Issuu

VISVESVARAYA TECHNOLOGICAL UNIVERSITY "Jnana Sangama”, Belgaum - 590018

A THESIS REPORT ON

"DVITVA A FILM CITY" SUBMITTED IN PARTIAL FULFILLMENT FOR THE AWARD OF DEGREE OF

BACHELOR OF ARCHITECTURE For the academic year 2021 - 2022 SUBMITTED BY

SAHAS V (1DT17AT025)

SCHOOL OF ARCHITECTURE

DAYANANDA SAGAR ACADEMY OF TECHNOLOGY & MANAGEMENT Udayapura, Kanakapura Main Road, Opp. Art of Living, Bangalore-560082.

DAYANANDA SAGAR ACADEMY OF TECHNOLOGY& MANAGEMENT Udayapura, Kanakapura Main Road, Opp. Art of Living, Bangalore-560082. SCHOOL OF ARCHITECTURE

CERTIFICATE This is to certify that the thesis entitled "DVITVA A FILM CITY" is a bonafide work carried out by SAHAS V (1DT17AT025) student of DAYANANDA SAGAR ACADEMY OF TECHNOLOGY AND MANAGEMENT, SCHOOL OF ARCHITECTURE, in partial

fulfillment

for the award of BACHELOR OF ARCHITECTURE, under the VISVESVARAYA TECHNOLOGICAL UNIVERSITY, BELGAUM during the year 2021 - 2022. The thesis report has been approved as it satisfies the academic requirements in respect of project work prescribed for the Bachelor of Architecture degree. Internal Guide Prof. Likhita Devineni SOA, DSATM Bangalore - 82

Director Prof. Gaddam.D.Ramesh SOA, DSATM Bangalore - 82

Principal Dr. Ravi Shankar M DSATM Bangalore - 82

Signature

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Name of Examiner:

Signature with Date

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DAYANANDA SAGAR ACADEMY OF TECHNOLOGY& MANAGEMENT Udayapura, Kanakapura Main Road, Opp. Art of Living, Bangalore-560082. SCHOOL OF ARCHITECTURE

DECLARATION I, SAHAS V (1DT17AT025) student of IX semester B.Arch., DSATM, Bangalore, hereby declare that the thesis entitles "DVITVA A FILM CITY" has been done and submitted in partial fulfillment of the requirements for the award of the degree in Bachelor of Architecture of the Visveswaraya Technological University, Belgaum during the academic year 2021 - 2022.

Place: Bangalore Date: February 2022

SAHAS V 1DT17AT025

ACKNOWLEDGEMENT I take this opportunity to express my profound gratitude and deep regards to my Director Prof. Gaddam.D.Ramesh,DSATM, internal thesis coordinator and internal faculty for their exemplary guidance, monitoring and constant encouragement throughout the course of this thesis. I would also take the opportunity to thank Ar. Anil Dube for his innovative strategy, guidance, and timely help. I am grateful towards my college and principal Dr. Ravi Shankar M, DSATM for providing me with the necessary infrastructure and platform to represent my project. I am also grateful to my thesis guide Prof. Likhita Devineni, without whose help and guidance this project would not have been completed, also helped me in completing this task through various stages. I would also like to thank my parents and friends. They were always supporting me and encouraging me with their best wishes.

SYNOPSIS One of the most popular forms of art is film. Film is a concept that can be understood by anyone regardless of their level of understanding of art. Through film, stories are brought to life. Every day, the film industry in a developing country like ours becomes more and more insignificant. The primary reason for this is a lack of infrastructure to support the industry. One of the most important things that can be done to explore the horizons of this particular art form is to create a platform, a place where artists and film enthusiasts can come together, appreciate the art, and to experience the depth of the artistic process. Rather than just letting people experience the environment, the event will also give artists and film buffs a chance to celebrate. Film cities will provide the proper infrastructure which is lacking at present, allowing for people who have less budgets to showcase their talents but need support and infrastructure to establish themselves in the industry, so the facility can cater to all needs of making a movie or television show under one roof. In comparison to having to depend on other states for a film city, a dedicated film city is a boon and advantage for the industry.

CONTENTS SYNOPSIS……………………………………………………………………. i CONTENTS……………………………………………………………………ii LIST OF FIGURES…………………………………………………………. iii-viii LIST OF TABLES……………………………………………………………viii 1. INTRODUCTION………………………………………………………………………………....1-5

2. LITERATURE STUDY……………………………………………….………………….…..6-29

3. CASE STUDY……………………………………………………………......................................30-54

4. SITE …………………………….……………………………………………….……………………...55-64

5. PROGRAME DEVELOPMENT……………………………………….........................65-68

6. CONCEPT DEVELOPMENT………….……………………………...............................69-72

7. FINAL DRAWINGS ………………………………………….……………………...……….73-86

8. VIEWS OF OTHER BLOCKS………………………………………………….……….87-88

9. VIEWS/PHOTOGRAPHS OF MODEL…………………………………………...89-90

10. MISCELLANEOUS…………………………………………………..91-92

11. BIBLIOGRAPHY…………………………………………………………………………….………93

LIST OF FIGURES

FIGURES&DISCRIPTION Fig 1.1 Sandalwood Stars Fig 1.2 First pan Indian movie released in 8 languages Fig 1.3 First Indian movie to incorporate slow motion Fig 1.4 First Indian movie to shoot underwater (ocean) Fig 1.5 Only Indian movie to be re-released over 500 times Fig 1.6 Longest running movie in theatres for 865 days Fig 1.7 Successful pan Indian movie from Sandalwood Fig 1.8 Upcoming movies, these are relying on other film city, so having a own film city is a boon and saves money Fig 2.1: Location of Pinewood Studio Fig 2.2 Aerial view of Pinewood Studio Fig 2.3 Map of Pinewood Studios Fig 2.4 Master plan of Pinewood Studio Fig 2.5 Zoning of the complex Fig 2.6 Relationship b/w workshops,studios and backlots Fig 2.7 View of Studio Babelsberg Fig 2.8 Plan of Studio Babelsberg Fig 2.9 Sound Stages Fig 2.10 Tonkreuz Studio Fig 2.11 Plan of Tonkreuz Set Fig 2.12 view of Stages

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Fig 2.13 Plan of Stages Fig 2.14 FX.Center complex Fig 2.15 Plan of Stages Fig 2.16 TV & Media Center Fig 2.17 Plan of Stages Fig 2.18 Plan of Stages Fig 2.19 View of Neue Film 1 and Neue Film 2 Fig 2.20 View of Metropolitan Backlot Fig 2.21 Plan of Metropolitan Backlot Fig 2.22 Exterior Green Spaces Fig 2.23 View of Open Lots Fig 2.24 Location of Dadasaheb Phalke Chitranagari Film City Fig 2.25 Mapping of Dadasaheb Phalke Chitranagari Film City Fig 2.26 Plan of Dadasaheb Phalke Chitranagari Film City Fig 2.27 Entrance Gate Fig 2.28 Villages and Outdoor Sets Fig 2.29 Planning Strategy Fig 2.30 Signages Fig 2.31 Electrical Work Fig 2.32 Water Supply Fig 2.33 Sewage Fig 2.34 Landscape Fig 3.1: Location of Ramoji Film City Fig 3.2 Map of Ramoji Film City

Fig 3.3 Guidance Map of RAMOJI FILM CITY Fig 3.4 View of Shooting Location Fig 3.5 View of Shooting Location Fig 3.6 View of Shooting Location Fig 3.7 Studio Floors Fig 3.8 Prop Shop Fig 3.9 Equipments Fig 3.10 Sitara – Luxury Hotel Fig 3.11 Tara – Comfort Accomodation Fig 3.12 Shantiniketan – Budget accomodation Fig 3.13 Greens Inn – Cozy Accomodation Fig 3.14 Vasundhara Villa – Farm House Fig 3.15 Sahara – Dormitory Accomodation Fig 3.16 Princess Street Fig 3.17 North Town Fig 3.18 Bhagavatham Set Fig 3.19 Askari Garden Fig 3.20 Japanese Garden Fig 3.21 Sun Fountain Garden Fig 3.22 Mughal Garden Fig 3.23 Sanctuary Garden Fig 3.24 Angel Fountain Fig 3.25 Kripalu Caves Fig 3.26 Bird Park Fig 3.27 Plan of Fundustan Fig 3.28 Plan of Movie Making Experience Zone Fig 3.29 Spirit of Ramoji v

