Music in Architecture & A Conservatory of Music

MUSIC IN ARCHITECTURE & A CONSERVATORY OF MUSIC @ MADURAI

A PROJECT REPORT Submitted by

SAM JEBADURAI D AC12UAR072

in partial fulfillment for the award of the degree of

BACHELOR OF ARCHITECTURE (B.ARCH) in

ADHIYAMAAN COLLEGE OF ENGINEERING, HOSUR (Autonomous)

ANNA UNIVERSITY: CHENNAI 600 025 MAY 2017

ANNA UNIVERSITY: CHENNAI 600 025

BONAFIDE CERTIFICATE

Certified that this project report “MUSIC IN ARCHITECTURE & A CONSERVATORY OF MUSIC” is the bonafide work of “SAM JEBADURAI D” who carried out the project work under my supervision.

Prof. Ar. R.Seetha, M.Arch.

Ar. Ambrish, M.Arch.

HEAD OF THE DEPARTMENT

SUPERVISOR

Department of Architecture

Department of Architecture

Adhiyamaan College of Engg.

Adhiyamaan College of Engg.

Dr. M.G.R. Nagar

Dr. M.G.R. Nagar

Hosur – 635 109.

Hosur – 635 109.

INTERNAL EXAMINER

EXTERNAL EXAMINER

DECLARATION

SAM JEBADURAI D (Reg no. AC12UAR072) a bonafide student of the Department

of

Architecture,

Adhiyamaan

college

of

Engineering

(autonomous), Hosur, hereby declares that this thesis report entitled ”MUSIC IN

ARCHITECTURE

&

A CONSERVATORY OF MUSIC

@

MADURAI” for the award of the degree, Bachelor of Architecture, is my original work and has not formed the basis or submitted to any other universities or institution for the award of a degree or diploma.

DATE : PLACE : HOSUR

(STUDENT NAME)

ACKNOWLEDGEMENT I first thank lord almighty, whose graceful blessings enabled me to complete this thesis project for the fulfilment of my B.Arch degree course.

I convey my heartfelt thanks to the college, especially to our Principal Dr. G. Ranganath, M.E, Ph.D, M.I.S.T.E., M.I.E., M.Eng (I), for providing the wonderful environment and their support.

I take this opportunity to express my gratitude to our beloved H.O.D, Prof. Ar. R. Seetha, M.Arch, for rendering her valuable guidance, support, encouragement and advice to make my efforts and the project successful.

I specially thank my Guide, Ar. Ambrish, M.Arch, for his timely guidance and encouragement. I thank all other faculty of the architecture department and panel members Ar. Paventhan, Ar. Deepa and Ar. Nithya for their help and guidance.

I am grateful to My parents and My family members who offered great support and encouragement during the thesis.

My huge thanks go to My fellow Friends specially for all the NO’S which made me do all my works by myself and My Juniors who supported me with their encouragement through which I have been able to complete my Thesis.

(SAM JEBADURAI D)

Table of contents

TABLE OF CONTENTS CHAPTER NO

TITLE

PAGE NO

PART I 1.

INTRODUCTION

1

1.1 BACKGROUND

2

1.2 INTRODUCTION- MUSIC & ARCHITECTURE

2

1.3 AIM

3

1.4 NEED OF STUDY

3

1.5 PROJECT DETAILS

4

1.5.1 WHY IN MADURAI….?

4

1.5.2 SCOPE

4

1.6 LIMITATIONS

5

1.7 METHODOLOGY

6

1.7.1 MUSIC IN ARCHITECTURE

6

1.7.2 CONSERVATORY OF MUSIC

6

PART II 2.

MUSIC IN ARCHITECTURE

7

2.1 HISTORY AND DEVELOPMENT OF INDIAN MUSIC

8

2.2 MUSIC AND ARCHITECTURE

9

2.3 POWER OF MUSIC

10

2.4 MUTUAL RELATIONSHIP BETWEEN

11

MUSIC AND ARCHITECTURE 2.5 MUSIC IN ARCHITECTURE

12

2.5.1 HIERARCHY

12

2.5.2 UNITY

12

2.5.3 HAUTEUR

12

2.5.4 TENSION AND DURABILITY

12

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Table of contents 2.5.5 FORMATION

12

2.5.6 SYMMETRY

13

2.5.7 RHYTHM

13

2.5.8 REPETITION

13

2.5.9 CONNECTION

13

2.5.10 PROPORTIONALITY

13

2.5.11 STRESS

14

2.5.12 INTENSITY OF DURATION

14

SOUND OF VISUAL SIGNS 2.5.13 CONTRAST

14

2.5.14 MOVEMENT

14

2..5.15 GLISANDO

14

2.5.16 SILENCE

15

2.5.17 ASSUMED FACTOR

15

2.5.18 RESPECTIVE

15

2.5.19 HARMONY

15

2.5.20 IMPROVISATION

15

2.5.21 MATERIAL, COLOUR &

16

COMPOSITION OF SOUND IN MUSIC 2.5.22 REPETITION

16

2.5.23 SUBJECTIVITY

16

2.5.24 FORM AND MELODY

16

2.5.25 FUNCTION

16

2.5.26 SCEINTIFIC BASIS

16

PART III 3.

LITERATURE STUDY 3.1 SPATIAL ANALYSIS AND STANDARDS 3.1.2 ENTRY/ APPROACH

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Table of contents 3.1.3 LOBBY

18

3.1.4 GENERAL AND PUBLIC AREAS

18

3.2 LIBRARY 3.2.1 LIBRARY STANDARDS 3.3 STUDIOS

18 20 20

3.3.1 STAFF ROOMS

20

3.3.2 LECTURE HALLS

20

3.3.3 GENERAL APPROACH TO

21

CLASSROOM DESIGN

3.3.4 CLASS ROOM PROPORTION

21

3.4 SEMINAR HALL

22

3.5 PRACTICE AREAS

22

3.6 RECORDING STUDIO

22

3.6.1 DESIGN AND EQUIPMENTS

23

3.6.2 ISOLATION BOOTH

23

3.7 INSTRUMENTAL PLAY AREA

24

3.8 WORK ROOMS

24

3.9 CONCERT HALL

25

3.10 MUSIC FACILITIES

26

3.10.1 MUSIC CLASSROOM

26

3.10.2 MUSIC SUITE ROOM

27

3.10.3 INSTRUMENTAL REHEARSAL ROOM

28

3.10.4 CHORAL REHEARSAL ROOM

29

3.10.5 PRACTICE ROOMS

30

3.10.6 MUSIC OFFICE

30

3.10.7 MUSIC STORAGE ROOM

30

3.10.7 MUSIC STORAGE ROOM

33

3.12 MULTIPLE USES

33

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Table of contents 3.13 COMPUTER LAB

33

3.14 ADDITIONAL ROOMS

33

PART IV 4.

CASE STUDY 4.1 KALA ACADEMY @ GOA

35 36

4.1.1 INTRODUCTION

36

4.1.2 LOCATION

36

4.1.3 ACCESS

36

4.1.4 LAYOUT

37

4.1.5 FACILITIES

37

4.1.6 BUILDING LEVEL ZONING

40

4.1.7 BUILDING STYLE AND CHARACTER

40

4.1.8 D.M KALA MANDIR (A.C AUDITORIUM)

41

4.1.9 MINI OPEN AIR AUDITORIUM

42

4.1.10 BLACK BOX

42

4.1.11 OPEN AIR AMPHITHEATRE

43

4.1.12 PREVIEW THEATRE

43

4.1.13 CAFETERIA

44

4.1.14 ART GALLERY

44

4.1.15 ADMINISTRATION

45

4.1.16 LIBRARY

45

4.1.17 TEACHING STUDIO

45

4.1.18 PARKING FACILITIES

45

4.1.19 LANDSCAPE

46

4.1.20 SERVICES

46

4.1.21 INFERENCE

46

4.2 THE BANGALORE SCHOOL OF MUSIC

48

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Table of contents 4.2.2 LOCATION

48

4.2.3 CLASSES CONDUCTED

48

4.2.4 PLANNING

49

4.2.5 GROUND FLOOR

49

4.2.5.1 AUDITORIUM

49

4.2.6 MEZZANINE FLOOR

50

4.2.7 FIRST FLOOR

50

4.2.8 SECOND FLOOR

51

4.2.8.1 REHEARSAL HALL

51

4.2.9 OTHER INTERACTION SPACES

52

4.2.10 INFERENCE

52

4.3 KALAKSHETRA @ CHENNAI

53

4.3.1 INTRODUCTION

53

4.3.2 LOCATION

53

4.3.3 CLASSES CONDUCTED

53

4.3.4 INSTITUTES INSIDE THE FOUNDATION

54

4.3.5 FACILITIES PROVIDED

54

4.3.6 PLAN OF COLLEGE OF FINE ARTS

56

4.3.7 NATYA MANDAPAM (KOOTHAMBALAM)

59

4.3.8 INFERENCE

60

4.4 COMPARATIVE ANALYSIS OF CASE STUDIES

61

PART V 5.

INTERNET CASE STUDY

63

5.1 NCPA, JBT HALL @ MUMBAI

64

5.1.1 INTRODUCTION

64

5.1.2 LOCATION

64

5.1.3 ACCESS

64

5.1.4 SITE

65

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Table of contents 5.1.5 TATA THEATRE

66

5.1.6 EXPERIMENTAL THEATRE

66

5.1.7 DR JAMSHED J BHABHA THEATRE

67

5.1.7.1 DETAILS OF DOOR

68

5.1.7.2 BACKSTAGE ENTRIES/EXITS DOOR

68

5.1.7.3 BACKSTAGE ENTRIES/EXITS

68

5.1.7.4 STAGE ENTRIES/EXITS

69

5.1.7.5 GREEN ROOMS

69

5.1.7.6 WALLS

70

5.1.7.7 TREATMENTS FOR CEILING

71

5.1.7.8 TREATMENT FOR WALL SHAPE

72

5.1.7.9 TREATMENT TO CONTROL ECHO

72

5.1.7.10 SEATINGS

73

5.1.7.11 FLOOR

73

5.1.7.12 LIGHTING FEATURES

73

5.1.7.13 CEILING

74

PART VI 6.

SPECIAL STUDY

75

6.1 INTRODUCTION

76

6.2 ACOUSTICS

76

6.2.1 ACOUSTICAL

76

6.2.2 ACOUSTICAL ANALYSIS

76

6.2.3 ACOUSTICAL ENVIRONMENT

76

6.2.4 ARCHITECTURAL ACOUSTICS

76

6.2.5 ABSORPTION

77

6.2.6 AUDIOMETER

77

6.2.7 BAFFLE

77

6.2.8 BARRIER

77

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Table of contents 6.2.9 BEL

77

6.2.10 BOOMINESS

77

6.2.11 CLOUD

77

6.2.12 DECIBEL (dB)

78

6.2.13 DIFFUSION

78

6.2.14 ECHO

78

6.2.15 ECHO FLUTTER

78

6.2.16 FREQUENCY

78

6.2.17 LOUDNESS

78

6.2.18 MASKING

79

6.2.19 NOISE

79

6.2.20 REFLECTION

79

6.2.21 REVERBERATION

79

6.2.22 REVERBERATION TIME

79

6.2.23 SOUND

79

6.2.24 SOUND ABSORBTION

79

6.3 FOR GOOD ROOM ACOUSTICS

80

THE FOLLOWING CONDITIONS NEED TO BE SATISFIED 6.4 ACOUSTICS – MATERIALS

80

6.5 TYPES OF MATERIALS

80

6.5.1 SOUND ABSORBERS

81

6.5.1.2 TYPES

81

6.5.1.3 ACOUSTICAL FOAM PANELS

81

6.5.1.4 WHITE PAINTABLE

82

ACOUSTICAL WALL PANELS 6.5.1.5 FABRIC WRAPPED PANELS

83

6.5.1.6 ACOUSTICAL WALL COVERINGS

83

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Table of contents 6.5.1.7 CEILING TILES

84

6.4.1.8 BAFFLES AND BANNERS

85

FOR CEILING 6.5.2 SOUND DIFFUSERS

85

6.5.2.1 QUADRA PYRAMID DIFFUSER

86

6.5.2.2 PYRAMIDAL DIFFUSER

86

6.5.2.3 DOUBLE DUTY DIFFUSER

86

6.5.2.4 QUADRATIC DIFFUSER

86

6.5.3 NOISE BARRIERS

86

6.5.3.1 VIBRATION CONTROL

86

6.5.3.2 BARRIERS

87

6.5.3.3 COMPOSITES

87

6.5.4 SOUND REFLECTORS 6.5.4.1 OVATION REFLECTOR PANELS

87 87

PART VII 7.

SITE STUDY 7.1 LOCATION OF SITE 7.1 LOCATION OF SITE

89 90 90

7.2 MADURAI – INTRODUCTION

91

7.3 WHY IN MADURAI..??

91

7.4 ACCESS

92

7.5 PROS AND CONS

93

7.6 INGREES AND EXGREES

93

7.7 LANDMARKS AND ACCESIBILITY

94

7.8 SITE ANALYSIS

95

7.8.1 ORIENTATION

95

7.8.2 SUN PATH

95

7.8.3 WIND DIRECTION

95

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Table of contents 7.8.4 NOISE

95

7.8.5 DRAINAGE

96

7.9 SITE FEATURES

96

7.9.1 HYDROLOGY

96

7.9.2 GEOLOGY

96

7.9.3 TEMPERATURE

96

7.9.4 VEGETATION

96

7.9.5 TOPOGRAPHY

96

7.9.6 DISASTER

97

7.9.7 ONSITE FEATURES

97

7.9.8 OFFSITE FEATURES

97

7.10 SITE VISUALS

97

7.11 INFERENCE

97

PART VIII 8.

DESIGN REQUIREMENTS AND PROGRAMME 8.1 DESIGN OVERVIEW

98

99

8.1.1 FULL-TIME COURSES

99

8.1.2 PART-TIME COURSES

99

8.2 COURSES

99

8.2.1 PREPARATORY COURSES

99

8.2.2 UG COURSES IN MUSIC

99

8.2.3 PG COURSES IN MUSIC

100

8.2.4 SUMMER PROGRAMS

100

8.2.5 AUDIO ENGINEERING

100

8.3 MUSICAL INSTRUMENTS

100

8.3.1 STRINGS & BOWED STRING

100

8.3.2 WIND

100

8.3.3 BRASS

100

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Table of contents 8.3.4 PERCUSSION

101

8.3.5 KEYBOARD INSTRUMENTS

101

8.3.6 GUITAR FAMILY

101

8.3.7 VIOLIN FAMILY

101

8.4 UG COURSES AND NUMBER OF STUDENTS

101

8.4.1 UG - WESTERN MUSIC COURSES

101

8.4.2 UG - CLASSICAL MUSIC COURSES

102

8.5 PG - COURSES IN MUSIC

102

8.6 AUDIO ENGINEERING

103

8.7 STAFFS

103

8.7.1 STAFFS QUARTERS 8.8 STUDENTS

103 103

8.8.1 HOSTEL FACILITIES

104

8.8.2 DINING FACILITIES

104

8.8.3 TOILET FACILITIES

104

8.8.4 RECREATIONAL FACILITIES

104

8.5 ACADEMIC

105

8.5.1 ADMINISTRATION

105

8.5.2 LIBRARY

105

8.5.3 MUSIC RESEARCH CENTRE

106

8.5.4 RECORDING STUDIO

106

8.5.5 OAT FOR MAJOR CONCERTS

106

8.5.6 CONCERT HALL

107

8.5.7 SEMINAR HALL

108

8.6 PARKING

108

8.7 SERVICE FACILITIES

108

8.8 OTHER FACILITIES

108

8.9 TOTAL AREA CALCULATION

109

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Table of contents PART IX 9.

