. S I T E S T U D Y

|

4.5. S I T E P H O T O S

J A

B

C

D

E

F

I

K

L

G H E F A B D C

73

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


4. S I T E S T U D Y

SITE PHOTOS (VIEWS AROUND)

G

H

I

J

K

L

|

4.5. S I T E P H O T O S

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

74


5

75


DESIGN INITIATION

76


5. D E S I G N I NI T I A T I O N

|

5.2. S W O T A N A L Y S I S

Highway

Valley slope

Hill slope

Site

SITE DRAWING Site area – 8 Acres Margins left on all sides – 6 m

Approach Road

77

Site Drawing

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


5. D E S I G N I NI T I A T I O N

|

5.1. C H A L L E N G E S

Challenges to be tackled while designing – • • • • • •

CHALLENGES

Sensitivity to the site context and topography. Fruitful utilization of the prime land. Landscaping and designing of accessible open spaces keeping in view the available views and the site context. Connectivity of the site with the approach road. Integrating the museum and performance spaces, yet keeping their identities. Taking advantage of the natural buffer around the site.

According to Development Control Rules of Navi Mumbai, following regulations are to be taken into account – •

• • •

The minimum marginal open space on all sides of the building on a plot of 1000 sq. m. or more shall be 6.0 m. without any projections, except required for fire fighting and as permitted by the Fire Officer CIDCO and irrespective of whether the face of the building derives light and ventilation or not. If any interior or exterior open space is intended to be used for the purpose of light & ventilation by more than one building belonging to the same owner, then the width of such open spaces shall be minimum 9.0 mtr. Floor Space Index for the development of land allotted under Component - II shall be 1.5. Ramps for physically handicapped to be provided compulsorily.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

78


5. D E S I G N I NI T I A T I O N

|

5.2. D E S I G N D E T E R M I N A N T S

Hill View Far Hill View

Hill View

-

Utilization of views

-

Unusual shape of site may determines built-form geometry for the project to be borne out of the site.

-

Roads have to be placed on gentler side of the site.

-

Hierarchy of usage of spaces in determining the zoning and massing.

Privacy Increases

-

The Auditoriums and outdoor performance area are placed on the Northern side away from the buildings nearby and towards the buffered area.

-

Buffer and considerations.

-

Design to respect the natural contour an slope of the site.

Tall overlooking buildings

79

privacy

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

DESIGN DETERMINANTS


5. D E S I G N I NI T I A T I O N

SWOT ANALYSIS

|

5.2. S W O T A N A L Y S I S

FACTOR

STRENGTH

WEAKNESS

OPPORTUNITY

THREAT

SITE

- Great views from a majority part of the site. - Northern part effectively buffered from noises around. - North-South Orientation

- The hilly and steep topography may restrict design and add limitations. - The shape of site, with its large length, puts limitations to pedestrianization of site.

Taking advantage of the natural contours to orient the buildings with minimum cut-fill required.

The performance activities might disturb the nearby residential buildings if not adequately buffered.

ACCESSIBILITY

Near to the Mumbai-Pune highway.

Only a small part of site touches the approach road.

Due to minimal access, the inflow and out flow to the premises and service areas can be well-regulated.

Might form a bottle-neck traffic near the infrastructure.

RESTAURANT CLUB – LIVE

The venue is a value-added experience for the customers.

Accessibility to the facility may get a little tiring. Has to be placed near the approach road end of the site.

- Attracts visitors to site and generates returns. - Opportunity to emerging artists to perform for small crowd.

Tall buildings directly overlooking in the restaurant.

MUSEUM

Inside a campus that showcases various music performances; increases the value of museum.

Limited views from inside due to program requirements. Interiors have to be quirky enough to compensate.

A unique experience to the visitors to make their own music in sound garden and learn about Indian Music inside.

Target groups to be determined.

AUDITORIUMS AND AMPHITHEATRE

A variety of performance spaces for both traditional and western music.

Orientation options restricted due to slope of land.

Attracts artists and promotes cultural exchange.

Will increase the activity in the area very rapidly.

PLAZA AND OTHER PUBLIC SPACES

Direct hill views from the site.

Towards North, the slope is steep, so ramp accesses might be difficult to be given.

Increased activity on site and diffused audience increases.

Usage dependent on weather conditions.

VENUE FOR PERFORMANCES

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

80


5. D E S I G N I NI T I A T I O N

|

5.2. D E S I G N D E T E R M I N A N T S

Far Hill View

Hill View

Hill View

81

Privacy Increases

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


5. D E S I G N I NI T I A T I O N

|

5.3. S P A T I A L O R G A N I Z A T I O N

Keeping in mind the design determinants, shape of site and requirements of the project, I achieved a basic spatial organization of the various programs of the project. Proper spill-out spaces and outdoor landscaping are considered for the built programs. This spatial organization responds to the contour levels of the site as well.