Fig 3.30 Butterfly Park Fig 3.31 Vaman Bonsai Garden Fig 3.32 Location of Prasad Labs Fig 3.33 Plan of Prasad Labs Fig 3.34 view of prasad labs Fig 3.35 view of prasad labs Fig 3.36 Prasad Labs entrance Fig 3.37 location of Karnataka Model Village Fig 3.38 View of Karnataka Model Village Fig 4.1 Karnataka map Fig 4.2 Mysuru map Fig 4.3 Immavu industrial area map Fig 4.4 location of site Fig 4.5 Bangalore illustration Fig 4.6 Mysore illustration Fig 4.7 site image Fig 4.8 site image Fig 4.9 site image Fig 4.10 site image Fig 4.11 site image Fig 4.12 site image Fig 4.13 plan of site Fig 4.14 topography of site Fig 4.15 climatic data Fig 5.1 Flow chart of functions Fig 5.2 Flow chart of functions

Fig 5.3 Flow chart of functions

Fig 6.1 preliminary zoning Fig 6.2 Rule of Third Fig 6.3 Movie shots Fig 6.4 Zoning idea Fig 6.5 Zoning development Fig 6.6 Built form concept Fig 7.1 Master plan and sections Fig 7.2 Studio tour and services Fig 7.3 Elevations Fig 7.4 Entrance block, restaurants and washrooms Fig 7.5 Admin, pre-production , post production block Fig 7.6 Admin ,pre-production , post production block Fig 7.7 Museum and movie making experience hall Fig 7.8 Set designing wing Fig 7.9 sound stages Fig 7.10 Film making store Fig 7.11 Model village and street Fig 7.12 Shooting house Fig 7.13 Vision for 2030 Fig 7.14 Structure and Materials Fig 8.1 Other blocks views Fig 8.2View OF entire project vii

Fig 8.3 View of sets Fig 8.4 Site model Fig 8.5 Site model Fig 8.6 Site model Fig 8.7 physical model Fig 8.8 physical model

LIST OF TABLES TABLES & DISCRIPTION Table 2.1 area of Marlene- Dietrich-Halle Table 2.2 area of Tonkreuz Table 2.3 Area of Building 3 Table 2.4 Area of FX center Babelsberg Table 2.5

Areas of TV and media center

Table 2.6 areas of TV and media center Table 2.7 areas of Neue Film 1 and Neue Film 2 Table 5.1 Area statement

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1. INTRODUCTION 1.1 TOPIC For my architectural thesis, I chose FILM CITY as a topic. Film has impactfully transformed into one of the most influencing art forms at this time. There were great books, now there are great film. Film making is an complete team effort which entails many aspects. Good film is the perfect blend of technology and aesthetics 1.1.1 WHAT IS A FILM CITY? An integrated film studio complex with not just film making facilities but also customer services, technical expertise, production, support personnel and comprehensive infrastructure attracting the attention of top film-makers, production houses & leading multinational advertising agencies is known as film city. 1.2 TITLE FOR THE PROJECT DVITVA ದ್ವಿ ತ್ಿ Which means duality. The word is derived from a Sanskrit word द्वित्वम्. 1.2.2 WHY THIS TITLE The movie city serves two purposes: it promotes film production as well as tourism by becoming a tourist attraction over time 1.3 WHY FILM CITY? This pandemic made everyone understand that movies and web series were the only way to pass the time and that they had a significant impact on our lives. Through mythological movies, movies and films can reach a huge number of people and deliver positive messages as well as highlight our rich past and culture. There was a period when Bollywood dominated the Indian film business, but now Sandalwood (Kannada cinema) and other south Indian film industries are establishing themselves by producing high-quality films with strong content. A supporting infrastructure like film city is key to accomplishing all this.

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1.3.1 SANDALWOOD FILM INDUSTRY Kannada cinema, also known as sandalwood, Kannada film industry or Chandanavana is the segment of Indian cinema dedicated to the production of motion pictures in the Kannada language.

Fig 1.1 Sandalwood Stars

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1.3.1.1 ACHIEVEMENTS OF SANDALWOOD INDUSTRY

Fig 1.2 First pan Indian movie released in 8 languages

Fig 1.3 First Indian movie to incorporate slow motion

Fig 1.5 Only Indian movie to be re-released over 500 times

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Fig 1.4 First Indian movie to shoot underwater (ocean)

Fig 1.6 Longest running movie in theatres for 865 days

1.3.1.2 TURNING POINTS FOR SANDALWOOD IN RECENT TIMES

Fig 1.7 Successful pan Indian movie from Sandalwood

Fig 1.8 Upcoming movies, these are relying on other film city, so having a own film city is a boon and saves money

1.3.2 WHY FILM CITY IN KARNATAKA?? • •

•

A broad spectrum of films, from low-budget movies to high-budget movies and pan-India films, are being produced in the sandalwood film industry. The number of movies produced per year has significantly increased due to the rising number of fresh talent in this industry. However, due to the lack of funds and the lack of film cities, new talents are forced to rely on other film cities and spend more money to travel. Film city can be a valuable resource for low-budget film makers and first-time film producers because it gives them increased exposure and provides all the support they may need in one place Despite promises made by the government of Karnataka 40 years ago to build a film city in the state, no concrete steps have been taken.

1.3.3WHY IS KARNATAKA LACKING A FILM CITY???? • • •

NO political will by Karnataka government Film industry was small films dint do 50 crore business like today. There is real estate greed as people want government land for their own businesses rather than for film production.

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1.4 NEED FOR PROJECT •

• • • • • • •

•

The project aims at helping new movie makers and sandalwood industry in establishing themselves along with generating jobs locally and directly influencing the tourism. Modern infrastructure for the current genre of films Saves up to 25 to 50 crore per movie Generates employment Revenue for local people Promotes tourism Helps in growth of the industry The film city is a mega project as nearly 5,000 can work at a time once the facility is established. artistes, technicians, workers and others can work in one facility for film making. Serves as education and training center

1.5 METHODOLOGY Literature review: Various books, articles, news articles, videos and thesis on related subjects will be referred so that standard data and information on the subject can be collected. Case study: The goal will be to study existing film studios and space in order to understand the various functions and spaces in the real world and to assist in the design of my thesis project. Analysis of case study: Different aspects of the case study will be compared with literaturebased data so that the best solution can be determined for thesis program formulation Program formulation: By analyzing both the case study and literature review, required spaces and specific areas for the design of Film Studio can be determined and the project site can be selected. Site analysis: Several parameters will be evaluated on the proposed site, such as geology, soil, topography, climate, manmade structures, traffic flow patterns, acoustics, surrounding environment, etc. so that the potential of the site can be determined and the spaces can be replaced

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2. LITERATURE STUDY 2.1 SANDALWOOD INDUSTRY 2.1.1 HISTORY In 1934, the first Kannada talkie, Sati Sulochana, appeared in theatres, followed by Bhakta Dhruva (aka Dhruva Kumar). Sati Sulochana, starring Subbaiah Naidu and Tripuramba, was shot in Kolhapur at the Chatrapathi studio; most filming, sound recording, and postproduction was done in Chennai. In 1949, Honnappa Bhagavathar, who had earlier acted in Gubbi Veeranna's films, produced Bhakta Kumbara and starred in the lead role along with Pandaribai. In 1955, Bhagavathar again produced a Kannada film, Mahakavi Kalidasa, in which he introduced actress B. Saroja Devi.B. S. Ranga was an Indian photographer, actor, writer, producer and director made many landmark movies in Kannada, under Vikram Studios. 2.1.2 MAINSTREAM •

Matinee idol, Rajkumar entered Kannada cinema after his long stint as a dramatist with Gubbi Veeranna's Gubbi Drama Company, which he joined at the age of eight, before he got his first break as a lead in the 1954 film Bedara Kannappa. He went on to essay a variety of roles and excelling in portraying mythological and historical characters in films such as Bhakta Kanakadasa (1960), Ranadheera Kanteerava (1960), Satya Harishchandra (1965), Immadi Pulikeshi (1967), Sri Krishnadevaraya (1970), BhaktaKumbara (1974), Mayura (1975), Babruvahana ( 1977) and Bhakta Prahlada (1983). His wife Parvathamma Rajkumar founded Film production and distribution company, Vajreshwari Combines.