CONCLUSION 9.1 CONCLUSION

110 111

PART X 10. BIBLIOGRAPHY 10.1 BIBLIOGRAPGHY

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112 113

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Table of contents

LIST OF TABLES SL.NO

TITLE

PAGE NO

1.

COMPUTER LAB

34

2.

ADDITIONAL ROOMS

34

3.

COMPARATIVE ANALYSIS OF CASE STUDIES

61

4.

COMPARATIVE ANALYSIS OF CASE STUDIES

62

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Table of contents

LIST OF FIGURES FIG.NO

TITLE

PAGE NO

1.

HAND AND VIOLIN

2.

MUSIC AND ARCHITECTURE

11

3.

CONCERT HALL

25

4.

MUSIC SUITE ROOM LAYOUT

27

5.

INSTRUMENTAL REHEARSAL ROOM LAYOUT

28

6.

INSTRUMENTAL REHEARSAL ROOM SACE GUIDELINES

28

7.

CHORAL REHEARSAL ROOM LAYOUT

29

8.

CHORAL REHEARSAL ROOM SPACE GUIDELINES

29

9.

MUSIC STORAGE ROOM

31

2

10. PRACTICE ROOMS AND STUDIO

32

11. INSTRUMENTS STORAGE SPACE

32

12. CAFETORIUM

33

13. KALA ACADEMY

36

14. KALA ACADEMY – SITE LAYOUT

37

15. KALA ACADEMY – FLOOR PLAN

38

16. KALA ACADEMY – FIRST FLOOR PLAN

39

17. KALA ACADEMY – SECOND FLOOR PLAN

39

18. KALA ACADEMY – BUILDING SECTION

40

19. KALA ACADEMY – PERGOLA, INTERIOR WALLS

41

AND PARAPET WALLS 20. KALA MANDIR – INTERIOR AND SECTION

41

21. KALA ACADEMY – MINI OPEN THEATRE

42

22. KALA ACADEMY – BLACK BOX

42

23. KALA ACADEMY – OPEN AIR THEATRE

43

24. KALA ACADEMY – PREVIEW THEATRE

43

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Table of contents 25. KALA ACADEMY – CAFETARIA

44

26. KALA ACADEMY – ART GALLERY

44

27. ADMINISTRATION

45

28. LIBRARY

45

29. TEACHING STUDIO

45

30. PARKING FACILITIES

45

31. LANDSCAPE

46

32. THE BANGALORE SCHOOL OF MUSIC

48

33. FRONT ELEVATION

48

34. FLOOR PLANS

49

35. AUDITORIUM – STAGE VIEW

49

36. AUDITORIUM – ENTRY AND WALL ACOUSTICS

49

37. AUDITORIUM – ACOUSTICS PORES IN CEILINGS

50

38. LOBBY AND OFFICE WITH RECEPTION

50

39. CLASS ROOMS AND DINING WITH PANTRY

50

40. LIBRARY AND CORRIDOR WITH TOILET

51

41. WOODEN FLOOR AND ACOUSTICS

51

42. KALAKSHETRA & LOCATION

53

43. KALAKSHETRA – SITE PLAN

55

44. PLAN OF FINE ARTS

56

45. PLAN OF CLASS ROOMS

56

46. ELEVATION OF COTTAGE

57

47. STUDIO INSTRUMENTAL MUSIC

57

48. BANYAN TREE FOR ASSEMBLY AND PRAYER

58

49. MANDAPAS AND POND AREAS

58

50. NATYAMANDAPAM

59

51. N.C.P.A. MUMBAI

64

52. N.C.P.A. MUMBAI – SITE PLAN

65

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Table of contents 53. TATA THEATRE

66

54. EXPERIMENTAL THEATRE

66

55. DR JAMSHED J BHABHA THEATRE

67

56. THEATRE FLOOR PLAN

67

57. STAGE DOOR

68

58. BACKSTAGE ENRTY

68

59. BACKSTAGE EXIT

68

60. MAINSTAGE ENTRY AND EXIT

69

61. GREEN ROOM

69

62. POP PANELS, WOODEN PANELS AND MARBLE

70

63. WOODEN PANELS

71

64. CEILING TRAETMENTS

71

65. WALL SHAPE TREATMENTS

72

66. ECHO TREATMENTS

72

67. WALL TREATMENTS

72

68. SEATINGS

73

69. WOOLLEN CARPET

73

70. LIGHTING FIXTURES ON CEILINGS

73

71. SPOT LIGHTS

73

72. GRID LIKE CEILING AND REFLECTED PART CEILING

74

73. SUSPENDED CEILING AND CEILING WITH PANELS

74

74. ACOUSTICAL FOAM PANELS

81

75. WHITR PAINTABLE ACOUSTIC WALL PANELS

82

76. FABRIC WRAPPED PANELS

83

77. ACOUSTICAL WALL COVERINGS

83

78. ACOUSTICAL CEILING TILES

84

79. BAFFLES AND BANNERS FOR CEILING

85

80. SOUND DIFFUSERS

85

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Table of contents 81. NOISE BARRIERS

86

82. REFLECTOR PANELS

87

83. MADURAI CITY MAP

90

84. PROPOSED SITE MAP

90

85. MADURAI – INTRODUCTION

91

86. WHY IN MADURAI..?

91

87. MADURAI – INTERNATIONAL AIRPORT

92

88. MADURAI – RAILWAY STATION

92

89. MADURAI – CENTRAL BUS STAND

92

90. PROS AND CONS

93

91. INGRESS AND EXGRESS

93

92. LANDMARKS AND ACCESSIBILITY

94

93. SITE ANALYSIS

95

94. SITE TOPOGRAPHY

96

95. SITE VISUALS

97

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1.INTRODUCTION

Introduction “WHEN I SEE ARCHITECTURE THAT MOVES ME, I HEAR MUSIC

IN MY INNER EAR’’ – F.L.WRIGHT.

1.1 BACKGROUND : ▪

Music has always been a major Influence for me.

▪

I have been in singing for as long as I can remember.

▪

I attended violin classes and studied music theory as well.

Fig. 1 : Hand and violin

▪

I’m fluent in violin and I have played keyboard, Guitar, Drums,..etc

▪

I used to play in a bands with my friends at church programs, small local venues and events.

▪

As I have entered into architecture, Music has inspired my project.

1.2 INTRODUCTION- MUSIC & ARCHITECTURE : ▪

The word Music is derived from Greek word “MOESIA” which is the name of the god of poetry, literature and music in ancient Greek.

▪

Music is found in every known culture, past and present, varying widely between times and places.

▪

Music is described as the art of expressing emotions by voices.

▪

Music is an art form and cultural activity whose medium is sound organized in time.

▪

Almost everyone enjoys some form of music. Although techniques of presentation and styles may differ, the basic fabric of music is same and is universal.

▪

In both MUSIC AND ARCHITECTURE fields, we shall find an amazing symmetry between their elements.

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Introduction ▪

In the past, the architectural work was considered as a huge existence containing many signs and meanings.

▪

If we stress upon the architectural forms and their outlines of plans and elevations, we will find by chance that these forms represent a beautiful portrait of art, which provides the same feelings when we listen to an enjoyable music symphony.

1.3 AIM : ▪

To study the existing connections on the relationship between the music and architecture.

▪

To design a academy for music to polish the talents and to promote new opportunities in music in the future generation by providing state of the art facilities.

1.4 NEED OF STUDY :

▪

To promote both the traditional music of classical and the western music and make it popular.

▪

To provide all the use of music as in teaching, training and performance facilities in a unique campus.

▪

Even though there are some academies, which provide both teaching and performance facilities, still there is a highly essential longing for a unique campus.

▪

To train the musician in various realms of music in educating the general and different instrument courses.

▪

To polish the talents and to promote new opportunities in music in the future generation.

▪

A common stage where all the music forms fuse & reflect the riches of World music.

▪

Bringing together all the Musicians in one place for them to interact among themselves.

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Introduction 1.5 PROJECT DETAILS : 1.5.1 WHY IN MADURAI….?

▪

Madurai has been known as the centre of ‘Muthamizh’ (the three-forms of

Tamil language -Iyal (prose), Isai (music) and Nadagam (drama) since the Sangam age.

▪

It is also considered the epicenter of Tamil development activities and one of the oldest continuously inhabited cities in the world.

▪

It is the cultural headquarters in the state of TamilNadu and have more number of historical monuments.

▪

Third largest city by population in Tamil Nadu.

▪

Third major in economic.

▪

Renowned for Tourism.

▪

Major transportation hub for southern Tamil Nadu.

▪

There is a lack of music facilities in South Tamil Nadu when compare to the North.

▪

To develop the Music of Madurai and Strengthen the musical awareness of south Tamil Nadu I’m providing a conservatory in Madurai.

1.5.2 SCOPE :

▪

Even though there are several styles of music, only certain common instruments and styles can be handled in one institution. This campus can provide all the music amenities in one land.

▪

Instead of regular classes workshops will conduct for some styles.

▪

Summer classes also conduct for all the courses.

▪

It provides a Master, Bachelor and preparatory courses in Music.

▪

In this academy the requirements of music courses, recording studios, concert hall and community spaces which gives the good interactions and bring out the talented musicians and promote the world music.

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Introduction I. ACADEMIC FACILITIES : ➢ College building comprising all department. ➢ Administrative building. ➢ Lecture halls. ➢ Rehearsal halls. ➢ Auditorium. ➢ Library. ➢ Canteen.

II. ACCOMODATION FACILITIES : ➢ Hostel facilities. ➢ Staff quarters. ➢ Dining facilities.

III. RECORDING STUDIO IV. CONCERT HALL AND OAT V. MUSIC RESEARCH CENTRE

VI. RECREATIONAL FACILITIES VII. OTHER FACILITIES ➢ Park and Gardens ➢ Outdoor performance shed ➢ Outdoor practice sheds.

1.6 LIMITATIONS : ▪

Even though there are different styles of music, only certain common instruments and styles can be handled in one institution.

▪

Instead of regular classes workshops are to be conducted for other styles.

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Introduction 1.7 METHODOLOGY : 1.7.1 MUSIC IN ARCHITECTURE : ▪

History and development of Indian music.

▪

Relationship between music and architecture.

▪

Music in architecture - To study the existing connections on the relationship between the music

and architecture.

1.7.2 CONSERVATORY OF MUSIC : ▪

LITERATURE STUDY ➢ Planning Guidelines

➢ Activities ➢ Standards and requirements ▪

CASE STUDY ➢ Analysis & Inference. ➢ Framing of Requirements

▪

SPECIAL STUDY ➢ Acoustics and its materials

▪

SITE ➢ Site selection ➢ Site study ➢ Site analysis ➢ Site zoning

▪

EVOLVING CONCEPT

▪

DETAILED DRAWINGS AND DESIGN

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2. MUSIC IN ARCHITECTURE

Music in Architecture 2.1 HISTORY AND DEVELOPMENT OF INDIAN MUSIC : The origin of Indian music can be traced back to the Vedas of Hindu Mythology approximately 4000 to 5000 BC. The first ever sound to be heard inn the universe was Om or Naad Brahma. Vedas are the earliest written documents, which have been found in the Indian Sub Continent. The Vedic

chants as mentioned as mentioned in the Vedas are based on Rhythm that probably made them easier to remember. These Rhythms were based on three basic notes. Music however, has been in existence much before the Vedas. The origin of Indian music is therefore considered divine and the musicians developed the attitude of abandonment in order to fuse with the Brahma.

The present form of music has taken a long way and the influence in the Indian music is dated as back as 14th to 18th centuries. The Indian music has

accumulated a heritage of centuries which has an influence of various races and cultures both of India and foreign. As the centuries faded into one another, and civilization like Indus valley rose & declined, the Vedas still endured the development and influenced by the Persians, the British’s, Portuguese and the influence of the western world. The researches of the Indian music only defined the dramatization of music.

The concept like Taal, Beat and Jari were being recognized to be used

and established. One of the first authoritative books that laid down the rules to be followed in music was by Bharatas and was called Natyashastra. This gives a very significant information about the Indian music and the concepts related to music and musical instruments.

Later in 13th century Sarang Deva wrote comprehensive book on ancient Indian classical music called Sangeetha Ratnakar which is considered as the most comprehensive book on Indian classical music even today. It

defined and elaborated the significance of the seven notes in evoking feelings of the listeners.

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Music in Architecture Indian music was highly influenced by the Muslim rulers.

Especially the music in Northern India. The Southern states however, managed to resist the invasions and retain their original form, which is now defined as Carnatic music. It is only after the influence of Mughals that the Indian music has been broadly divided in Northern or Hindustani Music and Southern or Carnatic Music. The Persians brought with them their own artists and singers which influenced music of India however it survived its own identity due to the way education was imparted through Guru Shishyas Parampara which was a set way of passing information from generation to generations and helped Indian music to retain and survive its originality. Indian classical music also flourished across the country in various kingdoms like Rajputana, Madya Pradesh etc.

2.2 MUSIC AND ARCHITECTURE : Architecture can’t seem to graphically illustrate a situation like Music can. And Architecture could not serve as a sort of ‘soundtrack’ to a situation. It can serve as a backdrop, or as a set, but not as something that describes the actual emotions and events of a situation. Maybe it can, in some way that we are not seeing, but I am just trying to draw the distinction between Music and Architecture in order to better understand what music does for us. How does it serve us?

While architecture serves us in a very direct way, pinpointing how music functions for human beings is much more involved. Perhaps a look at the arguments for the ways in the which art serves us would be more effective in getting at some sort of understanding of music. Art works as a communication of music. Art works as a communication tool for ideas, concepts and circumstances that might now be otherwise communicable. Art, as it has proven itself. Also acts as a mirror built by our cultures that reflects back on our cultures.

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Music in Architecture By reflecting I don’t mean that it simply gives us an accurate view of our world, the mirror does much more than that.

Art allows to see how our own views and ideas on things all the views.