SPATIAL ORGANIZATION

Restaurant is nearest to the site entrance for an easier access to even dedicated audience. Museum, Office and Small Auditorium clubbed together and next to the restaurant. The auditorium can host smaller performances and administration meetings as well. The plaza is centrally located on site. The auditoriums are in the buffered zone on steeper land that will naturally gradient the inside seating spaces. Amphitheatre is placed on N-E corner that has the natural desired slope for seating spaces.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

82


6

83


DESIGN APPROACH

84


6. D E S I G N A P P R O A C H

|

6.1. C O N C E P T I D E A S

Spaces

85

Time

Architectural Experience

Musical Experience

Music as a sequence of thresholds – verse, chorus, high and low pitches, pauses, bridge, etc

Architecture as a sequence of thresholds – pathways, lawns, doors, rooms, portals, etc

As we listen to a composition, the sequence of the ups and downs and pauses is what makes a music composition interesting.

Similarly, various elements of built and un-built forms when come together in a sequence create an interesting architecture.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


6. D E S I G N A P P R O A C H

|

6.1. C O N C E P T I D E A S

This thesis solution focuses on creating opportunistic settings for creating and experiencing music and providing interactive ways to make people aware about different forms of music. It respond to the trends in music consumption and provides a platform for the beginners and professionals in the field of music. Its important here that people are awed and intrigued by the overall experience of the centre to invite a large audience to the facility making this centre a hotspot for musicrelated activities.

Architectural Experience

UNDERSTANDING THE ASPECT OF E X P E R I E N CE

We are continuously experiencing architecture as the built forms around us and the un-built spaces between them. The experiencing happens in interaction with these forms, that comes into play when we move through the forms and spaces and are actively engaged with it. Regardless of formal complexity, historical relevance, or conceptual rigor of a building, the essence of a space cannot be captured unless we are present there and interacting with it.

Musical Experience Similarly, with music, it is our continuous involvement with it that helps us experience music. We cannot hear a whole composition all in the same moment. We must actively listen, experiencing different sections of a tune, one at a time. Both these Architectural and Musical experiences happen as a sequence of thresholds in the form of architectural elements and music elements. It is these threshold experience that I want to create in my design to make it more interesting, intriguing and interactive.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

86


6. D E S I G N A P P R O A C H

|

6.2. T R A N S L A T I O N O F I D E A S

Short-range

Long-range

Diffused

Perceptive

Multi-level

Ways of Human interactions

5 4

3

2 1

Maintaining Visual and movement axes

87

Connected series of open outdoor spaces

Built-form is divided into blocks

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


6. D E S I G N A P P R O A C H

DESIGN ELEMENTS

|

6.2. T R A N S L A T I O N O F I D E A S

-

The experiential character of the project depends on the interaction between the visitors with the performers, spaces, music installations, buildings and other visitors. Providing spaces that will aid in this ‘interaction’. This will increase the sociability of the project, in turn , increasing its public appeal.

-

Maintaining visual and movement axes to maximize views and ease movement.

-

Connected open spaces and landscaped outdoor venues to create a sense of unification.

-

The built form will be divided into blocks, each housing a club of related functions.

-

Merging the topography of land and built forms using the natural contour of land.

-

Providing flexible spaces – blurring the distinction between exhibit space and performance spaces.

-

Merging the experience between music and space to explore their transverse nature.

-

Providing spatial variety for making the project more productive and instigating creativity in people.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

88


6. D E S I G N A P P R O A C H

|

6.2. T R A N S L A T I O N O F I D E A S

Buildings

Hill Slope

Land Contour Merging the topography of land and built form.

The roof line will be an element played with that bends, unfolds, curves, goes into the land and comes back up creating a dynamism in the structure.

Exhibit - experience

Transition space

Audi. - performance

Transition of spaces with flexible spaces in between

Transition aspect - Exhibits that perform and performance spaces as exhibits.

89

Space and sound – immersive installations

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


6. D E S I G N A P P R O A C H

|

6.2. T R A N S L A T I O N O F I D E A S

Different volumes have different acoustic properties. Keeping in mind this consideration, a variety of experiences can be delivered to the public.

Larger volumes

Smaller volumes

Outdoors

Merging the experience of sound and spaces.