•

Method actor Shankar Nag received the inaugural IFFI Best Actor Award (Male): Silver Peacock Award" at the 7th International Film Festival of India for his work in the film Ondanondu Kaladalli. He is the younger brother of actor Anant Nag. M. V. Vasudeva Rao, the first Kannada actor to win National Film Award for Best Actor, was starred in over 200 films in his career; however, post Chomana Dudi, he only played minor roles.

•

Vishnuvardhan entered Kannada cinema with the National Award-winning movie Vamsha Vriksha (1972) directed by Girish Karnad based on the novel written by S. L. Bhyrappa. His first lead role was in Naagarahaavu, directed by Puttanna Kanagal and based on a novel by T. R. Subba Rao. It was the first in Kannada film history to complete 100 days in three main theatres of Bangalore. In

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his 37-year career, he has played a variety of roles in more than 200 films.With his debut in Puttanna Kanagal's National Award-winning Kannada film Naagarahaavu (1972), Ambareesh's acting career commenced with a brief phase of portraying antagonistic and supporting characters. After establishing himself as a lead actor portraying rebellious characters on screen in a number of commercially successful films, he earned the moniker "rebel star". He also earned the nickname Mandyada Gandu (English: Man of Mandya) •

B. Saroja Devi is One of the most successful female leads in the history of Indian cinema, she acted in around 200 films in over six decades.[33][34] She is known by the epithets "Abinaya Saraswathi" (Saraswati of acting) in Kannada and "Kannadathu Paingili" (Kannada's Parrot) in Tamil.

2.1.3 MODERN ERA •

Prakash Raj began his acting career with Doordarshan serials such as Bisilu Kudure (Kannada) and Guddada Bhootha (Tulu and Kannada). He later took up supporting roles in Kannada films such as Ramachari, Ranadheera, Nishkarsha and Lockup Death. He was known for his dialogue delivery and histrionics. His breakthrough role came in Harakeya Kuri, directed by K. S. L. Swamy starring Vishnuvardhan, with whom he had acted in other films such as Mithileya Seetheyaru, Muthina Haara and Nishkarsha. Prakash re-entered Kannada films through Nagamandala in 1997, directed by T. S. Nagabharana. Veteran Kannada actor Shakti Prasad's son Arjun Sarja is known for his work in South Indian cinema. He starred in movies such as Prasad; the film was screened at the Berlin Film Festival and Arjun received the Karnataka State Award for his performance in it.

•

Sanchari Vijay's portrayal of a transgender won him the National Best Actor Award. With the award, Vijay became the third actor after M. V. Vasudeva Rao, and Charuhasan to win the National Award for Best Actor for a performance in a Kannada film.

•

Shiva Rajkumar is known for his work in Janumada Jodi, Anand, Ratha Sapthami, Nammoora Mandara Hoove, Om, Simhada Mari and Chigurida Kanasu. He acted in Sugreeva, which was shot in 18 hours. His Om, directed by Upendra, set a trend of gangster movies in Kannada and other film industries in India. It continues to be shown even to this day.

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•

Rockline Venkatesh founded Rockline Entertainments which has produced over twenty-five films as of 2012. New age actors - Yash, Darshan, Puneeth Rajkumar, Rakshit Shetty and Sudeep are some of the highest paid actors in Sandalwood. The Rakshit Shetty starrer Kirik Party went on to become one of the highest-grossing Kannada films by collecting ₹ 50 crores against a production budget ₹ 4 crores and completed 150 days in the main cities of Karnataka.

•

The 2015 release RangiTaranga starring Nirup Bhandari and directed by Anup Bhandari, created overseas market for Kannada cinema with a mega release, amassing $318,000 in USA alone. It went on to become the first Kannada film to enter the New York Box office listing, the first Kannada film to complete 50 days in USA and the first Kannada movie ever to release in several countries across the world. It ran for 365 days in Bangalore.

•

In 2018, Yash starrer K.G.F: Chapter 1 became the first Kannada film to gross ₹100 crores and ₹200 crores at the box office. Its sequel, K.G.F: Chapter 2, slated to release in 2021, gained more than 230 million views on YouTube as of December 2021

2.2 PINEWOOD STUDIOS, LONDON Location: Pinewood Rd, Slough, Iver SL0 0NH, United Kingdom Site area: 58 acres For over 85 years, Pinewood Studios have made dreams a reality, enabling storytellers to bring their creations to life on the big and small screen. Renowned across the globe for excellence in its field, Pinewood offers the creative industries a unique complement of world class facilities, services and expertise. UK based Pinewood and Shepperton Studios comprise 40 Stages, including the 59,000 sq ft 007 Stage, the globally unique underwater filming stage and one of the largest exterior tanks in Europe, 3 dedicated state of the art TV studios and associated production accommodation, a comprehensive post production division and lighting. In the last 10 years, the Pinewood brand has been exported to studios in Toronto, Canada. Dominican Republic

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Fig 2.1: Location of site (Source: Google Earth)

Fig 2.2 Aerial view of Pinewood Studio (Source:https://avp.fandom.com/wiki/Pinewood_Studios)

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Fig 2.3 Map of Pinewood Studios (source: https://accessbookings.com/blog/wpcontent/uploads/2018/05/Pinewood-studios-map-1.pdf)

Fig 2.4 Master plan of Pinewood Studio (source: https://mjhmurran.wordpress.com/)

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ANALYSIS OF MASTER PLAN The indoor stages and supporting offices are all insulated from the main street

Resting area for cast and crew

Post production services

Heavily secured entry point

Fig 2.5 Zoning of the complex (source: https://supermania78.com/ )

Indoor stages

Outdoor sets are built

Outdoor Shooting area

Backlot next to workshops

Fig 2.6 Relationship b/w workshops,studios and backlots(source: https://supermania78.com/ )

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INFERENCES • • •

• • • •

The entry into the site must be positioned in a way that allows easy access to all other functions Studios vary greatly in size, which means they require more energy, but the supporting functions can serve many studios at once In order to serve people who can only take advantage of post-production services without affecting the shooting areas, the Post Production Offices are located near the entry point and next to the TV studio complex. With the exception of a service entry, only one entry is required The cast and crew's residence should be near the entrance In close proximity to each other, studios, workshops, and backlots are recommended The functions are divided among several areas, but arranged within the ring of internal access roads.

2.3 BABELSBERG STUDIO, GERMANY Location: August-Bebel-Str. 26-53, 14482 Potsdam, Germany

2.3.1 OVERVIEW Studio Babelsberg is the oldest large-scale studio complex in the world and one of Europe’s leading service providers for feature films and TV productions. Since 1912 film history has been made at Studio Babelsberg. With a complete set of services that make Studio Babelsberg a one-stop-shop, the studio employs one ofthe best crews in the world and is well known for its unique production services, skillful set construction depart-ment and huge prop shops. Many of Germany’s most famous classic films have been created at the stages and facilities of Studio Babelsberg, including Fritz Lang’s Metropolis and Josef von Sternberg’s The Blue Angel, starringMarlene Dietrich.