It seems that a goal of much art is to present new views or paradigms that despite their newness are still part of the culture because they are a product of it. Art engages in us in a sort of cultural introspection at the societal level and also engages us in personal introspection at the

individual level. This

introspection might not always be obvious to while viewing art, but art does evoke memories in order that we may come to some sort of understanding of it (humans seem to reference their past in order to smoothly function in the present – we are always engaged in retrospection) and those memories are a sort of introspection. Anyway, I think that music also functions in society on this level – as a sort of mirror.

A mirror that reflects our past, present and futures in new ways. The reason we need art and architecture is that we cannot intellectually exist without some sort of world view and further some sort of self in world view.

One could argue that music and the arts raise our level of awareness about our culture, and ourselves and as I mentioned before, this awareness is essential to our existence. I started out trying to understand the distinction between Music and Architecture. This comes from the notion of ‘Architecture as frozen music as someone once said, and trying to understand the ways in which music and architecture are related.

2.3 POWER OF MUSIC : Music has the power to cause emotions to well up within us. These feelings are gripping – often irresistible – and seem to emerge from nowhere.

These feelings color our moods, affects our perceptions and generate a behavioral pattern. The indisputable fact about music is its power to evoke emotions.

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Music in Architecture 2.4 MUTUAL RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE : Art of music consists of: A-Composer B-Listener C-Musical work A- Composer: is a person who produces a valuable work as specified by his sense, type of dominating emotion and his natural talent.

B- Listener: is a person who listens to the musical work and receives the composer’s message. Each listener has a different aural sense, thus the sound tone, its purity, its instrument type and the musical hall‌etc.

C- Musical work: is a sonic existence that comes out through a single instrument or more. It contains melodies and wave frequencies carrying the composer's sentimental feelings. This work contains a mixture relating to rhythm, harmony, unity and variety. The successful work depends on simplicity, true expression, sonic purity, quality of instruments and creation of charming melodies and freedom from boring & repeating rhythms.

COMPOSER

MUSICAL WORK

LISTENER

MUSIC

DESIGNER

USER

ARCHITECTURAL WORK

ARCHITECTURE Fig. 2 : Music and Architecture

The comparison between architecture & music will reveal that, the architectural design process has the same components & elements, which are consisting of: A-Designer B-User C- Architectural work SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Music in Architecture If we recognize the literal meaning of architecture, we will find that, the same emotion case –as in music- affect a person who uses his talents to translate this emotion producing sketches or creating 3D models. The success of the architectural works depends on many factors including Depth of study, Full analysis, Cultural grade and reaching top aesthetics of formation through designer’s ability of creation & innovation.

2.5 MUSIC IN ARCHITECTURE :

2.5.1 HIERARCHY : Music : Prelude, introduction, a number of Gushed after introduction, four-beater form, ballad, percussion form, Rang form.

Architecture : Entrance, path division, path change, stop for deciding direction and visual productivity: access hierarchy.

2.5.2 UNITY : Music : - Melody ablaut, - return to the main tetrachord -notes movement surrounding tunic.

Architecture : Utilization of symmetry, proportionality and colours in a monument.

2.5.3 HAUTEUR : Music : Climax in music.

Architecture : Length or shortness of a part of the building.

2.5.4 TENSION AND DURABILITY : Music : Sounds whose duration is long or short.

Architecture : Utilization of visual signs.

2.5.5 FORMATION : Music : Time, volume, length, width and height.

Architecture : Time, frequency of sound and rhythm.

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Music in Architecture 2.5.6 SYMMETRY : Music : - third line in 5-line carrier of symmetry axis -mirror symmetry in notes.

Architecture : In outer volumes in inside space Symmetry in doors.

2.5.7 RHYTHM : Music : Harmonic repetition Quick or slow movements which are produced by means of sounds or silences.

Architecture : Change of space either it be close or open, narrow or wide, upward or upward Sequence of enlarged or shortened volumes, light and shade, colours etc.

2.5.8 REPETITION :

Music : Music return path, repetition of motifs.

Architecture : Repetition of windows Repetition of engineering designs- arabesque Repetition of motifs Repetition of pillars and walls.

2.5.9 CONNECTION : Music : Connector piece which makes connection between two main pieces Zinat notes separation (connection of two notes by zinatnote and conversion of jumping movement to gradual movement.

Architecture : A space that connects a part of building to another part.

Corridor is a connector.

2.5.10 PROPORTIONALITY : Music : - proportionality in length of sounds and distance and frequencies of notes. Application of proportionalities in time, golden proportionality.

Architecture : Proportionality in length, width and height Employment of proportionality in place volume, golden proportionality.

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Music in Architecture 2.5.11 STRESS : Music : Relying on sound, by this sign the note must be stressed Stress by means of breaking rhythm Stress by means of creating a central point.

Architecture : Relying on reveal of part of the building Relying of

creation of gravity and centrality Relying on reaching peak Relying on repetition Relying on contrast.

2.5.12 INTENSITY OF DURATION SOUND OF VISUAL SIGNS : Music : A note that has more intensity than other notes A note that is moderate than other notes.

Architecture : Larger or smaller volumes with getting closer to each other Utilization of light and shades for better clearance.

2.5.13 CONTRAST : Music : Has silence and voice and pitch. Contrast in melody and harmony.

Architecture : Has light and shade, height and shortness, clearance or obscurity and contrast of spectrums.

2.5.14 MOVEMENT : Music : Moving and dynamic but it may occasionally induce silence.

Architecture : Empty space and static but it may occasionally induce dynamicity and movement.

2..5.15 GLISANDO : Music : Moving fingers on strings and return to the main note.

Architecture : Displacement of direct line and changes in architecture.

Glisandro occurs in architecture when a surface joins another softly and then return to its original position.

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Music in Architecture 2.5.16 SILENCE : Music : Silence.

Architecture : Sections that passer stops such as squares and urban nodes.

2.5.17 ASSUMED FACTOR : Music : Carrying lines in music.

Architecture : Axes in architecture.

2.5.18 RESPECTIVE : Music : Tensions that start slowly tending to become strong or viceversa. Gradual reduction of intensity at the end of sentence. i.e. the former is Fade In and the latter is Fade Out. Architecture : It is a fundamental principle in architecture 3D Understanding of space.

2.5.19 HARMONY : Music : Proportionalities of sounds Proportionalities of musical sentences Proportionalities of echoers.

Architecture : Harmony of colours Harmony of composition Harmony of forms and shapes.

2.5.20 IMPROVISATION : Music : If singer or composer gets away from the known Radifs to compose a song that fits, he has improvised.

Architecture : Utilization of a general structure similar to a hall and its differing elements such as ornaments, boards, light, shade, colour and partitions.

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Literature Study 2.5.21 MATERIAL, COLOUR & COMPOSITION OF SOUND IN

MUSIC : Music : Colour and material of sound corresponds with the musical instrument.

Architecture : Material of sound in music is similar to colour and light and compositions in architecture.

2.5.22 REPETITION : Music : Every note is a basic module in a performance notes tension units. Circular note is a repetition.

Architecture : Repetition in architecture in referred to a unit that repeats and organizes the space.

2.5.23 SUBJECTIVITY : Music : Objective aspect of subjective geometry.

Architecture : Hearing aspect of objective mathematics.

2.5.24 FORM AND MELODY : Music : It has form.

Architecture : It has melody.

2.5.25 FUNCTION : Music : It has various functions such as religious, residential and cultural etc., functions.

Architecture : It has different forms such as march, morning, military, dance etc. forms.

2.5.26 SCEINTIFIC BASIS : Music : Geometry, mathematics in architecture.

Architecture : Mathematic in music theory.

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3. LITERATURE STUDY

Literature Study 3.1 SPATIAL ANALYSIS AND STANDARDS : 3.1.2 ENTRY/ APPROACH : These spaces such as corridors, lobbies from and between class rooms and other activity rooms such as practicing areas, library, encase important transitional spaces.

They serve as the important interaction zones and must provide maximum opportunity for communication or conservation and mingling among the students. ➢ Avoid corridor vistas which are dull and anonymous. ➢ Frequent glimpses of green/outdoor spaces desirable. ➢ Breaks, recesses or alcoves along corridors create interest and can encourage communication and interaction among the students. ➢ Sharp and acute corners are to be avoided. ➢ Floor patterns may be used to reinforce direction of movement. ➢ Width of the corridors must be adequate for to and fro movement. ➢ Corridors to be provided with handrails suitable heights particularly in non-academic sections.

3.1.3 LOBBY : Serves the main entrance space to the building. Giving the visitor the first impression of the institution. Also functions as an exhibition space for the

manufactured at the institution. ➢ The lobby should be warm and welcoming and should reinforce a positive image in the mind of the visitor. ➢ The products should be displayed in a colorful and attractive manner. ➢ Unnecessary clutter should be avoided so that free circulation is not hampered.

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Literature Study 3.1.4 GENERAL AND PUBLIC AREAS : ➢ Office workspaces for principal and other administrative staffs such as clerks, typists, accountants etc. to be provided. ➢ Administrative spaces should be well lit, airy and cheerful and should be located near the entrances area. ➢ A waiting area should be located in association with these areas.

3.2 LIBRARY : A relatively quiet zone should cater to both serious and in formal reading activities. In addition to the staff directly serving the users, separate offices must provided for clerical staff, administration equipment operators, who will be engaged in the following areas. ➢ Acquisition area : To execute preliminary processing of books. ➢ Cataloguing area : Raw materials have to be processed and numbered before placing into the shelves. ➢ Ancillary area : This includes the binding the photocopy room. ➢ The library space must be isolated and insulated from exterior noise. ➢ View of an open landscaped area is desirable to relive. ➢ Visual monotony. ➢ A bright, cheerful and a well environment conductive for reading are necessary. ➢ Both formal & informal arrangements desirable. ➢ Work spaces for ancillary should be isolated from the general spaces of the library users and at the same time should be within reasonable proximity to the stack area.

➢ Control of the area where books are issued and returned. ➢ Should be located as close to the entry as possible to have the overall view of the library. ➢ This is to enable supervision by library staff.

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Literature Study 3.2.1 LIBRARY STANDARDS : ➢ Space per reader at stacks : 0.45 sq. m ➢ Space per reader at tables : 2.8 m2 ➢ Height of wall shelving : 2.0 M

➢ Height of bottom shelf from floor : 380 mm ➢ Overall capacity : 65 vol/sq. m

3.3 STUDIOS : These spaces serve as the sheltered, secure and comfortable workspaces. The institution includes studios for product design. Animation film design, music practices, textile design, video design, communication, furniture design and ceramic design, graphic design, exhibition design, etc. ➢ The working plane should be well illuminated. ➢ Dust and noise controlled space for studios next to the workshops is desirable. ➢ Must have good natural daylight with high level window. ➢ Equal to at least 25 – 33% of the floor area, with north or east aspect. ➢ Ample storage for raw materials and finished goods is required. ➢ The furniture layout should facilitate easy movement of occupants.

3.3.1 STAFF ROOMS : An adult personal space can be provided as a single room for each staff or shared by a group staff. Staff rooms should be quiet and restful. It should be preferably located away from noisy zones. ➢ Provision for lockable storage and attached toilets should be made. ➢ Well lit and ventilated space with comfortable working/relaxing areas.

3.3.2 LECTURE HALLS :

These classrooms are intended for lecture/discussion among the students undergoing the course.

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Literature Study ➢ Lecture halls should be grouped together preferably for better interaction. ➢ The lecturer halls should have a well established link to the institution, since it is important that the theoretical lecturer, sessions are supported by physical sessions.

3.3.3 GENERAL APPROACH TO CLASSROOM DESIGN :

➢ To develop rooms with good sight lines and efficient seating layouts, design should proceed from the ‘inside out.’ ➢ Determine screen size and location, seat size and orientation and size of the instructor area at room front. ➢ Draw viewing angles from each screen and insure that all seats fit within them. ➢ Determine location and width of access aisles.

➢ Only after these steps, determine where walls should be located. ➢ Designs in which seating capacities are reduced because rooms are too small, or which have inefficient shapes, obstructions, narrow aisles, seats or work surfaces that are too small or seats placed too close together for comfort are unacceptable.

3.3.4 CLASS ROOM PROPORTION : ➢ All seats must be located within a 90 degree viewing angle from the center of the projection screen. That is, within 4 degree horizontal angles from the perpendicular to the center of screens. ➢

classrooms should be narrow enough to permit all seats to be within the 90 degree viewing angle from the front wall, but no narrower. Rooms that are too narrow and deep make it hard for students and instructions to intersect.

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Literature Study 3.4 SEMINAR HALL : ➢ The main function of seminar hall is hold seminar, workshop, symposiums, etc. ➢ A fan shaped hall is preferable as it ensures better acoustical treatment.

➢ Space should be adequate and ventilation. ➢ Seminar hall is designed for each department. ➢ All seats must be located within a 90 degree viewing angle from the center of the projection screen. That is, within 45 degree horizontal angles from the perpendicular to the center of screens.

3.5 PRACTICE AREAS : ➢ The main function of practice hall is instrumental and vocal practicing. ➢ Pace should be an adequate and ventilation. ➢ The instrumental storage area is necessary for all practice rooms. ➢ The flat or stepped floor is desirable for this areas, flat floor is more desirable for vocal veena, violin classes and the stepped floor can be desirable for violin classes. ➢ The practice areas are free from noise zones and the room must have natural daylight and air movement.

3.6 RECORDING STUDIO :

➢ A recording studio is a facility for sound recording and mixing. Ideally, the space is specially designed by an acoustician properties. ➢ Different types of studios record bands and artists, voiceovers and music for television shows, movies, animation and commercials and/or even record a full orchestra. ➢ The typical recording studio consists of a room called the ‘Studio’ where instrumentalists and vocalists perform; and the ‘control room’, which

houses the equipment for recording, routing and manipulating the sound.

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Literature Study ➢ Often, there will be smaller rooms called ‘isolation booths’ present to accommodate loud instruments such as drums or electric guitar, to keep these sounds from being audible to the microphones that are capturing the sounds from other instruments or vocalists.

3.6.1 DESIGN AND EQUIPMENTS :

➢ Recording studios generally consists of three rooms; the studio itself, where the sound for the recording is created, the control room, where the sound from the studio is recorded and manipulated, and the machine room, where noisier equipment that may interfere with the recording process is kept. ➢ Recording studios are carefully designed around the principles of room acoustics to create a set of spaces with the acoustical properties required

for recording sound with precision and accuracy. ➢ This will consists of both room treatment and soundproofing. ➢ A recording studio may include additional rooms, such as a vocal booth – a small room designed for voice recording, as well as one or more extra control rooms.

3.6.2 ISOLATION BOOTH : ➢ An isolation booth is a standard small room in a recording studio, which is both soundproofed to keep out external sounds and keep in the internal

sounds and like all the other recording rooms in sound industry, it is designed for having a lesser amount of diffused reflections from walls to make a good sounding room. ➢ A drummer, vocalist, or guitar speaker cabinet, along with microphones is acoustically isolated in the room. ➢ A professional recording studio has a control room, a large live room and one more small isolation booths.