Traditional performing spaces for learning and observing

Spaces for informal activities

Studios

Spatial Variety – Spaces to Receive, Reflect and Activate

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

90


7

91


DESIGN EVOLUTION

92


7. D E S I G N E V O L U T I O N

|

7.1. T H E S C H E M E

AMPHITHEATRE BLOCK AMPHITHEATRE SEATS OUTDOOR VENUE 2

AUDITORIUM BLOCK

TACKLING THE CONTOURS USING RAMPS AND STEPS

PLAZA AT LEVEL +18.00 M OUTDOOE VENUE 1 PLAZA AT LEVEL +13.00M PLAZA AT LEVEL +11.00M BASEMENT RAMP

MUSEUM

RESTAURANT

SOUND GARDEN

PARKING

ENTRY LANDSCAPE ENTRY ROAD SITE AXES STUDY

93

SITE LAYOUT

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


7. D E S I G N E V O L U T I O N

-

THE SCHEME

-

|

7.1. S T A G E 1

I studied the site and considering the unusual shape of the site and the views offered around it, sketched out the basic geometry to be followed for the built structures. The layout of the scheme is born out of the site context and responds to the climatic factors in the area. Two axes with the same initiation point in the narrow part of the site were identified. I planned to build the structure along these with appropriate breaks in between. In the middle of the whole mass, the structure could match the increasing ground level to provide a public plaza for the users of the site. The mass in blue indicates the curved built form that matches the ground level in the middle. The mass in pink is the amphitheatre block, considering the slope of site. The green arrow shows the public axes free for movement. The red arrows indicate the available hill views from the site. Appropriate open spaces have been left at the points where views are the best. The road access to the site follows the site boundaries. The service road is taken along the eastern edge as it has comparatively lesser contour lines cutting through and hence would be more feasible. Landscaping has been done with steps and ramps to cross the contours of the site.

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

94


7. D E S I G N E V O L U T I O N

95

|

7.2. T H E F O R M

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


7. D E S I G N E V O L U T I O N

7.2. T H E F O R M

-

The people coming to the site move on the approach road along the foothills for the Parsik Hill. Taking in this experience of a sinuous landscape the design then welcomes the visitors into a world of sharp angles, interlocking volumes, and voids.

-

The dramatic form of the structure draws inspiration from the many sides of a crystal. The multiple facets of the form is a symbolism to the multi-faceted nature of the facility it houses – a place of music for all.

-

The crystalline geometry of the architecture forms a series of angular shapes, helping to create a confident architectural focal point for the area. As the building occupies a location that isn’t easily visible except from the Mumbai-Pune Highway, the roof of the building adds as a landmark feature to the project.

-

The design does not have front and back facades or a traditionally defined roof but has been conceived as a set of facets which creates a striking impression when viewed from different levels on the contoured land.

THE FORM

|

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

96


8

97


FINAL DESIGN

98


BIBLIOGRAPHY

https://www.gearank.com/sites/default/files/styles/large/public/field/image/live-gear3.jpg?itok=kCkrzqZ5

https://cdn.londonandpartners.com/assets/events/music/59261-640x360-gig_crowd_ns.jpg https://economictimes.indiatimes.com/ncpa-the-cultural-institution-plans-to-step-out-of-mumbais-downtown-area-to-reach-a-largeraudience/articleshow/39064234.cms https://www.hindustantimes.com/mumbai/it-s-a-shame-india-lacks-concert-infrastructure-zubin-mehta/storyPWbvysfNUldHl7HvTTsGGN.html https://www.gulf-times.com/story/618065/India-declared-as-Partner-Nation-for-2019-Year-ofhttps://timesofindia.indiatimes.com/entertainment/hindi/music/news/India-lacks-world-class-concert-halls-says-A-RRahman/articleshow/11651015.cms http://iheartblr.com/2017/07/sound-garden-bangalore-know-everything-about-indias-first-ever-interactive-music-museum/ https://www.archdaily.com/884746/contemporary-concert-halls-have-become-multi-functional-catalysts-for-urban-change https://www.ncpamumbai.com/ https://indianmusicexperience.org/ https://www.archicrewindia.com/2018/04/ncpa-national-centre-for-performing.html https://www.google.com/maps https://en.wikipedia.org/wiki/Navi_Mumbai https://assetyogi.com/navi-mumbai-development-plan/

99

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9


https://cidco-smartcity.niua.org/highlights-of-socio-economic-surveys-for-navi-mumbai-from-1995-to-2010/ https://www.somewherelost.com/19-reasons-why-navi-mumbai-is-better-than-mumbai/ https://www.meteoblue.com/en/weather/forecast/modelclimate/mumbai_india_1275339 https://cidco.maharashtra.gov.in/pdf/approved_cases/Booklet_GDCR_File.pdf https://thepointsguy.com/2018/01/india-music-scene/ https://homegrown.co.in/article/802092/the-new-wave-of-experimental-art-spaces-in-india

https://en.wikipedia.org/wiki/Music_of_India https://ubique.americangeo.org/ https://vk.com/mixed_forest?z=photo-61639773_456239431/wall-61639773_8357 https://www.behance.net/gallery/8889815/JVC-Jazz-Festival

U N D E R G R A D U A T E A R C H I T E C T U R A L T H E S I S 2 0 1 9 | J N E C, A U R A N G A B A D | R U T U J A T O D A R W A L | 5 0 9 1 3 9

100

Profile for Rutuja Todarwal

The Music District - Undergraduate Thesis Project  

This thesis project is an exploration of the of the multiplicity of ways to make people aware about different forms of music, respond to the...

The Music District - Undergraduate Thesis Project  

This thesis project is an exploration of the of the multiplicity of ways to make people aware about different forms of music, respond to the...

Advertisement