Fig 2.7 View of Studio Babelsberg (source: www.studiobabelsberg.com )

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With 21 sound stages, various backlots and exterior sets on a 42-acre lot, first-class technical capabilities, highlyskilled crews, attractive shooting locations nearby and its close proximity to the vibrant city of Berlin, the studio offers ideal conditions for any production need.

Fig 2.8 Plan of Studio Babelsberg (source: www.studiobabelsberg.com)

2.3.2 SOUND STAGES Marlene- Dietrich-Halle Built for Fritz Lang’s Metropolis in 1926, Marlene-Dietrich-Halle has been home to numerous film classics includingThe Blue Angel. With its total area of 60,000 sq ft and its 46 ft ceiling, Marlene-Dietrich-Halle counts amongEurope’s largest sound stages – an ideal location for feature film production. The complex is divided into three stages, 22,316 sq ft Stage 2 and two additional stages, offering 17,890 sq ft and 17,911 sq ft. All three stages also feature built-in water pools, which can be easily filled on request. Stage 1

Stage 2

Stage 3

Length × width

55.84m × 29.80m

56.8m × 36.50m

55.80m × 29.80m

Working height

12.50m

Total area

1,664m²

2,073m²

1,662m²

Max. height

13.00m

14.00m

14.30m

Table 2.1 area of Marlene- Dietrich-Halle

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Fig 2.9 Sound Stages (source: www.studiobabelsberg.com)

Tonkreuz When it was built in 1929, Tonkreuz set groundbreaking standards in film production with its revolutionary design. Today, the historical building is a high-tech film and TV stage complex with four modern, airconditioned sound stages which arecharacterized by excellent sound insulation.

length × breadth Working height Total area Max. height

Stage 4

Stage 5

Stage 6

Stage 7

30.00m × 20.00m 7.75m 600m² 9.90m

30.00m × 18.00m 7.75m 600m² 10.10m

25.00m × 18.00m 6.90m 450m² 9.00m

Table 2.2 area of Tonkreuz

Fig 2.10 Tonkreuz Studio (source: www.studiobabelsberg.com)

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Fig 2.11 Plan of Tonkreuz Set (source: www.studiobabelsberg.com)

Building 3 Located in Building 3, Stage 8 and Stage 9 provide 14,194 sq ft of floor space in total and 7,097 sq ft each. Both airconditioned stages can be equipped with additional state-of-the-art technology such as lighting rigs and lighting controlsystems. In addition, the complex features offices, workshops, conference rooms and service areas on three floors.

Fig 2.12 view of Stages (source: www.studiobabelsberg.com)

Length × width Working height Total area Max. height

Stage 8 34.70m × 19.00m 6.00m 659m² 7.70m

Stage 9 34.70m × 19.00m 6.00m 659m² 7.70m

Table 2.3 Area of Building 3

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Fig 2.13 Plan of Stages (source: www.studiobabelsberg.com)

FX.Center Babelsberg Located in the high-tech fx.Center complex, Stage 10 is equipped with a 360° green screen for VFX. Stage 11 is custom-designed for SFX, offering a powerful ventilation system for pyrotechnic effects and a strong drainage system for filming with water. Stage 12 houses Volucap, the first volumetric video studio on the European continent, locatedon 1,866 sq ft and equipped with 32 cameras for state-of-the-art VR and AR projects using ‘3D Human Body Recon- struction’ software. In addition, fx.Center features two cinema auditoriums, conference rooms and rent areas to host special events.

Fig 2.14 FX.Center complex (source: www.studiobabelsberg.com)

Length × width Working height Total area Max. height

Stage 10 27.20m × 21.20m 7.50m 577m² 10.0m

Stage 11 22.0m × 16.60m 7.50m 365m² 7.90m

Stage 12

Cinema

173m²

Table 2.4 Area of FX center Babelsberg

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Fig 2.15 Plan of Stages (source: www.studiobabelsberg.com)

TV & Media Center The TV & Media Center includes five stages with a total area of 43,000 sq ft as well as production offices on two floors.

Fig 2.16 TV & Media Center (source: www.studiobabelsberg.com)

Length × width Working height Total area Max. height

Table 2.5

Stage 14 + 15 33.30m × 22.20m 10m 739m² 11.50m

Stage 17 33.30m × 22.20m 10m 739m² 11.50m

Stage 22 25.75m × 38.75m 11.0m 1,000m² 11.00m

Areas of TV and media center

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Stage 16 33.30m × 22.20m 10m 739m² 11.50m

Fig 2.17 Plan of Stages (source: www.studiobabelsberg.com)

Length × width Working height Total area Max. height

Stage 14 + 15 33.30m × 22.20m 10m 739m² 11.50m

Stage 16 33.30m × 22.20m 10m 739m² 11.50m

Stage 17 33.30m × 22.20m 10m 739m² 11.50m

Stage 22 25.75m × 38.75m 11.0m 1,000m² 11.00m

Table 2.6 areas of TV and media center

Neue film 1 and Neue film 2 The complexes Neue Film 1 and Neue Film 2 are located in close proximity to the main studio lot. The original facades of the former factory buildings have been maintained and can also be used as a unique industrial backdrop. The large- scale stages are suitable for extensive sets for any film or TV production. Directly adjoining are the production offices.

Fig 2.18 Plan of Stages (source: www.studiobabelsberg.com)

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Fig 2.19 View of Neue Film 1 and Neue Film 2 (source: www.studiobabelsberg.com) Length × width Working height Total area Max. height

Stage 20 144.65m × 48.70m 7.90m 7,044m² 10.30m

Stage 21 49.40m × 24.00m 7.50m 1,185m² 10.20m

Table 2.7 areas of Neue Film 1 and Neue Film 2

2.3.3 BACKLOTS Metropolitan backlot The Metropolitan Backlot set at Studio Babelsberg is among the most extensive in Europe. Four street settings in different architectural styles meet a wide range of locations, be it New York, London, Berlin or Paris. From modern urbanareas to historic backdrops, the backlot can be modified and customized thanks to its flexible modular construction, green and blue screen elements as well as digital set extensions.

Fig 2.20 View of Metropolitan Backlot (source: www.studiobabelsberg.com) Technical data – 8,400 m2 (2 acres) facades – 5,500 m2 (1.2 acres) cobbled and asphalt streets – 2,500 m2 (27.007 sq ft) scaffold structuresfor set extensions – 12-15 m (39.4 - 49.2 ft) high – Easy access to power and water – Suitable for vehicles of up to 20 t – 54 facades – 600 doors and windows

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– Several interiors and dividable courtyard

Fig 2.21 Plan of Metropolitan Backlot (source: www.studiobabelsberg.com) Exterior green spaces We offer one of the largest exterior green screen walls in Europe for green screen, blue screen and VFX shooting. The weatherproof, permanent green screen wall measures 7,104 sq ft (663 m2) and is located on our backlot in the immediateproximity to our stages. You can also rent the adjacent backlot area with 64,583 sq ft (6,000 m2) for film, TV and commercialproductions as well as for photo shoots.

Fig 2.22 Exterior Green Spaces (source: www.studiobabelsberg.com)

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Open lots The spacious backlots outside our studios offer a wide range of existing sets and space for new construction in the immediate proximity to our sound stages, production offices and workshops. Adjacent to our studios Neue Film 1 and Neue Film 2 we offer a 9-acre open lot for exterior filming and the construction of custom-built sets.

Fig 2.23 View of Open Lots (source: www.studiobabelsberg.com)

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2.4 DADASAHEB PHALKE CHITRANAGARI Location: Film City Rd, Film City Complex, Aarey Colony, Goregaon, Mumbai, Maharashtra 400065. Objective The master plan was envisioned to support • •

Film production Film tourism

Vision • • •

Space for creative media art production Opportunities for enjoyment & learning Healthy & safe occupancy

2.4.1 CONTEXT The Dadasaheb Phalke Chitranagari Film City is 438 acres of land located Goregaon, Mumbai, Maharashtra. The site begins at the north eastern end in Goregaon East) and extends north east wards to Sanjay Gandhi National Park and towards Vihar Lake in the South East.