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Literature Study ➢ All rooms are sound proofed such as with double layer walls with dead space and insulation in between the two walls, forming a room within a room. ➢ There are variations of the same concept, including a portable standalone isolation booth, a compact guitar speaker isolation cabinet, or a larger guitar speaker cabinet isolation box. ➢ A good panel achieves the same idea to a much more moderate extent; for example, a drum kit that is too loud in the live room or on stage can have acrylic glass see through gobo panels placed around it to deflect the sound and keep it from bleeding into the other microphones, allowing more independent control of each instrument channel at the mixing board. ➢ Al rooms in a recording studio may have a reconfigurable combination of reflective and non reflective surfaces, to control the amount of reverberation.

3.7 INSTRUMENTAL PLAY AREA : ➢ This room larger in the recording studio, the activities in this area is playing instruments during the time of recording. ➢ All instruments are play in this room without the loud instruments like electric guitar, drums are kept in the isolation booth. ➢ This area can easily from the sound control room and isolation booth, and can watch activities around the room.

3.8 WORK ROOMS : Instruments repair facilities are should be provided of emergence on instrument repairs. A special room is recommended, although many will use a section of the music library room or offices for this purpose. The minimum provisions should be a workbench, stool and a cabinet space. Running water and a large sink for cleaning brass instruments should be included.

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Literature Study 3.9 CONCERT HALL : Concert hall, the part of a public building where an audience sits, as distinct from the stage, the area on which the performance or other object of the Audience’s attention is presented. In a large theatre, a concert hall includes a number of floor levels frequently designed as stalls, private boxes, dress

circle, balcony or upper circle and gallery. A sloping floor allows the seats to be arranged to give a clear view of the stage. The walls and ceiling usually contain concealed light and sound equipment and air extracts or inlets and may be highly decorated. The concert hall should be accessible for the general public as well as the students, who may be the audience, part of the stage artists or both. Preparation area for the slides and other data. ➢ As far as the Concert hall seating is considered, as stepped seating

arrangement is desirable. ➢ Space should be well ventilated with good viewing and hearing conditions with close to the stage and projection area.

Fig. 3 : Concert Hall SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Literature Study 3.10 MUSIC FACILITIES : The music program is usually divided into four parts: Instrumental activities: Choral activities classes in music theory, music appreciation and voice; and correlated activities such as drama and opera projects. Good traffic circulation is essential. Instrumental storage area should be planned so that

students can circulate easily to collect their instruments, attend class and return instrument for storage. It should be convenient to move target instruments to buses, stage and playing field.

The size, shape and construction material are important factors to consider in planning and designing music facilities for the best sound control possible. The architect should aim for rooms that have optimum reverberation time even distribution of sound, and freedom from undesirable absorption at

certain pitches. Nevertheless, the reverberation period must not be reduced below the tone. Nonparallel walls or splayed walls and ceilings should be considered; soundproof walls and doors are desirable. Acoustic ceilings and walls should be carefully designed to ensure satisfactory conditions within each room. Storage areas should serve as sound-transmission buffer areas to keep interference between music rooms at a minimum. It is recommended that a competent sound engineer be consulted in preliminary planning stages .

3.10.1 MUSIC CLASSROOM : The music classroom should be part of the music suite and readily accessible to corridor and office. It is used for class instruction, choral work, and as a dressing room for large groups. It should have sound-tight doors, natural lighting, lavatory, and a dressing table. A chalkboard ruled for music, bulletin board, piano, and tablet armchairs will be needed. Provision should be made for projection, television, and a high-fidelity sound system.

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Literature Study 3.10.2 MUSIC SUITE ROOM :

Fig. 4 : Music Suite Room Layout

Adequate room size is necessary to achieve effective acoustics. Music education is a physical activity; vocalists and instrumentalists need room to move. Instrumentalists need even more space than vocalists to accommodate instruments and music stands. Student traffic is more concentrated and hurried in the Music Suite, as students must quickly move from storage to rehearsal areas, and back again, during a single class period. Pianos, podiums, risers and other equipment require permanent space in the rehearsal room. Other items -

such as sheet music, garments and instruments - also require additional storage. Plan for the program you expect in three to five years, including program growth, curriculum changes, scheduling changes, computers and technology, expansion, etc.

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Literature Study 3.10.3 INSTRUMENTAL REHEARSAL ROOM :

Fig. 5 : Instrumental Rehearsal Room Layout When designing rehearsal rooms, remember that music is a physical activity. Instrumentalists need space for their instrument and the elbow room to play it. The space must also accommodate equipment and traffic flow. For these reasons, and to meet acoustic requirements, we recommend the following guidelines. You should start with a minimum of 2,500 square feet for band even if the ensembles are small. Otherwise, use the “per vocalist� number if your group is larger than 60-75 instrumentalists or 60-80 vocalists.

Fig. 6 : Instrumental Rehearsal Room Space Guidelines SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Literature Study 3.10.4 CHORAL REHEARSAL ROOM :

Fig. 7 : Choral Rehearsal Room Layout When designing choral rehearsal rooms, remember that music is a physical activity. Choir members need space for vocal exercises and choreography. The space must also accommodate equipment and traffic flow.

For these reasons, and to meet acoustic requirements, we recommend the following guidelines. You should start with a minimum of 1,800 square feet for choral even if the ensembles are small. Otherwise, use the “per vocalist� number if your group is larger than 60-75 instrumentalists or 60-80 vocalists.

Fig. 8 : Choral Rehearsal Room Space Guidelines SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Literature Study 3.10.5 PRACTICE ROOMS : Practice rooms should be near band and orchestra room. They are used for practicing and individual instruction. They may serve as music listening rooms. Soundproof doors, and soundproof windows into corridor, are necessary for supervision.

Equipment includes music rack, small table, music lamp, chairs, clock, and counter for instruments and books. It may have a piano and phonograph .

Electric outlets and artificial lighting are needed.

Special acoustical treatment is necessary to prevent interference between rooms and with other areas and to deaden reverberation Special attention should be paid to mechanical ventilation.

3.10.6 MUSIC OFFICE : The music office and library should be between the choral and instrumental rooms . It should provide good supervision of spaces in music area. It is used as an office-for teacher conference, teacher preparation, and keeping records and a library-for research, reading, studying, and storage of music. Furniture and equipment include teachers‘ desks and chairs; wardrobe space; conference table; work counter; adjustable shelves on walls; bookcase;

cabinet for records; typewriter and stand; phonograph; radio; and playback machines.

3.10.7 MUSIC STORAGE ROOM : The music storage room should provide safe, sanitary protection against robe and uniform destruction. Cabinets, 3 ft. deep, 30 ft. long, equipped with racks and hangers and space above for hats and lockers, for special band equipment such as flags and batons, and with lockable sliding doors are desirable. Instruments need maximum care and preservation from damage.

Adjustable shelving must vary according to instrument sizes.

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Literature Study Rollaway racks for bulky instruments are needed. Smaller instruments are best cared for in cabinets. Other provisions include lockers with master-keyed padlocks, student benches, record cabinet, music filing cabinet, piano dolly, and music stands. If possible, a small area for instrument maintenance should be provided: sink with hot and cold water, floor drain, shelves, workbench, gas outlet for Bunsen burner, and counter for instrument repair. A complete music

suite is shown in the layout accommodating all the functions with related storage.

Fig. 9 : Music Storage Room Tiers in the choral and instrumental rooms are often built-up from the flat, main-level structural floor . Practice room noted for proper sound isolation and equipped for double duty as a theatre dressing room since music facilities are commonly related to the auditorium facilities for instrument storage. The above layout shows in more detail an instrument rehearsal room, with student stations shown as dots, and practice rooms across a typical circulation corridor; a very typical, basic situation allowing free use of the practice rooms and easy access to the small instrument.

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Literature Study

Fig. 10 : Practice Rooms and Studio

Storage lockers along the corridor. Large instruments are stored in the rehearsal room in rolling racks for their easy moving for away-from-home performances. In this scheme, the room steps down from the corridor, allowing the generation of adequate volume in the room without stepping the roof up .

The front wall is made heavily absorbent to sound simulate playing to an audience: the ceiling is 50 percent reflective and 50 percent absorbent so that one section of the room can hear the other.

Fig. 11 : Instruments Storage Space SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Literature Study 3.11 CAFETORIUM : ➢ The cafeteria, commons areas, performance areas and large meeting areas can be creatively combined to create a flexible, functional space that meets user and budget guidelines.

➢ These spaces also typically lack appropriate seating arrangements required for proper audience sightlines and adequate lighting for both performers and the audience. ➢ Portable equipment — including shells, risers, and tiered seating — can also help make this space functional for music, and it can be moved to other areas for other uses. Be sure to plan for storage of this equipment.

Fig. 12 : Cafetorium 3.12 MULTIPLE USES : ▪

The music department uses these spaces for performances by bands, orchestras and choirs.

▪

Creating an effective multiple-use facility requires that departments work together to meet the needs of as many users as possible.

▪

Performance spaces must also accommodate many pieces of equipment, some large and expensive.

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Literature Study 3.13 COMPUTER LAB : Computer labs have high square-footage requirements to accommodate MIDI and computer workstations. They also require a surge-protected power source, multiple electrical outlets, and indirect lighting to eliminate screen glare. They must be designed to provide multiple connectivity via phone lines, coaxial cable and LAN (Local Area Networks).

ROOM Electronic Keyboard Lab

PURPOSE Secured space, for classes and independent study, requiring many electrical outlets with surge controls

WORKSTATIONS 11-21 workstations

FLOOR SPACE 500-750 sq. ft. minimum or 3545 sq. ft. per workstations

Table 1 : Computer lab 3.14 ADDITIONAL ROOMS : The most successful floor plans place a variety of application-specific rooms in strategic locations. Your plan, at the very least, must provide adequate floor space for each room.

ROOM

PURPOSE

ACCOMODATION

FLOOR SPACE

Offices

Administrative needs, private lessons, equipment, piano.

1 Teacher

100-200 sq. ft.

Music Library

Sheet music storage

150 students

150-200 sq. ft.

Instrument Repair

Minor repair requiring sink, 8’ counter, storage for parts and tools.

1-3 people

50-75 sq. ft.

A gathering place to promote the department with conversation areas, awards display, etc.

Group Activities

500-700 sq. ft.

Common Area

Table 2 : Additional rooms SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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4.CASE STUDY

Case Study 4.1 KALA ACADEMY @ GOA :

4.1.1 INTRODUCTION : ▪

Venue of international film festival of India.

▪

Established in 1969 – prime institution for promotion of art and culture in Goa.

▪

Vibrant representation of the

Fig. 13 : Kala Academy

culture and art of people of Goa this is expressed in the staggering amount and variety of cultural programs held in its premises.

4.1.2 LOCATION : Location

: Situated at Campal, Panaji along the Banks of river Mandovi. Area has mixed land use with the military hospital across the road, a cricket ground and a park on either side.

Architect

: Charles Correa

Building Type

: Institution

Site Area

: 6.3 acres

Site Gradient

: Gentle Slope

4.1.3 ACCESS : ▪

Regular buses connecting Panaji and the academy are available.

▪

Dabolim airport, 35km.

▪

Nearest railway station is Madgao, 53km.

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Case Study 4.1.4 LAYOUT : ▪

Four entries to the site.

▪

Boat jetty provided on the River side.

▪

Coverage is about 40%.

▪

Well defined pedestrian and vehicular system.

▪

Includes the cafeteria, garden and amphitheater.

▪

Site is divided into main building, service building, muktaangan, parking area the exhibition space.

Fig. 14 : Kala Academy – Site Layout 4.1.5 FACILITIES : ➢

D.M. Kalamandir

➢

OAT

➢

Mini OAT

➢

Black Box

➢

Rehearsal Room

➢

Art Gallery

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Case Study

Fig. 15 : Kala Academy – Floor Plan ➢

Library

➢

Green Room

➢

Teaching Studio

➢

Kitchen

➢

Meeting Room

➢

Administration

➢

Guest Room

➢

Reception

➢

Preview Theater

➢

Lounge

➢

Cafeteria

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Case Study

Fig. 16 : Kala Academy – First Floor Plan

PLAN

Fig. 17 : Kala Academy – Second Floor Plan SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study 4.1.6 BUILDING LEVEL ZONING : ▪

Building is divided into 3 zones.

PUBLIC, ADMINISTRATION, ACADEMIC.

▪

Provided at different levels so as to avoid conflict between these zones.

▪

Ground floor includes facilities like auditorium, Preview Theatre, Amphitheatre, art gallery and canteen etc, where public entry is invited.

▪

First and second floors include academic and administration facilities.

▪

3 Groups of peoples using the building: STAFF, STUDENTS, AUDIENCE.

▪

Circulation linked to the zoning and has been segregated by separating them through levels – ground floor for audience functions and first and second floor for staff and students with a necessary degree of inter linking.

Fig. 18 : Kala Academy – Building Section 4.1.7 BUILDING STYLE AND CHARACTER : ➢

Designed by Ar. Charles Correa.

➢

Importance to the process of moving through the spaces in a building.

➢

Built form has been kept low ranging from one to three floors.

➢

This is further enhanced by the use of parapet walls for upper floors, which emphasize horizontally.

➢

The ‘Pergola’ above the entrance acts as an extension to the foyer of the main auditorium and amphitheater.

➢

Use of water slabs and parapet walls.

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Case Study

Fig. 19 : Kala Academy – Pergola. Interior walls and Parapet walls ➢

Extensive use of specially designed seating.

➢

Interior walls are painted with pictures mostly depicting konkanise culture and create illusion.

4.1.8 D.M KALA MANDIR (A.C AUDITORIUM) : ▪

Seating Capacity – 1000

▪

Area – 1300 sq. m

▪

Stage Opening – 9.6 m

▪

Orchestra pit – 7.2 x2.1 m

▪

Stage Height – 80 cm

▪

Raking Height – 10 - 20 cm

Fig. 20 : Kala Mandir – Interior view and Section ➢

Variety of acoustical conditions ranging from speech, plays to sitar recitals and orchestral arrangements.

➢

Changes made by manipulating absorbent materials placed within inner compartments hidden from view above the ceiling.

➢

Walls of the auditorium are painted illusions of an old goa theatre.

➢

Behind the figures in the boxes real curtains may be pulled to reduce reverberation time in space.

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Case Study 4.1.9 MINI OPEN AIR AUDITORIUM :

Fig. 21 : Kala Academy – Mini Open Theatre ➢

300 People.

➢

Used as an outdoor classroom and meeting space.

➢

OAT has a tread of 85 cm and rise of 45 cm. Steep risers give it excellent sightlines.