Fig 2.24 Location of Dadasaheb Phalke Chitranagari Film City (source:www.filmcitymumbai.org)

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2.4.2 CURRENT SCENARIO The site has an existing 12m wide access road that runs from west to East, through the center of the site. The site has many hills, natural waterbodies and natural diverse vegetation.

Fig 2.25 Mapping of Dadasaheb Phalke Chitranagari Film City (source: www.filmcitymumbai.org)

2.4.3 DESIGN PROCESS Built forms are dynamic , balance compositions of buildings along with the axis of central spine. Structures are located on flatter plateau.

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Fig 2.26 Plan of Dadasaheb Phalke Chitranagari Film City (source:www.filmcitymumbai.org)

2.4.4 ENTRANCE GATE Proposed entrance gate provides unique identity to entire complex. Large span ,tall canopy shall be designed with contemporary materials such as glass and steel provides desired Tech look. Overall aesthetics shall make deep mark on the visitor’s minds. Ticketing center, security kiosk, information center will be part of the main gate.

Fig 2.27 Entrance Gate (source:www.filmcitymumbai.org)

2.4.5 VILLAGES AND OUTDOOR SETS The various village sets proposed here are the one frequently used in most Bollywood movies depicting the rich cultural heritage of Indian Cinema. The quality along with craftsmanship of these studios and sets will be available and useful to entertainment related companies.

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Fig 2.28 Villages and Outdoor Sets (source:www.filmcitymumbai.org)

2.4.6 PLANNING STRATERGY Security The entire site of 438 acres surrounded by Sanjay Gandhi National Park shall have tall compound wall for better security. As it is heavily contoured site watch towers shall be erected at strategic location for observations. Heavy duty motorized gates shall be installed at various entry point. Tourist entry shall be restricted till Bollywood square. Film making areas shall be segregated and separated from tourist areas by access control and various security gadgets such as turnstiles, metal detectors, baggage scanners etc.

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Fig 2.29 Planning Strategy (source:www.filmcitymumbai.org)

Way findings The way finding systems is more than just a signage. It encompasses architecture, Landscape architecture, interior design, lighting and cognitive landmarks. It is about the design of spaces that will assist the end users in spatial problem solving by providing consistent clues throughout out the spaces.

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Fig 2.30 Signages (source:www.filmcitymumbai.org)

Electrical work The designing of electrical network system bears a direct relationship with the land use. The camping capacity for major components supply, transmission transformers and distribution circuits is established. Street and security lighting are also part of the electrical power system. The scheme indicate the proposed areas required for utility services while retaining to the maximum extent possible the existing facilities to meet future requirements.

Fig 2.31 Electrical Work (source:www.filmcitymumbai.org)

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Water supply The creation of water supply, waste water and storm water servicing scheme that will meet the complex. The utilities master plan will support and complement the municipal development plan. The design philosophy for water supply distribution system is that all zones of the complex will get sufficient water supply. Each zone may operate as a stand alone system and there will be some arrangement to interconnect zones in order to manage equipment failures or system failures.

Fig 2.32 Water Supply (source:www.filmcitymumbai.org)

Sewage The sewage disposal system scheme is that will meet the short term and long term needs of the complex when the population of the complex increases. The sewage disposal system is connected to the municipal sewage disposal system while part of the sewage generation is routed through the grey water management system to meet the flushing and irrigation needs of the complex. Storm water sumps and drains are concentrated along the edges of the roads and the drainage line that is dictated by the topography of complex to ensure efficient drainage of the complex.

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Fig 2.33 Sewage (source:www.filmcitymumbai.org)

Landscape The entire development is a sustainable and green by nature. The landscape of convention centre, monumental avenue, Bollywood square, Bollywood museum, hotel complex will have more ornamental streetscape features. Studio complex landscape will be more controlled and engineered to facilitate better camera angles. The rest of the site area will be undisturbed.

Fig 2.34 Landscape (source:www.filmcitymumbai.org)

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3. CASE STUDY 3.1 RAMOJI FILM CITY Location: Ramoji Film City Main road, Hyderabad, Telangana.

Fig 3.1: Location of Ramoji Film City (Source: google earth)

3.1.1 OVERVIEW Ramoji Film City has been in the service of filmmakers for about two-and-a-half decades, offering comprehensive filmmaking infrastructure at one complex, spread over 2000 acres. Recognised by Guinness World Records as the world’s largest film studio complex, it provides a wide range of filmmaking facilities and professional services under one umbrella.Here, a filmmaker can take off on the most exciting flight of imagination to create the magic of cinema Ramoji Film City, a magical realm filled with excitement and wonderful surprises at every turn. As the world’s largest integrated film city and India's only thematic holiday destination with magic of cinema, there’s something special for everyone. Ramoji Film City attracts millions of tourists every year from all over India.

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Entrance view

Fig 3.2 Map of RAMOJI FILM CITY (Source: google earth)

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Fig 3.3 Guidance Map of RAMOJI FILM CITY

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3.1.2 FACILITIES FOR FILM MAKERS 3.1.2.1 READY TO SHOOT LOCATIONS It's a treat to shoot in the wide-ranging realistic ready-made sets, such as modern houses, roads, streets, international avenue, grand mansions, railway station, airport, jail set with central prison/district jail/sub-jail, rustic north and south Indian rural backdrops, and picturesque gardens and avenues that can be visualised and are a part of the fictional universe. No matter what the genre, storyline or the sequence is, these sets offer a lot of room for optimisation and customisation, while help in bringing vision to life

Fig 3.4 View of Shooting Location (Source: www.ramojifilmcity.com)

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Fig 3.5 View of Shooting Location (Source: www.ramojifilmcity.com)

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Fig 3.6 View of Shooting Location (Source: www.ramojifilmcity.com)

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3.1.2.2 STUDIO FLOORS Addressing every production need, 50 shooting floors in varied sizes, ranging from 2,128 sq. ft. to 28,485 sq. ft. are available. The free-standing shooting floors can accommodate giant jibs and make room for flexible camera movement, elaborate walkway and elevated catwalk. The spacious studios are pre-fitted with grids to mount lights, easy cabling facilities and other conveniences. Cyclorama, chroma key and other facilities are best equipped to help set up wide-ranging shots and achieve the desired result.

Fig 3.7 Studio Floors (Source: www.ramojifilmcity.com)

3.1.2.3 PROP SHOP Be it the clown’s shoes, fairy with feathers or an artefact of a bygone era – no matter how fantasy-driven the idea is, Parade – the storehouse of props can pull it off; helping the narrative come alive. Parade is a veritable collection of exhaustive prop ranges, needed for any script. The excellent inventory management gives instant access to our numerous product categories spanning antiques to the ultra-modern variety.

Fig 3.8 Prop Shop (Source: www.ramojifilmcity.com)

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3.1.2.4 EQUIPMENT AND LIGHTS From HMIs to PAR lights, Tungsten, Kino Flo and more, Ramoji Film City provides the entire gamut of lighting gadgets and accessories that you need for your production. We help you achieve the dramatic lighting that surpasses your imagination! The equipment department houses a comprehensive selection of filmmaking paraphernalia, including remote-operated camera trolley, dollies, tracking trolleys, special audio equipment, stands and accessories. The most important ones include motion control and traveling matte devices, cranes and a variety of wind/storm machines, snowfall machines and rain lightning machines DECORATIVE LIGHTING Imported decorative lights create spectacular illuminated backdrops of special ambiance for song and dance sequences, party sequences and other night sequences etc.