➢

Farthest seat is 6m away and no amplification required.

➢

Two aisles run along either end. The width is 120 cm and

➢

The steps have 15 cm risers and 28 cm treads.

➢

The stage is square in shape and has an area of 7.5m x 7.5m.

4.1.10 BLACK BOX : ➢

Seating Capacity – 200

➢

Area – 175 sq. m

➢

Used for experimental productions, music concerts, meetings and amateur performances.

➢

Also used as a recording studio.

➢

Control room and green room provided.

➢

Black box lobby also provided.

Fig. 22 : Kala Academy – Black Box SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study 4.1.11 OPEN AIR AMPHITHEATRE : ▪

Seating Capacity (no chair) – 2000

▪

Seating Capacity (chair) – 1300

▪

Proscenium opening – 15 m

▪

Depth from curtain line – 12 m

SECTION

Fig. 23 : Kala Academy – Open Air Theatre ➢

Amphitheatre is of double herringbone shape.

➢

Main entry from road, main lobby and the restaurant area.

➢

Stage is raised at 75 cm above the ground floor level. (Eye level of the first row)

➢

Lower seat rise – 30 cm and tread of 100 cm.

➢

Higher seat rise of 45 cm.

➢

Acoustics are good as the seats block out noise from the road side and the stage blocks out noise from the river side.

4.1.12 PREVIEW THEATRE : ➢

Seating Capacity – 24

➢

Used during ‘IFFI’ for special screening.

➢

Has got a Jury room.

➢

Projector room attached.

➢

Particle board has been used for acoustical effect.

Fig. 24 : Kala Academy – Preview Theatre

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Case Study 4.1.13 CAFETERIA : ▪

Seating capacity – 100

▪

Square table with 4 seats.

▪

3 sides open into the outdoor landscape.

▪

It is accessible from all theatre meeting room – 45 sq. m

▪

C area of the room 7.30 x 6.15 sq. m

▪

Room has one big table and six chairs.

Fig. 25 : Kala Academy – Cafeteria

4.1.14 ART GALLERY : ➢

Running wall space – 30 x 1.50 m approx.

➢

Carpet area of gallery – 90 sq. m approx.

➢

When exhibitions are not happening painting of children are displayed.

➢

The exhibits are displayed on the wall on four sides.

➢

Lighting features are very normal no facility to hold a good exhibition. A track is provided on all the walls, where the hook is giving for hanging the paintings.

➢

Paintings are hanged on the hook, it may not look nice in the context of exhibition but its looks simple as the building context.

➢

Cove lightings are used in art gallery of the light and can be adjusted.

➢

Since the intensity of the light is less, the light is spread on the wall.

Fig. 26 : Kala Academy – Art Gallery SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study 4.1.15 ADMINISTRATION : ▪

Administrative area is on the first floor.

▪

The area divided into closed and open cabinets.

▪

Fig. 27 : Administration

Total area comes around 500 sq. m

4.1.16 LIBRARY : ▪

Area – 135 sq. m

▪

Library is in proximity with mini OAT.

▪

Books are racked in glass shelves.

Fig. 28 : Library

4.1.17 TEACHING STUDIO : ▪

All the music studios are of the same size 3.3 x 2.6 m

▪

Central air conditioning is provided for all class rooms.

▪

Fig. 29 : Teaching Studio

Acoustically treated classrooms with same type of padding provided for the walls and ceilings.

▪

Three walls are faced with linen material and glass wool, the rest is paneled with wood particle board.

4.1.18 PARKING FACILITIES : ▪

Parking facilities provided on the south -eastern side.

▪

Nearly

250

public

parking

are

Fig. 30 : Parking Facilities

provided.

▪

Special

VIP

and

staff

parking

provided.

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Case Study 4.1.19 LANDSCAPE :

Fig. 31 : Landscape ▪

Beautiful lawns from the main part of the site. Trees are provided aptly at the front side of the building.

▪

Specially designed benches and lamp post line the path along the river

side.

4.1.20 SERVICES : ➢

The service buildings (AC pant and generator room) are provided on the western corner of the site no way disrupting the normal functioning of the building.

➢

Two separate service entries have been provided. One of the generator room and the other on the eastern corner of the site.

➢

The eastern entry caters to the need of the amphitheater and the canteen.

➢

A loading deck has also been provided here.

➢

The septic tank is provided underneath the garden.

4.1.21 INFERENCE : ➢

The layout and the building zoning provided are excellent has brought in different overall treatment.

➢

Good acoustical treatment.

➢

The flow of spaces has resulted in good built-open relationship.

➢

Good use of site features has successfully made the public spaces interesting by the use of sculptures, paintings, seating's etc.

➢

The cafeteria is the most active space with good view to the river.

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Case Study ➢

Vehicular and pedestrian way properly defined.

➢

Service blocks are separated.

➢

Security measures provided are minimum.

➢

Signage provided is minimum.

➢

The trees have to some extend blocked the view to the river.

➢

Public spaces too large.

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Case Study 4.2 THE BANGALORE SCHOOL OF MUSIC @ BANGALORE : 4.2.1 INTRODUCTION : •

It’s a registered trust, committed to education in classical music, Eastern and Western. The BSM attracts people from diverse walk of life: school

and

college

students,

Fig. 32 : Bangalore school of music

working professionals, as well as retires, who have always wanted to play an instrument or sing. It’s first established

in 1987 and

re-

established in 2001.

4.2.2 LOCATION : Address

: RT Nagar, Bangalore, Karnataka.

Landmark

: Next to St. Jude's Church.

Design

: Architecture Paradigm.

Built-up Area

: 1200 sq. m

Project Cost

: 75 lakhs

Onsite Parking

: 10 Four wheelers & 30 Two wheelers.

4.2.3 CLASSES CONDUCTED : •

Guitar classes

•

Flute classes

•

Harmonium classes

•

Keyboard classes

•

Drums classes

•

Percussion classes

•

Saxophone classes

•

Piano classes

•

Violin classes

•

Vocal music classes

Fig. 33 : Bangalore school of music- Front Elevation

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Case Study 4.2.4 PLANNING : ➢ Planning is normally rectangular in form.

Fig. 34 : Bangalore school of music- Floor Plans 4.2.5 GROUND FLOOR : ➢ Auditorium and its office and storage areas.

4.2.5.1 AUDITORIUM : ➢ The entrance of the auditorium is from the rear side.

Fig. 35 : Auditorium – Stage View

➢ There are entries directly to the stage for the performers and a

back stage with toilets are provided. ➢ It can accommodate 100 peoples with large stage in the form of theatre style.

Fig. 36 : Auditorium – Entry and Wall Acoustics

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Case Study ➢ There is only one stairway to the site. They have used spiral stairs. The other two entries are

in the rear side. ➢ Another stair is near reception entry, it connects the practicing areas in the first floor level.

4.2.6 MEZZANINE FLOOR :

Fig. 37 : Auditorium – Acoustics Pores in Ceilings

➢ Office with reception space. ➢ Lobby and Interaction space also provided.

Fig. 38 : Lobby and office with Reception 4.2.7 FIRST FLOOR : ➢ There are 10 class rooms. Size 10 ft. X 10 ft. ➢ Class rooms for piano, cello, vocal, guitar, and violin classes. ➢ Guest rooms, pantry and a small dining space for the staffs. ➢ Separate toilets for provided.

Fig. 39 : Class Rooms and Dining Space with Pantry SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study 4.2.8 SECOND FLOOR : ➢ In this there is a Library and a Multi purpose hall. ➢ A small OAT is provided in the terrace. ➢ Separate toilets for provided.

Fig. 40 : Library and Corridor with Toilets 4.2.8.1 REHEARSAL HALL : ➢ It’s in the second floor. ➢ This is used as a large rehearsal hall for any concept which could accommodate all the instruments and even the vocalists. ➢ The size of the hall is 7m x 8m = 56 sq. m. This could accommodate about 25 students. ➢ A mirror wall is constructed which helps the students to watch their own performance and correct themselves. ➢ Two changing rooms are provided inside the hall. ➢

Wooden flooring has been done in the hall.

➢ A balcony space is provided as a relaxation space.

Fig. 41 : Wooden Floor and Acoustics SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study 4.2.9 OTHER INTERACTION SPACES : ➢ The school has been designed with lots of interaction spaces which creates a refreshed mind to all the students. ➢ This also helps to bring sufficient air flow inside the building.

4.2.10 INFERENCE : Site Planning : ➢ It has been done to segregate road traffic and the people coming to BSM. ➢ Landscaping has been done on the three sides of the school creating a

buffer between outer and interior areas.

Acoustics : ➢ Designed to house music instruments as per requirements. ➢ Not treated acoustically well. ➢ Due to lack of funds, Curtains are provided in piano rooms to absorb sound.

Halls : ➢ Practice hall is spacious and facing large mirrors. ➢ Concert hall is acoustically well treated. ➢ A good storage is provided on side of stage which can accommodate two grand pianos.

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Case Study 4.3 KALAKSHETRA @ CHENNAI : 4.3.1 INTRODUCTION : Kalakshetra is a cultural academy

dedicated

to

the

preservation of traditional values in Indian art, especially in the field of bharatnatyam

dance

and

gandharvaveda and music. The academy was founded in January 1936 by Rukmini Devi Arundale.

Under Arundale's guidance the institution achieved national and international recognition for its unique style and perfection.

4.3.2 LOCATION :

Fig. 42 : Kalakshetra & Location

Location: Thiruvanmiyur, Chennai along the East Coast Road Total area: 100 acres Site: undulated terrain which is not completely flat. Dry sandy soil is felt.

Climate: Tropical climate

Construction: Commenced in 1973 but finished in 1983 Approach: One main entry from the kalakshetra road and service road along the site connects other buildings inside.

4.3.3 CLASSES CONDUCTED : â–Ş

They follow Kurukulam system of teaching where teachers and students dwell together as a community.

â–Ş

They offer education in classical dance, music and some unique musical instruments like mrithangham, flute etc.

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Case Study 4.3.4 INSTITUTES INSIDE THE FOUNDATION : 1.

College of fine arts

2.

Bezant high school

3.

Bezant Arundale higher secondary school

4.

Crafts Education and Research centre.

•

The main aim is to maintain the purest form of tradition and culture of south India. Hence the approach towards the building, the atmosphere, the spaces and other open areas are treated in a very traditional manner .

•

The Kalakshetra is surrounded by residential and other minor commercial activities.

•

This campus is known for its peaceful environment that is dedicated to the spiritual art forms of India.

•

The site plan of Kalakshetra shows the buildings were constructed in different period. The planning is informal and organic which has no principle in planning.

•

The orientation and size of the cottages and other spaces show more informal nature merging with the site and its features. As these buildings

stand respecting the context, the buildings create good relationship with the site and other buildings.

4.3.5 FACILITIES PROVIDED : 1.

College of fine arts with administration and studios for music.

2.

Research center and library

3.

Central office

4.

Cottages for dance, music and instrumental music.

5.

Open air theatre

6.

Natya mandapam (koothambalam)

7.

Guest rooms

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Case Study

Fig. 43 : Kalakshetra – Site Plan 8.

Hostels

9.

Dining hall

10.

Art department

11.

Banyan tree for assembly and prayer.

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Case Study 4.3.6 PLAN OF COLLEGE OF FINE ARTS : ▪

These studios are mostly used for lecture and literature classes which are meant for theory. The other practices and recitals are cone in the cottages provided.

▪

Performance

education

spaces

include many cottages of almost 25 in number which are meant for dance, vocal music and instrumental Fig. 44 : Plan of Fine Arts

music.

▪

Grouped cottages with wash and open spaces.

▪

All the cottages are constructed using brick walls and concrete roofing.

▪

Cottages are well ventilated with 5 X 4 feet windows in all sides.

▪

Some of the fenestrations are left open to provide a seating area.

▪

Passive technologies have been used for lighting ventilation, cooling and even for acoustics.

▪

Lot of openings provide good amount of lighting and better cross ventilation.

▪

These openings help the interior to transmit sound without creating any echoes.

▪

The sound that has been transmitted from the interior are absorbed by the trees present nearby.

▪

The main reason for that peaceful environment is due to the presence of trees.

Fig. 45 : Plan of Class Rooms

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Case Study

Fig. 46 : Elevation of Cottage ▪

All the cottages are reached by the mud pathways that are taken after the tar roads. The main roads are made using tar to represent the vehicular pathways.

▪

It has a sloped roof which is constructed using wooden beams and concrete.

▪

As discussed the cottages are reached only by the pedestrian pathways that are intentionally left as much pathways to denote the old streets of south India

➢

Creating the rural set up of south India.

➢

Holding the memories of the past where gurukul system was practiced.

➢

Seating spaces like traditional thinnai is provide in each cottage.

➢

All the cottages are gradually elevated from the ground level having a prominent

entry

point. ➢

Sloped or hipped roof is seen in all cottages with terracotta tile representing the traditional houses of Tamil Nadu

Fig. 47 : Studio Instrumental Music

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Case Study ➢

Each cottage is surrounded by open space and vegetation which become a part of the space.

➢

All the cottages open into the exterior connecting the pedestrian pathways.

➢

Another common area where students, staff, and even visitors can participate in the activity is the Banyan Tree which is present in the site.

Morning prayers happen beneath the banyan tree.

Fig. 48 : Banyan tree for assembly and prayer

➢ It is also used for practicing and rehearsing dance and music by the students. It becomes an outdoor performance area for the students and the staffs. ➢ It is considered to be the best outdoor space in the campus as it is completely shaded and due to the breezy environment.

Fig. 49 : Mandapas and Pond areas SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Case Study •

There is a pond area in the campus denoting the temple tanks if TamilNadu.

As this campus is considered to be a spiritual place, the use of pond is justified. There are three built up spaces which are the Mandapas from where one can reach the pond. All the mandapas are connected by walk ways that are well paved.

•

The mandapas are used as semi open class rooms where one can easily get connected with nature. Even the steps can be used as seating to watch the performances.

•

This pond area can be reached from all the cottages easily and this space is considered to be the gathering space of the students here.

•

Ruknini Devi Arangam is the open amphitheater oldest of its kind in Tamil Nadu. Used for rehearsals of students.

4.3.7 NATYA MANDAPAM (KOOTHAMBALAM) :

Fig. 50 : Natyamandapam •

The theatre was built in 1982 according to vikrasra which refers to oblong shape. It is constructed using the typical vernacular techniques of Kerala like thatched roof, lattice work etc..

•

It has better air movement and good lighting as in the traditional

koothambalam.

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Case Study 4.3.8 INFERENCE : ➢

The objective to create a place to promote classical art forms and maintain the highest tradition of art and culture is fulfilled by the architecture of the campus.

➢

The main entry is not prominent.

➢

Restricting the vehicles from the buildings make the campus pollution free and noise free.