Fig 3.9 Equipments (Source: www.ramojifilmcity.com)

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3.1.2.5 SUPPORT SERVICES MOBILE MAKE-UP VANS Air-conditioned mobile makeup vans are available for the convenience of the cast. These spacious vans are fully equipped with all the required amenities and also ensure security and privacy. ON-LOCATION CATERING Be it hot and crunchy snacks during shooting breaks, delightful breakfast, sumptuous midday meal or dinner, we provide the best and the broadest spread for your cast and crew. Dedicated, on-the-location catering facility and best of chefs ensure the highest order of taste, experience and quality service DG SETS Range of mobile generator sets of different load capacity service the productions here. The dedicated DG department delivers instant power on demand ensuring no malfunction TRANSPORT – LOGISTICS Whether it is for the movement of cast, crew and equipment or other necessary supplies to a set, in-house transport department with a strong fleet takes care of all the transport needs of the production team 3.1.2.6 HOSPITALITY SITARA - LUXURY HOTEL - WHERE THE STARS STAY A statement of luxury and opulence, Sitara offers the finest grandeur and magnificence to its discerning guests. At Sitara, the unique splendour is all-pervading in the royal themes, starry delights and amenities to pamper, besides much-needed privacy for your stars. Sitara houses well-appointed theme suites and royal suites. The garden view and tastefully designed rooms on each floor of the 170-room hotel elevate the experience to the highest levels of coziness and comfort. Sitara houses multi-cuisine restaurants, sports club and in-house spa offering superstarstyle extravaganza. Fig 3.10 Sitara – Luxury Hotel (Source: www.ramojifilmcity.com)

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TARA - COMFORT ACCOMMODATION Tara offers stay with class and comfort, complemented by a variety of modern amenities. It is located amid serene surroundings, featuring picturesque backdrops, including green spots and theme gardens. At Tara, it is delightful accommodation with stylish interiors, excellent food and a host of services to make you feel at home. The 126room hotel also has 24-hour fine-dining facilities and a business centre.

Fig 3.11 Tara – Comfort Accomodation (Source: www.ramojifilmcity.com)

SHANTINIKETAN The first-rate budget accommodation blends peace, privacy and comfort. 114 rooms spread over Ramoji Film City are well-furnished. After a long and busy day, it is ideal for comfortable stay in the premises. It is convenient to walk to the shooting location and catch up with the production work. Fig 3.12 Shantiniketan – Budget accomodation (Source: www.ramojifilmcity.com)

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GREENS INN - COZY ACCOMMODATION Greens Inn is a two-star property located just outside the main campus of Ramoji Film City offering comfortable accommodation with standard amenities

Fig 3.13 Greens Inn – Cozy Accomodation (Source:www.ramojifilmcity.com)

VASUNDHARA VILLA FARM HOUSE Vasundhara Villa sparkles with perfect farmhouse ambience, where the birds’ chirping and the music of winds soothe your soul, while you take a break after a day long hard work. Set in the backdrop of colourful fruit and vegetable gardens, Vasundhara Villa offers cosy bedrooms, exclusive dining area with attached kitchen. Fig 3.14 Vasundhara Villa – Farm House (Source: www.ramojifilmcity.com)

SAHARA Sahara is the ideal dormitory accommodation for large film crew, offering value for your budget without compromising on quality and class. It provides wellmaintained AC and non-AC accommodation on shared basis with separate blocks for men and women. Sahara has large capacity intake up to 900 people, providing perfect stay

Fig 3.15 Sahara – Dormitory Accomodation (Source: www.ramojifilmcity.com)

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3.1.3 TOURIST POINT OF VIEW 3.1.3.1 FILM CITY TOUR Princess street The stunning avenue lined up with tall buildings with resemblance of international cityscape

Fig 3.16 Princess Street (Source: www.ramojifilmcity.com)

North town Simulations of north Indian cityscape and buildings-complete in every detail

Fig 3.17 North Town (Source: www.ramojifilmcity.com)

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Bhagavatham set

Fig 3.18 Bhagavatham Set (Source: www.ramojifilmcity.com)

Askari garden The exquisite garden , with a shelter like structure in the centre and the staircase,is truly a multi layered thing of beauty with the fullest exuberance of nature .this is the first garden of RFC at askari one can discover serenity at every step

Fig 3.19 Askari Garden (Source: www.ramojifilmcity.com)

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Japanese garden The thematic garden with a pagoda like structure and other accessories of beauty are highly evocative

Fig 3.20 Japanese Garden (Source: www.ramojifilmcity.com)

Sun fountain garden The cascading sun fountain with a chariot drawn by horse is simply magnificent.the great outdoors in the midst of nature makes a perfect venue for any celebration

Fig 3.21 Sun Fountain Garden (Source: www.ramojifilmcity.com)

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Mughal garden Reminisce Mughal e Azam in absolute Islamic style. Its certainly a delighted tour to the replica of royal period gone by! Mughal garden is mesmerizing with its intricate carvings inspiring the Mughal architecture

Fig 3.22 Mughal Garden (Source: www.ramojifilmcity.com) Sanctuary garden Discover the landscape of a wildlife sanctuary with intricate and well manicured topiaries of elephants ,deer,peacocks , giraffes and many more

Fig 3.23 Sanctuary Garden (Source: www.ramojifilmcity.com)

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Angel fountain The angel fountain acting as a compass of beauty, comes en route to some of the key attractions in the picturesque locales pf ramoji film city

Fig 3.24 Angel Fountain (Source: www.ramojifilmcity.com)

Kripalu caves For the immense feel of serenity amidst the natures beauty.the cave narrates th diversified religions and history of kalinga, Magadha and bodhisattva. This is a must visit as you emerge from a magnificent jewel of art and religion

Fig 3.25 Kripalu Caves (Source: www.ramojifilmcity.com)

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3.1.3.2BIRD PARK Exotic birds from all over the world are found .the avian doctors and specialists stationed here take absolute care of the birds with all well equipped medical facilities.

Fig 3.26 Bird Park (Source: www.ramojifilmcity.com) 3.1.3.3 FUNDUSTAN Fundustan is an amazing kids park.it contains many attractions ,wonderville toyland , enthralling video games etc Dadajinn’s ark Wonderville:toyland Borasura Asias first interactive walkthrough of scare – the evil magicians workshop.its spread across 7200 sqft maze of mystery will curdle any brave hearts blood Fig 3.27 Plan of Fundustan

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3.1.3.4 MOVIE MAKING EXPERIENCE

Fig 3.28 Plan of Movie Making Experience Zone

Movie magic Live shows Wild west stunt shows Spirit of Ramoji Its is the reflection of India’s diversified cultures and its tradition.

Fig 3.29 Spirit of Ramoji (Source: www.ramojifilmcity.com)

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3.1.3.5 ECOZONE Butterfly park Wonderland of ramoji film city currently houses a wide variety of butterflies.the 7200 square feet butterfly enclosure is a dedicted labaoratory of featuring countless exotic species of butterflies in thousands of colours

Fig 3.30 Butterfly Park (Source: www.ramojifilmcity.com)

Vaman-bonsai garden Delightful garden includes hundreds of species a variety of genera and cultivars cutting across the plant kingdom, all arranged in an exotic manner with VAMAN, the bonsai bonanza

Fig 3.31 Vaman Bonsai Garden (Source: www.ramojifilmcity.com)

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3.2 PRASAD LABS,CHENNAI Site area:23 acres Location: Arunachalam Rd, Thangal karai, Shanthi Nagar, Vadapalani, Chennai, Tamil Nadu 600026

Fig 3.32 Location of Prasad Labs (Source: Google Earth)

OVERVIEW Founded in 1954, Prasad Corp is a pioneer in film and video post-production providing end-to-end services across film/tape digitizing and restoration including but not limited to assessment and conservation, photochemical restoration, color grading (DI), metadata, digital mastering, computer graphics/VFX and technology solutions to the global archives. As the owner of Digital Film Technology, It’s suitably placed to help with the ingest of complex archival film scanning projects both on-site and off-site. Be it archival, broadcast, or home entertainment, Prasad Corp provides digital film/video and audio restoration services throjugh its state-of-the-art facilities in India.