➢ The pedestrian approach to all the buildings as a visitor creates a better experience of art and culture. ➢ The studios in the college are arranged either side of the corridor so that all the studios are well lit and ventilated. ➢ Sky lights are used to light up the corridors. ➢ Contrasting the vernacular houses, the cottages are well lit and well ventilated using passive technology as vernacular houses shows transition in the level of lighting and ventilation ➢

All the cottages are placed amidst of vegetation.

➢ Individual studios should be provided for dance, music and instrument and their function differs. ➢

These open spaces become a part of the individual cottages and all the cottages are grouped in walk able distance.

➢

All the gathering spaces are designed properly and is used by the students and other visitors too.

➢ The amphitheater is serving the purpose for all the performances due to the raking provided ➢

Bringing koothambalam inside this campus has added lot of values and to know what is actually needed as a theatre in this campus.

➢ Rest rooms and others seating spaces should be provided at particular distance.

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SCATTERED WELL LANDSCAPED

COMPACT DONE IN ONLY FRONT

AVAILABLE AVAILABLE RECTANGULAR 6.3 ACRES COMPACT WELL LANDSCAPED

BUS FACILITY

SITE SHAPE

SITE AREA

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SITE LAYOUT

LANDSCAPES

Table 3 :Comparative analysis of case studies

1 ACRE

RECTANGULAR

AVAILABLE

AVAILABLE

100 ACRES

IRREGULAR

AVAILABLE

AVAILABLE

AVAILABLE

RAILWAY

AVAILABLE

AVAILABLE

AIRPORT FACILITY

CHENNAI

BANGALORE

GOA

KALAKSHETRA

LOCATION

THEBANGALORE SCHOOL OF MUSIC

KALA ACADEMY

NAME OF THE PLACE

FACILITIES PROVIDED/

4.4 COMPARATIVE ANALYSIS OF CASE STUDIES :

Case Study

Page | 61

DESIGNED NATURAL PROVIDED YES LITTLE IMPROPER YES

RADIAL

OPEN SPACES

LIGHTING

PARKING

SERVICE ROAD

SIGNAGE

FIRE SAFETY

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CIRCULATION

Table 4 :Comparative analysis of case studies

LINEAR

YES

LIMITED

EXPLORATIVE

YES

GOOD

YES

PROVIDED

NOT PROPER NO

NATURAL

WELL DESIGNED

NOT PROPER

KALAKSHETRA

ARTIFICIAL

ACCCIDENTAL

PROVIDED

PROVIDED

ACOUSTICS

THEBANGALORE SCHOOL OF MUSIC

KALA ACADEMY

NAME OF THE PLACE

FACILITIES PROVIDED/

Case Study

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5. INTERNET CASE STUDY

Internet Case Study 5.1 NCPA, JBT HALL @ MUMBAI : 5.1.1 INTRODUCTION : ➢ The National Centre for the Performing Arts (NCPA), Mumbai, is India's premier cultural institution. ➢ It was the first multi-venue, multi-genre cultural centre in South Asia. ➢ The NCPA is committed to preserving and promoting the India's rich and vibrant artistic heritage in the fields of music, dance, theatre, film, literature and photography, as well as presenting new and innovative work

by Indian and international artists from a diverse range of genres including drama, contemporary dance, orchestral concerts, opera, jazz and chamber music.

5.1.2 LOCATION : Location : N.C.P.A. Marg,Mumbai.

Architect : Philip Johnson and Patel Batliwala Associates.

Site

: 3200 sq. m

Year

: 1957

Capacity : 1100 Persons.

5.1.3 ACCESS : ➢

The site is located in the commercial area.

➢

NCPA is surrounded by hotels, malls, offices etc.

➢

Oberoi hotel and Nariman hotel are

Fig. 51 : N.C.P.A, Mumbai

some nearest landmarks.

➢

Heritage building of church gate station is one km away.

➢

Another

important

landmark

is

Mantralaya.

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Internet Case Study 5.1.4 SITE : ➢ Site can be accessed through 6 Gates and divided into 6 major blocks.

5.1.4.1 SITE LAYOUT : A. TATA Theatre

B.

Jamshed Bhabha Theatre

C.

Main Administrative Office

D. Teaching and Research Block E.

Experimental Theatre.

F.

Godrej Dance Academy Theatre

G. Open Air Plaza R. Residences (staff guest rooms and NCPA apartments)

➢

Entry Gates

Fig. 52 : N.C.P.A, Mumbai – Site Plan SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Internet Case Study 5.1.5 TATA THEATRE :

Fig. 53 : Tata Theatre ➢ Seating capacity – 1010 persons. ➢ Foyer capacity of 500 – 600 persons. ➢ Sea view room capacity of 50 persons.

➢ Five blocks and six entry seating's. ➢ Elevators for handicapped. ➢ Rotating stage which can be used even the rear side.

5.1.6 EXPERIMENTAL THEATRE :

Fig. 54 : Experimental Theatre ➢ Seating capacity – 114 persons. ➢ Screening Hindustani vocal, dance are the programs held in this theatre. ➢ 3 green rooms, 1 on ground floor and 2 on first floor. ➢ Recording studio & music library are the features of this theatre.

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Internet Case Study 5.1.7 DR JAMSHED J BHABHA THEATRE :

Fig. 55 : Dr Jamshed J Bhabha Theatre ➢ Seating capacity – 1109 persons. ➢ 3 conference rooms of each 100 -140 seating capacity for each. ➢ Western music, fashion show, operas are some of the programs held in this theatre. ➢ Canteen, music library, general library are the other facilities provided in the theatre.

Fig. 56 : Theatre Floor Plan

D4

D3 Foyer entry/exit 1 D2

D1

Foyer entry/exit 2 D5

D6

➢ Total no of Public Entries/Exit = 8 ➢ 6 on the side aisles (3 on each sides) ➢ 2 coming from the foyer (on aisles passage) SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Internet Case Study 5.1.7.1 DETAILS OF DOOR : ▪

Dimensions : Size 2.4 m wide X

2.1 m height.

▪

Thickness : 7 inch (17.65cm) thick.

▪

Material : 2 cm leather and thick foam cushioning from the outside to prevent the outside noise into the theatre and 15 cm dense wood inside.

Fig. 57 : Stage Door

5.1.7.2 BACKSTAGE ENTRIES/EXITS DOOR : ▪

Total no. of backstage entries/exits = 4

▪

1 entry from lobby inside (for artists and crew members)

▪

Dimensions : Size 2.4m (wide) X 2.1m (height)

▪

Thickness : 3 inch (7.5 cm thick)

▪

Material : 1 cm leather and foam cushioning

outside

and

remaining

dense wood inside.

Fig. 58 : Backstage Entry 5.1.7.3 BACKSTAGE ENTRIES/EXITS : ▪

3 Entries directly from outside (to load/unload the props and instruments)

▪

Dimensions : Size 3.0m wide X 5.6m height.

▪

Type : 2 wooden doors and 1 rolling shutter.

Fig. 59 : Backstage Exit

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Internet Case Study 5.1.7.4 STAGE ENTRIES/EXITS : ▪

Total no. of stage Entries/Exits = 6

Types and Dimensions : ▪

4 Single doors – 1.2m (wide) X 2.1m (Height)

▪

2 Double doors - 2.4m (wide) X 2.m (height)

▪

3 on each side – 2 single and 1 double door.

Material : ▪

2 Inch thick – 1 cm Reflective wooden board on Timber Frame.

Dimensions : Size – 3.0m (wide) X 5.6m (height) Types : 1 wooden door and other 2 rolling shutters.

Fig. 60 : Mainstage Entry and Exit 5.1.7.5 GREEN ROOMS : ▪

Total no. of green rooms = 10

▪

No. of floors = G+2

▪

Ground floor – 4 rooms

▪

First floor – 3 rooms

▪

Second floor – 3 rooms

Door Types : ▪

Have sound-proof, 3 inch thick door from the backstage for Green room area.

▪

The green rooms have 2 inch thick

Fig. 61 : Green Room

wooden doors.

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Internet Case Study 5.1.7.6 WALLS : ▪

The panels on the walls surrounded the first three seating rows/the orchestra pit of the auditorium are made of concrete or plaster of Paris with a pointed finish plaster.

▪

Similar types of panels are found to be suspended from the ceiling above the space mentioned before.

▪

Marble is used for panelling of the lower portion of the auditorium.

▪

Wooden shutters open into electrical ducts in the wall.

▪

The panel above the control booth at the rear of the auditorium are made of concrete with marble inlays.

▪

There are projections that come out from the side walls of the auditorium.

These projections are hollow and may act as resonators.

▪

They could also be anti focussing surfaces that help in the dispersion of sound.

▪

These projections are made of concrete or plaster of Paris and have vertical slits on the front faces. They rise all the way up to the ceiling of the auditorium.

▪

A feature of these groups of projections is that they are arranged in numerical progression, in group of one, two and three panels, below each other & also group of two, three and four vertical panels.

Fig. 62 : Pop Panels, Wooden Panels and Marble SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Internet Case Study ▪

The wall surfaces of the auditorium are staggered at different angles.

▪

This is done to avoid the formation of standing waves.

▪

The panelling of the stage also overlaps.

▪

The rear of the stage has diffusive wooden panels in different shapes.

▪

This along with the acrylic banners hung on the ceiling help to diffuse and reflect sound appropriately into the auditorium.

Fig. 63 : Wooden Panels 5.1.7.7 TREATMENTS FOR CEILING :

Fig. 64 : Ceiling Treatments SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Internet Case Study 5.1.7.8 TREATMENT FOR WALL SHAPE :

Fan shape Rectangular shape Fig. 65 : Wall Shape Treatments 5.1.7.9 TREATMENT TO CONTROL ECHO :

Fig. 66 : Echo Treatments

Fig. 67 : Wall Treatments SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Internet Case Study 5.1.7.10 SEATINGS :

Distance - 35’’

Fig. 68 : Seating's

Tread - 10’’

5.1.7.11 FLOOR : ▪

The material used in Flooring is woollen Carpet.

▪

Woollen carpet is a absorptive material.

▪

Carpet is 80% wool and 20% nylon.

Fig. 69 : Woollen Carpet

5.1.7.12 LIGHTING FEATURES : ▪

A good number of lighting fixtures are oriented towards the stage covering all angles possible.

▪

Other light sources are located on the ceiling of the seating area for the

Fig. 70 : Lighting Fixtures on Ceilings

audience.

▪

These lights are of different types, qualities, intensities, colour etc. (Eg. Halogen lights, spot lights)

▪

Depending upon the approximate area to be covered, intensity of light etc. the position of a lighting fixtures is fixed.

▪

These lights can be dimmed or

brightened as per requirements.

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Fig. 71 : Spot Lights Page | 73

Internet Case Study 5.1.7.13 CEILING : ▪

The ceiling is divided into 3 parts.

▪

The ceiling in the middle can double up for the extended stage or the audience. It is made up of panels which have hidden lighting features.

▪

The ceiling of the stage and the adjacent are laid at an angle while the ceiling of the seating area is suspended 2-3 m below the ceiling surface.

▪

This ceiling consists of attractive lighting fixtures at the centre which forms the focal point of the auditorium.

▪

The remaining grid like ceiling is equipped with centralised air conditioning system and lighting fixtures spread all over covering the entire seating area.

▪

In between the grid is another framework which holds the false ceiling in place.

▪

By means of iron members the false ceiling is suspended by 2-3 m which may allow a man to repairing the lights etc.

Fig. 72 : Grid like Ceiling and Reflected Part Ceiling

Fig. 73 : Suspended Ceiling and Ceiling with Panels SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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6. SPECIAL STUDY

Special Study

6. ACOUSTICS 6.1 INTRODUCTION: The ear is less efficient at low and high frequencies than at medium or speech range frequencies. To describe sound in a manner representative of the human ear’s response it is necessary to reduce the effects of the low and high

frequencies with respect to the medium frequencies. The resultant sound level is said to be A-weighted, and the units are called dB. The A-weighted sound level is also called the noise level.

6.2 ACOUSTICS : The science of sound. Its production, transmission and effects.

6.2.1 ACOUSTICAL : The properties of a material to absorb or reflect sound (adjective) acoustically (adverb).

6.2.2 ACOUSTICAL ANALYSIS : A review of a space to determine the level of reverberation or reflected sound in the space (in seconds) as influenced by the building materials used to construct the space. Also, a study of the amount of acoustical absorption

required to reduce reverberation and noise.

6.2.3 ACOUSTICAL ENVIRONMENT : The acoustical characteristics of a space or room influenced by the amount of acoustical absorption, or lack of it, in the space.

6.2.4 ARCHITECTURAL ACOUSTICS : The control of noise in a building space to adequately support the

communications function within the space and its effect on the occupants. The qualities of the building materials used determine its character with respect to distinct hearing.

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Special Study 6.2.5 ABSORPTION : The properties of a material composition to convert sound energy into heat thereby reducing the amount of energy that can be reflected.

6.2.6 AUDIOMETER : An instrument for measuring hearing acuity.

6.2.7 BAFFLE : A free hanging acoustical sound absorbing unit. Normally suspended vertically in a variety of patterns to introduce absorption into a space to reduce reverberation and noise levels.

6.2.8 BARRIER : A material that when placed around a source of noise inhibits the transmission of that noise beyond the barrier. Also, anything physical or an environment that interferes with communication or listening e.g., a poor acoustical environment con be a barrier to good listening and especially so far persons with a hearing impairment.

6.2.9 BEL : A

measurement of sound intensity named in honor of Alexander

Graham Bell. First used to relate intensity to a level corresponding to hearing sensation.

6.2.10 BOOMINESS : Low frequency reflections. In small rooms, acoustical panels with air space behind can better help control low frequency reflectivity.

6.2.11 CLOUD : In acoustical industry terms, an acoustical panel suspended in a horizontal position from ceiling/roof structure. Similar to baffle but in a horizontal position.

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Special Study 6.2.12 DECIBEL (dB) : Sound level in Beis as a logarithmic ratio. Sound intensity described in decibels. i.e. Breathing, 5 dB; office activity, 50 dB; Jet Aircraft during takeoff at 300’ distance, 130 dB. 6.2.13 DIFFUSION : The scattering or random reflection of a sound wave from a surface. The directions of reflected sound is changed so that listeners may have sensation of sound coming from oil directions at equal levels.

6.2.14 ECHO : Reflected sound producing a distinct repetition of the original sound.

Echo in mountains is distinct by reason of distance of travel after original signal has ceased.

6.2.15 ECHO FLUTTER : Short echoes in small reverberate spaces that produce a clicking, ringing or hissing sound after the original sound signal has ceased. Flutter echoes may

be present in long narrow spaces with parallel walls.

6.2.16 FREQUENCY : The number of oscillations or cycles per unit of time. Acoustical frequency is usually expressed in units of Hertz(Hz) where one Hz is equal to one cycle per second.