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Outdoor shooting space Post production block auditorium

Administration and post production block

Fig 3.33 Plan of Prasad Labs (Source: Google Earth)

Fig 3.34 view of prasad labs (Source: www.prasadcorp.com)

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Fig 3.35 view of prasad labs (Source: www.prasadcorp.com)

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Fig 3.36 Prasad Labs entrance (Source: www.prasadcorp.com) FUNCTION Block 1 (g+2)

AREA 10800 sq m (ground coverage 3600 sqm)

Block 2 auditorium

1370 sqm

Block 3 (g+2)

10836 sqm (ground coverage3612 sqm)

Outdoor shooting area

58811 sqm

FACILITIES Reception,manager room,office room,service room,network room,electric supplyroom Chief editor room, general office,editors working space,meeting room,rest room 230 seating facilities,full air conditioned hall,dolby sound systems dts room 4k screeen Reception,manager room,office room,service room,network room,electric supplyroom Sound complex,color lab,editing suite,VFX studio,3d developing suite,preview theatre,rest room This studio provides outdoor shooting area for film making

Table 3.1 areas of prasad labs

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3.3 KARNATAKA MODEL VILLAGE,JAKKUR Location : 3J86+R7R, Rachenahalli, Thanisandra, Bengaluru, Karnataka 560064

Area:4 Acres

Fig 3.37 location of Karnataka Model Village (Source: Google Earth)

Fig 3.38 View of Karnataka Model Village

A model village, which captures Karnataka's distinct rural life in all its quaint glory, is all set to enthrall hyper-modern Bengaluru. Two years in the making, the village, spread across 4 acres on the of the Mahatma Gandhi Institute of Rural Energy and Development (MGIRED) at Jakkur, aims to highlight the sustainable way of life and encourage people to emulate a lifestyle that leaves less carbon footprint. Included in the model village are the real-life imitation of a rural vegetable market ('santhe'), several types of cattle, wrestling and Kambala competitions with crowds cheering. The Janapada Rangamandira depicts the varied song and dance forms of the state, giving the viewers a glimpse into the popular folklore, their instruments and traditional attires. With an added indoor auditorium, Shukla said that the space will be dedicated to showcase Kannada folk movies, theatre and plays.

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With everything handmade, including the wooden pillars, more than 150 of his artisans, sculptures and fine arts graduates have worked relentlessly from the past three years from a workshop in Gotagodi village of Shiggavi taluk in Haveri TYPES OF HOUSES BUILT HERE 1. VILLAGE HEADMAN HOUSE (GRAMEENA GOWDARA MANE) 2. MEDAR’S HOUSE (GRAMEENA MEDARA MANE) 3. WEAVER’S HOUSE(GRAMEENA NEKAARA MANE) 4. MASON’S HOUSE (GRAMEENA VADDARA MANE) 5. KODAVA’S HOUSE (COORG HOUSE) 6. PINJAAR’S HOUSE (GRAMEENA PINJARA MANE) 7. TOYMAKER’S HOUSE (GRAMEENA AATIKEKAARA MANE) 8. COBBLER’S HOUSE (GRAMEENA CHAMMARA MANE) 9. CARPERNTER’S HOUSE (GRAMEENA BADIGARA MANE) 10. LAUNDRYMAN’S HOUSE (GRAMEENA AGASARA MANE) 11. FARMER’S MARKET (RAITARA SANTE) 12. SCHOOL TEMPLE (GRAMEENA SAALI GUDI) 13. POTTER’S HOUSE (GRAMEENA KUMBARA MANE) 14. TAMATAGAR’S HOUSE (GRAMEENA THAMATAGARARA MANE) 15. PANCHAYAT PLATFORM (PANCHAYATHI KATTE) 16. SCULPTOR’S HOUSE (GRAMEENA SHILPIGANA MANE) 17. ROOF HOUSE (MALIGE MANE) 18. CATTLE FAIR (GRAMEENA JAANUVARUGALA SANTHE) 19. LAMBANI’S HOUSE (GRAMEENA LAMBANI MANE) 20. RURAL BARBER (GRAMEENA KSHOURIKA) 21. RURAL HOUSE (GRAMEENA PRADESHADA MANE) 22. LIME MAKER’S HOUSE (GRAMEENA SUNAGARA MANE) 23. SHEPHERD’S HOUSE (GRAMEENA KURUBARA MANE) 24. FISHERMEN’S HOUSE (GRAMEENA BESTARA MANE) 25. WRESTLING ARENA (GRAMEENA KUSTHI STHALA) 26. OILMAN’S HOUSE (GRAMEENA GAANIGARA MANE) 27. RURAL TUB HOUSE (GRAMEENA THOTTI MANE) 28. BANGLEMAN’S HOUSE (GRAMEENA BALEGARA MANE) 29. BLACKSMITH’S HOUSE (GRAMEENA KAMMARA MANE) 30. OKKALIGA HOUSE (OKKALIGARA MANE) 31. TRADITIONAL DOCTOR’S HOUSE (GRAMEENA NAATI VAIDYARA MANE) 32. SHANUBHOG’S HOUSE (SHANUBHOGARA MANE /KULKARNI MANE) 33. GROCERY SHOP (GRAMEENA KIRANI ANGADI) 34. GOLDSMITH’S HOUSE (GRAMEENA AKKASAALIGARA MANE)

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4. SITE 4.1 SITE SELECTION

Fig 4.2 Mysuru map Fig 4.1 Karnataka map

FUTURE EXPANSION

SITE

Fig 4.3 Immavu industrial area map (source :www.kiadb.gov.in)

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Fig 4.4 location of site (source: google earth)

Fig 4.6 Mysore illustration

Fig 4.5 Bangalore illustration

After serious comparison between Bengaluru and Mysuru, Mysuru was a better place for the proposal of film city due to its low land value and the recent government proposal of selecting Mysuru to set up a film city. The announcement of film city had raised a lot of hopes among the stakeholders of the tourism industry as the project would develop tourism in and around Mysuru. there are over 250 tourist sites around Mysuru and retaining the project in Mysuru would largely

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benefit the film industry as well as people banking on the tourism industry, the stakeholders felt. in fact, when there was hectic lobbying for shifting the project to Ramanagara and Bengaluru, the stakeholders had launched a signature campaign and also tried to bring pressure through the local elected representatives for retaining the project in Mysuru, keeping in view the benefits the tourism industry would gain from the project. 4.2 WHY NOT BENGALURU?? •Lots of traffic and congestion •Travelling time in Bengaluru is more because of traffic •Higher land rates •Travelling time from airport to city is 90 minutes •Overcrowded •Already has a lot of infrastructure •Real estate competition •Non availability of land (most of the large land areas fall into eco •sensitive areas) (results in protests from environmentalists)

4.3 WHY MYSURU?? • • • • • •

After Bengaluru ,Mysuru is the most developing city in Karnataka Traces of establishment of film studios and institutes in Mysuru can be seen Reviving the lost connection between Mysuru and films is main reason for selection. Kannada film industry got its name sandalwood because of Mysuru itself. Mysuru and its surroundings, including parts of Mandya district, have over 100 spots where film shooting takes place. Most scenic locations are within a radius of 15 to 20 km. the project has been languishing for many years for want of land. Though Bengaluru is a nerve center of Kannada film world, now with increased traffic and growing population, shooting in Bengaluru has become a herculean task. Film-makers say that Mysuru offers peaceful atmosphere that is ideal for film shoots. many iconic structures and places, including Mysore palace, Lalitha mahal palace hotel, Chamundi hill, Balamuri, Edamuri, KRS, Shivanasamudra, Kukkarahalli and Karanji lakes and Manasagangothri campus, are favorite spots for sandalwood directors.