6.2.17 LOUDNESS : A listener’s auditory impression of the strength of a sound. The average deviation above and below the static value due to sound wave is called sound pressure. The energy expended during the sound wave vibration is called intensity and is measured in intensity units. Loudness is the physical resonance to sound pressure and intensity.

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Special Study 6.2.18 MASKING :

The process by which the threshold of hearing of one sound is raised due to life presence of another.

6.2.19 NOISE : Unwanted sound that is annoying or interferes with listening. Not all noise needs to be excessively loud to represent on annoyance or interference.

6.2.20 REFLECTION : The amount of sound wave energy(sound) that is reflected off a surface.

Hard non porous surfaces reflect more sound than soft porous surfaces. Some sound reflection can enhance quality of signal of speech and music.

6.2.21 REVERBERATION :

Sound after it is ended at the source will continue to reflect of surfaces until the sound wave loses energy by absorption to eventually die out.

6.2.22 REVERBERATION TIME : The time taken for sound to decay 60 dB to 1000000 of its original sound level after the sound source has stopped. Sound after it has ended will continue to reflect off surfaces until the wave loses enough energy by absorption to eventually die out.

6.2.23 SOUND : Sound is an oscillation in pressure, stress particle displacement, Particle

velocity in a medium (in room temperature, in air speed of sound is 1125’/sound or one mile in five seconds). Sound produces an auditory sensation caused by the oscillation.

6.2.24 SOUND ABSORBTION : The property possessed by materials, objects and air to convert sound energy into heat. Sound waves reflected by a surface causes a loss of energy.

The energy not reflected is called its absorption coefficient.

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Special Study 6.3 FOR GOOD ROOM ACOUSTICS THE FOLLOWING CONDITIONS NEED TO BE SATISFIED : ➢ There needs to be good sound distribution in the room. This may be

effected by various acoustic ‘faults’ such as concentrations and shadows, ringing and coloration or echoes. ➢ The background level needs to be an optimum for the acoustic activity in the space. Often this optimum will be the minimum sensibly obtainable but may not if masking noise is required such as in open plan offices. ➢ The reverberation or rate of decay of the sound should be an optimum for the acoustic activity.

6.4 ACOUSTICS – MATERIALS : ➢

Acoustics is the interdisciplinary science that deals with the study of

all mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound and infrasound. ➢

A scientist who works in the field of acoustics is an acoustician while someone working in the field of acoustics technology may be called an acoustical engineer.

➢

The application of acoustics is present in almost all aspects of modern society

with

the

most

obvious

being

the

audio

and

noise

control industries.

6.5 TYPES OF MATERIALS :  SOUND ABSORBERS  SOUND DIFFUSERS  NOISE BARRIERS  SOUND REFLECTORS

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Special Study 6.5.1 SOUND ABSORBERS : ➢ These sound absorbing acoustical panels are used to eliminate sound reflections to improve speech intelligibility, reduce standing waves and prevent comb filtering. ➢ Typical materials are open cell polyurethane foam, cellular melamine, fiberglass, fluffy fabrics and other porous materials. A wide variety of materials can be applied to walls and ceilings depending on your application and environment. ➢ These materials vary in thickness and in shape to achieve different absorption ratings depending on the specific sound 6.5.1.2 TYPES : 1.

Acoustical foam panels

2.

White paintable acoustical wall panels

3.

Fabric wrapped panels and blankets

4.

Acoustical wall coverings

5.

Ceiling tiles

6.

Baffles and banners for ceiling

6.5.1.3 ACOUSTICAL FOAM PANELS :

STACKABLE FOAM

CUTTING WEDGE

STANDARD POLYURETHANE FOAM PATTERNS

FIRE RATED FOAM

Fig. 74 : Acoustical Foam Panels FEATURES : ➢ Sound absorbers ➢ Polyurethane or class 1 fire rated foam. ➢ Available in 1’ x 1’ or 2’ x 4’ sheets. ➢ Patterns include wedge, pyramid, max wedge.

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Special Study APPLICATIONS : ➢ Recording studio ➢ Broadcast studio ➢ Commercial and industrial use. ➢ Directly to walls. ➢ Hung as baffles ➢ Freestanding absorbers.

6.5.1.4 WHITE PAINTABLE ACOUSTICAL WALL PANELS :

WALL PANELS

WALL PANELS

Fig. 75 : White Paintable Acoustical Wall Panels FEATURES : ➢ Reducing echo and reverberation. ➢ Soft drywall texture appearance. ➢ Create unique patterns.

➢ Panel size allows for flexible. ➢ Mounting options. ➢ Paintable & Printable finish. ➢ Class A rating per ASTM E 84 ➢ Panel Size: 2' x 1' (24 inches by 12 inches) ➢ Thickness: 1-1/8" ➢ Quantity per box: 10 panels. ➢ Paintable finish covers face and exposed edges .

APPLICATIONS : ➢ Commercial and industrial use. ➢ Directly to walls.

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Special Study 6.5.1.5 FABRIC WRAPPED PANELS :

WALL PANELS

CEILING CLOUDS

CEILING BAFFLES

BROADBAND ABSORBER

Fig. 76 : Fabric Wrapped Panels FEATURES : ➢ Used to reduce echo and reverberation. ➢ Ceiling Baffles absorb sound on all sides and edges.

➢ Manufactured from a rigid high density glass fiber acoustical board and covered with an acoustically transparent fabric.

APPLICATIONS : ➢ Theatres.

➢ Restaurants. ➢ Arenas. ➢ Shopping malls. ➢ Convention center. ➢ Recording & broadcast.

6.5.1.6 ACOUSTICAL WALL COVERINGS :

WALL FABRIC

WALL FABRIC

Fig. 77 : Acoustical Wall Coverings FEATURES : ➢ Lightweight Acoustic Fabric ➢ Easy to install ➢ Class A SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Special Study ➢ Passes Corner Burn Test ➢ Available in Many Colors ➢ Durable / Abuse Resistant ➢ Improves Speech Intelligibility.

APPLICATIONS : ➢ Conference Rooms ➢ Theaters ➢ Hospitals

➢ Municipal ➢ Office Partitions ➢ Schools ➢ Hallways & more...

6.5.1.7 CEILING TILES :

Fig. 78 : Acoustical Ceiling Tiles ➢ Absorb noise and block sound transmission. ➢ These ceiling tiles are designed to fit into existing 2' x 2' suspended drop tile ceiling grid systems. Ceiling tiles may also be ordered as a full 24" x 24" size, un-backed for adhesive mounting directly to walls or ceilings. ➢ Ordinary ceilings take on new levels of visual excitement with these sculptured tiles. ➢ They are available in five different patterns plus a non-patterned look to enable you to "mix and match" for your own designs. ➢ Available sizes : 24’’X 24’’ (nominal) specify grid when ordering 9/16 or 15/16.

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Special Study 6.4.1.8 BAFFLES AND BANNERS FOR CEILING :

BAFFLES

BANNERS

Fig. 79 : Baffles and Banners for Ceiling ➢ Baffles are an economical way to reduce sound pressure levels and lower reverberation times in large spaces such as gymnasiums, theaters, restaurants, health and fitness clubs, etc. ➢ Banners are suspended from ceilings, bar joists or pre-engineered suspension systems. They are designed to hang in a horizontal or in a catenary fashion using edge stiffeners or deck mounted flat with washer plates 6.5.2 SOUND DIFFUSERS: ▪ These devices reduce the intensity of sound by scattering it over an expanded area, rather than eliminating the sound reflections as an absorber would. Traditional spatial diffusers, such as the poly cylindrical (barrel) shapes also double as low frequency traps. Temporal diffusers, such as binary arrays and quadratics, scatter sound in a manner similar to diffraction of light, where the timing of reflections from an uneven surface of varying depths causes interference which spreads the sound.

QUADRA PYRAMID

PYRAMIDAL

DOUBLE DUTY

QUADRATIC

Fig. 80 : Sound Diffusers SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Special Study 6.5.2.1 QUADRA PYRAMID DIFFUSER :

➢ This diffuser generates a uniform polar response over a broad frequency range using a pre-rotated pyramidal pattern to create 16 angles of reflection.

6.5.2.2 PYRAMIDAL DIFFUSER : ➢ This traditional industry workhorse disperses sound uniformly over a broad frequency range. A quick solution to reduce flutter echo.

6.5.2.3 DOUBLE DUTY DIFFUSER : ➢ These Poly cylindrical Diffusers do twice the work. They scatter sound and function as a bass trap.

6.5.2.4 QUADRATIC DIFFUSER : ➢ A true quadratic residue diffuser designed for uniform broadband scattering and reducing High-Q reflections.

6.5.3 NOISE BARRIERS : ▪

These materials range from dense materials to block the transmission of airborne sound to devices and compounds used to isolate structures from one another and reduce impact noise.

BARIERS

COMPOSITES

VIBRATION CONTROL

Fig. 81 : Noise Barriers

6.5.3.1 VIBRATION CONTROL : •Vibration control products are used to absorb vibration energy and prevent structural noise transmission. These include vibration damping compounds and vibration pads, isolation hangers, and resilient clips. They improve sound transmission loss.

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Special Study 6.5.3.2 BARRIERS : ➢ Sound barrier materials are used to reduce the transmission of airborne sound. The Block Aid series of products include the standard one pound per square foot non reinforced barrier, transparent material when observation or supervision is required, reinforced vinyl to create a hanging barrier partition.

6.5.3.3 COMPOSITES : ➢ Composite materials are manufactured from combinations of various materials from open and closed celled foams to quilted fiberglass and

barrier. These products are used to block and absorb sound for machine enclosures as well as blocking airborne sound and impact noise. Some of these products include Composite Foams, Strati Quilt Blankets and Floor Underlayment.

6.5.4 SOUND REFLECTORS : ▪

The sound reflector is shipped as a flat panel and is bowed in the field to the architects' or acoustical consultants' specifications. The bowed surfaces produce more diffuse reflections and wider coverage

6.5.4.1 OVATION REFLECTOR PANELS : ➢ Designed for large spaces requiring improved sound directivity, strength, and timing of reflections from the ceiling area, this product is perfect for auditoriums, lecture halls, and performing arts centres. ➢ Materials like Fabric, thermocol,

jute,

cloths are used. ➢ Surfaces like wood, metal, Fig. 82 : Reflector Panels SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

brick

and

stucco are used.

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Special Study ➢ Standard panels are constructed of a 1/2" plywood core that is finished with a fiber reinforced gel coat, these curved panels are ceiling-suspended

with attachment points on the steel framing. Select from a wide range of colors. ➢ Laminate or hardwood veneer finishes are available on 3/4" plywood core.

Ovation panels allow the designer to custom size large curved reflector surfaces. ➢ Typically 8' x 8' minimum sizes are recommended for broad band sound reflection. The sound reflector is shipped as a flat panel and is bowed in

the field to the architects’ or acoustical consultants’ specifications. The bowed surfaces produce more diffuse reflections and wider coverage. ➢ Panel radius and dimensions are variable to meet both acoustical and design requirements. The angle of reflection is adjusted in the field using turnbuckle and cable suspension

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7. SITE STUDY

Site Study 7. SITE STUDY 7.1 LOCATION OF SITE : ▪

The site is located in the city of Madurai, at a place called Iravadanallur. It lies in 9.93’’ N Latitude and 78.12’’ E Longitude.

▪

It is in the east of the Madurai district, proximity towards all the three main transportation hubs are close and easily accessible.

7.1 LOCATION OF SITE : MACRO LEVEL :

POPULATION : 1,465,625 (2011 census)

MADURAI AREA : 147.97 kms

Fig. 83 : Madurai City Map ELEVATION : 115 m above the sea level.

PROPOSED SITE AREA : 26 Acres approx.

MICRO LEVEL : Fig. 84 : Proposed Site Map SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Site Study 7.2 MADURAI – INTRODUCTION :

AETHENS OF EAST

TEMPLE CITY

CITY OF JASMINE

CITY THAT NEVER SLEEPS

Fig. 85 : Madurai - Introduction 7.3 WHY IN MADURAI..?? : MUTHAMIZH

‘IYAL’(PROSE)

‘ISAI’ (MUSIC)

CULTURAL HEAD QUARTERS

NADAGAM (DRAMA)

UNIQUE CUSTOMS, TRADITIONS AND ART FORMS

Fig. 86 : Why in Madurai..?

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Site Study ➢ Third largest city by population in Tamil Nadu. ➢ Third major in economic. ➢ Renowned for Tourism. ➢ Major transportation hub for southern Tamil Nadu. ➢ Lack of music amenities in South Tamil Nadu. ➢ There is no campus for Teaching, Training and Performance in South Tamil Nadu. ➢ To develop the talents of south Tamil Nadu and Madurai I'm providing a music conservatory in Madurai.

7.4 ACCESS : AIR : The city has an international airport with regular flights from

and to important

destinations both in India and Abroad.. .

Madurai

International

Airport

started

its

operation in World war II in 1942. Site is 13.6 Fig. 87 : International Airport

kms from Madurai International Airport

RAIL : The city has one major Railway station.

There

are

direct

trains

from

connecting Madurai with major cities and towns across India. There are ten other sub

urban railway stations serving the city. Site is Fig. 88 : Railway Junction

8 kms from Madurai Railway Junction

ROAD : The site is strategically located on NH

45B. The national highways NH 7, NH 45B, NH 208 and NH 49 pass through Madurai.

Site is 5.7 kms from Madurai Mattuthavani central Bus stand.

Fig. 89 : Central . Bus stand

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Site Study 7.5 PROS AND CONS : ➢ The site is located outer municipal boundary of Madurai towards eastern side.

• •

•

The site is flat and karuvelam

The site was once used as a

tree (prosopis juliflora) is there

place for public gathering.

in some parts of the site.

The site is surrounded by coconut trees and vacant lands.

•

The site is near to vaigai river and it is 500 m from the site.

Fig. 90 : Pros and Cons 7.6 INGREES AND EXGREES :

Way to proposed site (NH 45B)

Way to proposed site (NH 45B)

Service road adjacent to the site.

Service road adjacent to the site.

Fig. 91 : Ingress and Egress SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Site Study 7.7 LANDMARKS AND ACCESSIBILITY :

Madurai outer ring road circle – 750 mts

Madurai Teppakulam - 3.3 kms

Athisayam theme park – 17.4 kms

Velammal college of engineering – 2.6 kms

St. John’s church – 7.5 kms

Meenakshi amman temple – 6.5 kms

Gandhi memorial Museum – 6.9 kms

Thirumalai Nayakar Mahal– 5.9 kms

Fig. 92 : Landmarks and Accessibility SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Site Study 7.8 SITE ANALYSIS :

Fig. 93 : Site Analysis

SOUTH WEST WINDS

N

PROPOSED SITE

E

W

NORTH EAST WINDS SUN PATH 7.8.1 ORIENTATION : ➢ The site faces the northwest side. ➢ Main entry to the site is towards the southeast side. ➢ The site is surrounded by vacant lands and residences on the southwest side.

7.8.2 SUN PATH : ➢ Sun rises in the east and sets in the west passing through south.

7.8.3 WIND DIRECTION : ➢ The wind flow is from the north east and southwest direction.

7.8.4 NOISE : ➢ Since the site is located in the NH, the noise of the vehicles from the road slightly affect the site. Also the surrounding vacant lands, coconut trees and vaigai river acts as a natural buffer for the site.

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Site Study 7.8.5 DRAINAGE : ➢ The site is most likely to be flat. ➢ The highest point on the site is at the western side. Therefore the drainage pattern is from east to west.

7.9 SITE FEATURES : 7.9.1 HYDROLOGY : ➢ Water sources available from nearby vaigai river and bore wells are means of water.

7.9.2 GEOLOGY : ➢ The soil type in the site is predominantly red loam and black cotton types are found and well supplied with organic matters.

7.9.3 TEMPERATURE : ➢ During summer during summer generally reach a maximum of 40 °C and a minimum of 26.3 °C. ➢ Winter temperatures range between 29.6 °C and 18 °C. 7.9.4 VEGETATION : ➢ The site is surrounded with coconut trees and vacant lands. ➢ A light bed of green grass and karuvelam trees (prosopis juliflora) is there in some parts of the site.

7.9.5 TOPOGRAPHY : ➢ The site is a flat contoured site

ans

coming

gentle

slope

from

the

northwest and goes down in the southeast side in which the vaigai river is running near to the site.

Fig. 94 : Site Topography SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Site Study 7.9.6 DISASTER : ➢

Madurai is in level II and it is low intensity zone

7.9.7 ONSITE FEATURES : ➢ It is a vacant land.

7.9.8 OFFSITE FEATURES : ➢ The site is surrounded by vacant lands and residences on the southwest side.

7.10 SITE VISUALS :

View of Road (NH 45B) from site

Site entry

Proposed site south east corner

Proposed site south corner

360 DEG PANORAMA VIEW OF THE PROPOSED SITE

Fig. 95 : Site Visuals 7.11 INFERENCE : ➢

The site has close proximity towards all the main transport stations.

➢

Since the site is located in the NH, natural buffer helps the design acoustically.

➢

This also submits a natural aesthetic view to the design.

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8. DESIGN REQUIREMENTS AND PROGRAMME

Design Requirements and programme 8. DESIGN REQUIREMENTS AND PROGRAMME 8.1 DESIGN OVERVIEW : ▪

This Music Conservatory provide a wide range of programs to suit all ages and abilities, ranging from six-month part-time courses to a full-time, twoyear bachelor course.

8.1.1 FULL-TIME COURSES: ▪

This provide both combine the Classical and Western music traditions and provide students with a range of solo and ensemble performance opportunities.

8.1.2 PART-TIME COURSES: ▪

This provide a range of part-time courses in everything from intensive instrumental and vocal tuition to audio engineering.

8.2 COURSES : 1.

Preparatory

2.

UG courses in Music

3.

PG courses in Music

4.

Summer programs

5.

Audio engineering

8.2.1 PREPARATORY COURSES: ➢ Part-time. ➢ One-year curriculum ➢ Designed for music enthusiasts of any age, from five years up

wards.

➢ It includes compulsory music theory class and practical music lessons and consists of evening, weekly private and group lessons.

8.2.2 UG COURSES IN MUSIC : ➢ Two-year, full-time course. ➢ This helps into the practical, technological, historical and theoretical aspects of both Western and Classical music.

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Design Requirements and programme 8.2.3 PG COURSES IN MUSIC : ➢ One -year, full-time course. ➢ This helps into the practical, technological, historical and theoretical aspects of both Western and Classical music.

8.2.4 SUMMER PROGRAMS : ➢ It offer aspiring musicians of all ages ➢ Short periods of time. ➢ One or two months course.

8.2.5 AUDIO ENGINEERING : ➢ Training in all the key aspects of professional audio engineering, covering a wide range of skills, from basic theories of sound through to recording, mixing and mastering. ➢ Also teach acoustics, audio for video, sound design, sound reinforcement

and audio for broadcast. ➢ Option of taking a six-month introductory course or a full year of study.

8.3 MUSICAL INSTRUMENTS : The great majority of musical instruments fall readily into on of the six major categories: bowed strings, wind, brass, percussion, keyboard and the guitar family.

8.3.1 STRINGS & BOWED STRING : Violin family, Dilruba, Guitar family, Sitar, Sarod, Tampura, veena, Gottuvadyam.

8.3.2 WIND : Flute, Saxophone, Nadaswaram.

8.3.3 BRASS : Trumpet, French horn, Trombone, Tuba.

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Design Requirements and programme 8.3.4 PERCUSSION : Mridangam, Thavil, Kanjira, Ghatam, Morsing, Tabla, Indefinite Pitch.

Drums. Xylophone.

8.3.5 KEYBOARD INSTRUMENTS : Plucked, Struck, Aerated, Electronic Keyboard.

8.3.6 GUITAR FAMILY : Bass guitars, Charango's, Non standard guitars, Guitars.

8.3.7 VIOLIN FAMILY : Violin, Viola, Cello, Double bass.

8.4 UG COURSES AND NUMBER OF STUDENTS : 8.4.1 UG - WESTERN MUSIC COURSES : ➢ voice ➢ woodwind ➢ brass ➢ percussion ➢ keyboard ➢ string ➢ guitar ➢ composition  20 students per department.  8 X 20 = 160 students.  2 years course.  2 X 160 = 320 students.  30 Sq. m for theory class.  16 X 30 = 480 Sq. m  50 Sq. m for Practical class.  16 x 50 = 800 Sq. m SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Design Requirements and programme 8.4.2 UG - CLASSICAL MUSIC COURSES : ➢ voice ➢ woodwind ➢ brass ➢ percussion ➢ violin ➢ string

➢ veena ➢ composition  20 students per department.  8 X 20 = 160 students.  2 years course.  2 X 160 = 320 students.  30 Sq. m for theory class.

 16 X 30 = 480 Sq. m  50 Sq. m for Practical class.  16 x 50 = 800 Sq. m 8.5 PG - COURSES IN MUSIC : ➢ voice

➢ All categories of music. ➢ Composition  1 year course.

 40 students in western and 40 in classical.  40 X 2 = 80 Students.  20 students per class.  4 class rooms.  40 Sq. m for class room.  40 X 4 = 160 Sq. m SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Design Requirements and programme 8.6 AUDIO ENGINEERING :  2 years course.  40 students per year.  40 X 2 = 80 Students.  20 students per class.  4 class rooms.  40 Sq. m for class room.  40 X 4 = 160 Sq. m 8.7 STAFFS : ➢ For theory classes – 1 : 20 ➢ For practice classes – 1 : 5 ▪

Teaching staffs = 100(app)

▪

Non teaching staffs = 50(app)

▪

Total = 150 (app)

8.7.1 STAFFS QUARTERS : ➢ Staff quarters facilities has to be provided for 1/3 of the no of staffs. ➢ 20 sq. m is Recommended by the standards for a single room which includes the storage, sleeping and working areas.  30 gents room  30 X 20 = 600 sq. m  20 ladies room  20 X 20 = 400 sq. m  Total area for rooms = 1000 sq. m 8.8 STUDENTS : ➢ The ratio of boys and girls are calculated from case study by using the percentage of boys and girls admitted in each course . ➢ Total no of males :500 ➢ Total no of females :300 SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Design Requirements and programme 8.8.1 HOSTEL FACILITIES : ➢ Hostel facilities has to be provided for 2/3 of the population of the school. ➢ 30 sq. m is Recommended by the standards for a double room which includes the students storage, sleeping and working areas.  180 gents room 180 X 25 = 4500 sq. m  100 ladies room 100 X 25 = 2500 sq. m

 Total area for rooms = 7000 sq. m 8.8.2 DINING FACILITIES : ➢ For 300 students. ➢ Dining area 800 sq. m ➢ Circulation 200 sq. m ➢ Kitchen 600 sq. m ( 50% of dining ) ➢ Store 200 sq. m ( 30% of dining ) ➢ Total area = 1800 Sq. m

8.8.3 TOILET FACILITIES : Gents 500 no's ➢ 50 w.c, 30 urinals. ➢ 30 sinks, 70 shower.

Ladies 300 no's ➢

38 w.c.

➢ 20 sinks, 40 shower. ➢

Total area = 800 Sq. m

8.8.4 RECREATIONAL FACILITIES : ➢ Swimming pool – 1000 sq. m ➢ Tennis – 670 sq. m ➢ Basket ball – 496 sq. m ➢ Total Area = 2166 Sq. m SAM JEBADURAI D | B.Arch. 2012-2017 | AC12UAR072

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Design Requirements and programme 8.5 ACADEMIC : 8.5.1 ADMINISTRATION : ➢ Lobby

90 sq. m

➢ Dean

40 sq. m

➢ Office

130 sq. m

➢ Secretary

25 sq. m

➢ Asst. secretary

25 sq. m

➢ Staff room

50 sq. m

➢ Conference room

100 sq. m

➢ Record room

30 sq. m Total

490 Sq. m

8.5.2 LIBRARY : ➢ Entrance lobby

100 sq. m

➢ Stack area

300 sq. m

➢ Reading area

1000 sq. m

➢ Staff reading area

100 sq. m

➢ Librarian

30 sq. m

➢ Reference + reading

300 sq. m

➢ Office

30 sq. m

➢ Hearing room

100 sq. m

➢ Audio visual

200 sq. m

➢ Control chamber

30 sq. m

➢ Reprography

70 sq. m

➢ Store

70 sq. m Total

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2330 Sq. m Page | 105

Design Requirements and programme 8.5.3 MUSIC RESEARCH CENTRE : ➢ AV Hall (2)

200 sq. m

➢ Workshop room

50 sq. m

➢ Instrument Repair

80 sq. m

➢ Staff room

80 sq. m

➢ Rest room

40 sq. m Total

450 Sq. m

8.5.4 RECORDING STUDIO : ➢ Lobby

50 sq. m

➢ Reception

15 sq. m

➢ Office

30 sq. m

➢ Guest room

60 sq. m

➢ Sound room

20 sq. m

➢ Voice booth

25 sq. m

➢ Live room

100 sq. m

➢ Rest room G

80 sq. m

➢ Rest Room L

80 sq. m Total

460 Sq. m

8.5.5 OAT FOR MAJOR CONCERTS : (1500 PERSONS) ➢

Seating

3000 sq. m

➢

Stage

800 sq. m

➢

Green room

80 sq. m

➢

Rest room G

80 sq. m

➢

Rest Room L

80 sq. m Total

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4040 Sq. m

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Design Requirements and programme 8.5.6 CONCERT HALL : (1500 PERSONS) ➢ Seating

3000 sq. m

➢ Gallery

450 sq. m

➢ Check room

120 sq. m

➢ Lobby

500 sq. m

➢ Ticket office

40 sq. m

➢ Administrative

200 sq. m

➢ Choral Rehearsal room

200 sq. m

➢ Band Rehearsal Room

250 sq. m

➢ Instrument storage

80 sq. m

➢ Radio studio

70 sq. m

➢ Control room

40 sq. m

➢ Director room

20 sq. m

➢ Ass. Director room

20 sq. m

➢ Projection room

70 sq. m

➢ Spot light room

120 sq. m

➢ Stage

650 sq. m

➢ Back Stage

350 sq. m

➢ Costume workshop

100 sq. m

➢ Costume storage

90 sq. m

➢ Dressing room

100 sq. m

➢ Stage manager

60 sq. m

➢ Gents toilet

120 sq. m

➢ Ladies toilet

120 sq. m Total

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6770 Sq. m Page | 107

Design Requirements and programme 8.5.7 SEMINAR HALL : (500 PERSONS) ➢ Seating

1000 sq. m

➢ Lobby

250 sq. m

➢ Stage

360 sq. m

➢ Green room

80 sq. m

➢ Store

20 sq. m

➢ Light room

10 sq. m

➢ Rest room G

80 sq. m

➢ Rest Room L

80 sq. m Total

1880 Sq. m

8.6 PARKING : ➢ Total no of students – 800 ➢ Total no of two wheeler – 200 (max) ➢ Total no of 4 wheelers – 120 (max) ➢ Total no of parking for a concert hall – (1500 no) = 300 – 350 (max) ➢ Area = 10000 Sq. m 8.7 SERVICE FACILITIES : ➢ Security cabin ➢ Fire services ➢ Canteen facilities ➢ Area = 1000 Sq. m 8.8 OTHER FACILITIES : ➢ Park and gardens ➢ outdoor performance shed ➢ outdoor practice sheds ➢

Area = 10000 Sq. m

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Design Requirements and programme 8.9 TOTAL AREA CALCULATION : Total area = 53,066 Sq. m

20% circulation - 10,613 Sq. m

Open spaces has to be provided (40% of total area) - 21,226 Sq. m

Future expansion has to be considered. (30% of total area) - 15,919 Sq. m

Thus the total area needed is - 1,00,824 Sq. m (Around 24.9 acres)

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9. CONCLUSION

Conclusion 9.1 CONCLUSION ➢ My primary goal is to provide teaching, training and performance facilities in a unique campus and designing the form of the conservatory was to create spaces for the public and ultimately the students which provided an atmosphere conducive to creativity and the desire to express oneself. ➢

It seemed important to me that these forms be expressive of the activities occurring within each space.

➢ Therefore it was important that the character of the form be expressed architecturally on the exterior facades, the interior plans, and that which can only be felt - the sense of place. ➢ The concept, design and the detail plans are briefly presented separately.

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10. BIBLIOGRAPHY

Bibliography 10.1 BIBLIOGRAPGHY ➢ NATIONAL BUILDING CODE- 2005 ➢ TIME SAVER STANDARDS ➢ FORM SPACE AND ORDER by D.K.Ching ➢ PAJARITO SCHOOL OF MUSIC by Jan Kristin Engel ➢ INTERACTIVE MUSIC EXPERIENCE by Gaetan R. Jacques ➢ MUTUAL RELATION ROLE BETWEEN MUSIC AND ARCHITECTURE IN DESIGN by Khaled Mohamed DewidarI, Amr Farouk El-GoharyII, Maged Nabeel AlyIII, Hebatallah Aly Salama.IV ➢ PLANNING GUIDE FOR SCHOOL MUSIC FACILITIES by wenger ➢ FACILITIES FOR MUSIC EDUCATION AND THEIR ACOUSTICAL DESIGN by Heli Koskinen ➢ FREENOTES HARMONY PARK – pdf ➢ INFORMATION

FROM

VARIOUS

MUSIC

CENTRES

AND

ACADEMIES ➢ THESIS REPORTS FROM MY DEPARTMENT LIBRARY ➢ NET STUDY – Wikipedia, e books and various websites

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