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• • •

Mysuru is also surrounded by tourist destinations including Kodagu, Ooty, Hassan and Chikamagaluru. Due to low land rates in Mysuru helps in less rent for shooting at Immavu which can help for new comers to industry and helps in growth of low budget movies 10 LANE highway opening in 2022 reduces travelling time to just 90 min from Bengaluru to Mysuru

4.4 CONTEXT AT SITE LEVEL Reserved forest area towards east of site Industrial area all around the site 4.5 CONTEXT AT REGIONAL LEVEL • • • • • • • • • • • • • • • • • • • • • • • •

Mysore palace- 22.6 KM Mysore zoo-22.3 KM Somnathpura temple-39.7 KM Brindavan gardens-42.1 KM Chamundeshwari temple-26.1 KM Shuka vana -22.2 KM Jaganmohan palace -22.7 KM Bonsai garden- 22 KM Rail museum-24.6 KM Karanji lake-23.7 KM St.Philomena’s church-24.1 KM Ranganthittu bird sanctuary-37.7 KM GRS fantasy park-31.6 KM Edmuri falls-45 KM Talakadu-44.8 KM Folklore museum-26.4 KM Trineshwaraswamy temple-22.9 KM Nanjangud-13.7 KM Melukote temple-73 KM Srikanteshwara temple-14.2 KM Lalitha mahal palace-22.5 KM Kunti betta-52.2 KM Chunchanakatte falls-76.4 KM KRS dam-42.6 KM

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4.6 CONNECTIVITY BY AIR Bangalore International Airport, located about 170 kilometres away, is the nearest major airport to Mysore. All major cities in India are well-connected from Bangalore itself. From Bangalore, it takes about three hours to reach Mysore. A KSRTC bus, a train or a taxi can be taken from Bangalore. BY BUS Alternatively, you can take a bus from Kempegowda Bus Station in Majestic (near the Bangalore City Railway Station) to Mysore. BY TRAIN The railway station in Mysore is just about two kilometers from the city center and Mysore is very well connected by rail throughout the region. Bangalore and Mysore are connected by many express trains that cover the distance in about three hours. Tippu Express, Chamundi Express, Kaveri Express, and Mysore Express are some of the trains that run between the two nodes. BY SELF DRIVE In order to get to Mysore from Bangalore, take the Mysore Road (SH 17) via Kengeri, Ramnagaram, and Mandya all the way to Mysore. The Kanakpura Road (NH 209) runs through Kanakpura, Malavalli, and Bannur and can be reached via Jayanagar, Bangalore. 4.7 SITE IMAGES

Fig 4.7 site image

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Fig 4.8 site image

Fig 4.9 site image

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Fig 4.10 site image

Fig 4.11 site image

Fig 4.12 site image

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4.8 SITE PLAN Fig 4.12 site image

FUTURE EXPANSION SITE

FUTURE EXPANSION SITE PARKING

FUTURE EXPANSION SITE

RESERVED From Mysuru

SITE

FOREST AREA

Fig 4.13 plan of site

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4.9 TOPOGRAPHY

FUTURE EXPANSION SITE

PARKING

FUTURE EXPANSION SITE

From Mysuru

SITE

RESERVED FOREST AREA

Fig 4.14 topography of site

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4.10 AREA MAIN SITE AREA IN SQ M : 477240 SQ M MAIN SITE AREA IN ACRES : 117 ACRES OVERALL SITE AREA IN SQ M : 1663258 SQM OVERALL SITE AREA IN ACRES : 411 ACRES

4.11 CLIMATIC DATA OF SITE

Fig 4.15 climatic data

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5. PROGRAM DEVELOPMENT 5.1 DESIGN GUIDELINES 35 Meters of buffer zone from canal region NO SPECIFIC BYELAWS for the selected site 5.2 PROGRAM DERIVATIONS

Fig 5.1 Flow chart of functions

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Fig 5.2 Flow chart of functions

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Fig 5.3 Flow chart of functions

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5.2DETAIL PROGRAM WITH AREA STATEMENTS

Table 5.1 Area statement

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6. CONCEPT DEVELOPMENT 6.1 PRELIMINARY ZONING

Lights: The skyline highlights the entire project being the main focus and a attention grabbing zone Like entrance, entry,giant wheel Camera: Eye catching elements and buildings suitable for best photography grabs the best attention from all lenses and puts a happy face Like art installation,bridges,museum Action: All the production work happens here ,so its always filled with action and stunts Like sets,studios, production department etc

Fig 6.1 preliminary zoning

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6.2 CONCEPTUAL ZONING

Fig 6.2 Rule of Third Highlighting a subject in important Shots of movie at the Four points of rule of thirds grid

Fig 6.3 Movie shots

•

• •

•

Fig 6.4 Zoning idea •

PLAN OF SITE AND USAGE OF RULE OF THIRDS •

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How rule of thirds is used In this project Using the 4 points to highlight 4 aspects of film city »sets »museum »office spaces »set design wing Using the percentage for the footfall distribution through functions Using percentage for zoning of spaces based on amount of work takes place in that zone Using the ratio of percentage to derive a base map or circulation around the spaces which helps in studio tour of film city These 4 zones will have spaces highlighted and being unique from each other Development of water body through these 4 zones which will have landscape areas connected to it and being the centre of project

6.3 ZONING DEVELOPMENT

Fig 6.5 Zoning development

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6.4 BUILT FORM CONCEPT

Fig 6.6 Built form concept

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7. FINAL DRAWINGS 7.1 MASTER PLAN AND SECTIONS Fig 7.1Fig Master plan and sections 7.1 Master plan and sections

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7.2 STUDIO TOUR AND SERVICES

Fig 7.2 Studio tour and services

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7.3 ELEVATIONS

Fig 7.3 Elevations

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7.4 BLOCK PLANS AND SECTIONS 7.4.1 ENTRANCE BLOCK,RESTAURANTS AND WASHROOM

Fig 7.4 Entrance block, restaurants and washrooms

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7.4.2 ADMIN, PRE-PRODUCTION, POST-PRODUCTION BLOCK

Fig 7.5 Admin ,pre-production , post production block

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7.4.2 ADMIN, PRE-PRODUCTION, POST-PRODUCTION BLOCK

Fig 7.6 Admin, pre-production , post production block

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7.4.3 MUSEUM AND MOVIE MAKING EXPERIENCE BLOCK

Fig 7.7 Museum and movie making experience hall

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7.4.4 SET DESIGN WING

Fig 7.8 Set designing wing

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7.4.5 SOUND STUDIOS

Fig 7.9 sound stages

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7.4.6 FILM MAKING STORE

Fig 7.10 Film making store

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7.4.7 MODEL VILLAGE AND STREET

Fig 7.11 Model village and street

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7.4.8 SHOOTING HOUSE

Fig 7.12 Shooting house

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7.4.9 VISION FOR 2030

Fig 7.13 Vision for 2030

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7.4.10 STRUCTURE AND MATERIAL

Fig 7.14 Structure and Materials

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8.VIEWS OF OTHER BLOCKS

Fig 8.1 Other blocks views

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Fig 8.2View OF entire project

Fig 8.3 View of sets

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9.PHOTOGRAPHS OF MODEL SITE MODEL PHOTOGRAPHS

Fig 8.4 Site model

Fig 8.5 Site model

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Fig 8.6 Site model

Fig 8.7 Physical model

Fig 8.8 Physical model

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10.MISCELLANEOUS 10.1 WALK THROUGH VIDEO Use the below given link for walk through video https://www.youtube.com/watch?v=8jCejc_0Z_c or scan the QR CODE

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10.1 FROM THE INDUSTRY

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11. BIBLIOGRAPHY www.ramojifilmcity.com www.starofmysore.com www.studiobabelsberg.com www.filmcitymumbai.org www.wikipedia.com www.prasadcorp.com www.kiadb.karnataka.gov.in https://pinewoodgroup.com/ https://issuu.com/

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