National Center for Arts, New Delhi - Architectural thesis

National Centre for Arts IGNCA Lawns, New Delhi

THESIS REPORT

Coordinator : Prof. (Dr.) Jaya Kumar Guide : Prof. Amit Hajela, Prof. Shiriesh Malpani

Vaibhav

Sec ‘B’ A/2769/2014

Introduction

India is a culturally diverse nation with numerous traditions, language, arts which have attained recognition at international level, nevertheless still there exist a large treasure of such art forms which are limited within the bounds of their region/ community. These art forms are not only the identity of their community but also a heritage for the nation which needs to be preserved. One way to preserve and spread these art forms is to provide them required exposure, forward it to new generation and train & support artists to carry it forward. Thus, way forward in this direction could be providing required infrastructure for growth and promotion.

Thesis proposition

To design a ‘National Centre for Performing and Visual Arts’ in a strong context of Lutyens Delhi. Around 70 years’ postindependence, the proposed NCA, Delhi in the context of such prominent power structures aims to provide an international platform to all forms of indigenous art forms.

The scheme should reflect upon Indian perception of spaces and built articulation to honor those art forms.

Research Outcomes

Due to multiple types of art forms with different requirement, the spaces needs to be adaptive to cater to such needs as and when arised. A particular typology which works well for one kind of performance might not be suitable for other.

Program

Site study

Site Area

46,319 sqm (11.45acre)

Max. Permissible FAR

1.2 (55,580 sqm)

FAR achieved

0.64 (~35775 sqm)

Max. Ground coverage

25% (11580 sqm)

Parking ECS

2 ECS/ 100sqm

Total ECS requirement

694

Surface parking requirement 174 ECS (25%) Basement parking

520 ECS (75%)

Basement area requirement

16672 sqm.

Museum & Gallery

Main theatre

Cultural info. Centre Public facilities

Indian Theatre

The proposed site for NCA is located along the central vista in Lutyens’ Delhi at the junction of Rajpath and Janpath across National Archives. It shares plot with IGNCA.

Admin

Inferences - Case studies

Context study

Site is located in strong context of Lutyens Delhi along Janpath and Rajpath.

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National Centre for Arts, New Delhi

Bharat Bhawan, Bhopal

Jawahar Kala Kala Kendra, Academy, Jaipur Goa

Rabindra Bhawan, Delhi

Each part of the building is distinct yet flows easily one another, which is essential for any public building

The interplay of light , shadow and colors, evoke emotions in the user and invite him to move further.

Sitting in the strong context of NSD & SRCPA this building reponds very strongly to its context

Well resolved circulation.

The building looking onto River Mandovi in the context.

Technology

SWOT Analysis Strength

Weakness

Opportunity

Threat

Site is located in capital city of India which gives required exposure to the project. Also being located in heart of city i.e. Lutyens Delhi has its added advantages.

Site is well connected by means of public transport with bus stop and metro at waking distance.

Too many trees scattered nonuniformly over the site makes it difficult to provide larger spaces.

Thick tree cover between site and Rajpath obstructs the view of Central Vista.

Security concerns do not allow direct view of central vista from open terraces

The NCA can respond to IGNCA such that the two building compliments the functionality of each other.

Working on an empty site (since existing buildings are proposed to be demolished) has its added benefits in terms of site planning.

Being one of the highest public gathering building along Central Vista, site becomes highly sensitive in terms of security.

Design Outcome

Design stage 1

Design stage 2

Design stage 3

Final Design

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प्रस्तावना भारत एक सांस्कृतिक रूप से विविध राष्ट्र है, जिसमें कई परंपराएं, भाषा,

कार्यक्रम

साइट का अध्ययन

साइट क्षेत्र

46,319 sqm (11.45acre)

का एक बड़ा खजाना मौजूद है, जो उनके क्षेत्र / समुदाय की सीमा में सीमित

मैक्स अनुमन्य FAR

1.2 (55,580 sqm)

हैं। ये कला रूप न केवल उनके समुदाय की पहचान हैं, बल्कि राष्ट्र के लिए एक

एफएआर हासिल किया

0.64 (~35775 sqm)

मैक्स ग्राउंड कवरेज

25% (11580 sqm)

पार्किंग ECS

2 ECS/ 100sqm

करना और उनका समर्थन करना है। इस प्रकार, इस दिशा में आगे बढ़ने से

कुल ईसीएस की आवश्यकता

694

विकास और संवर्धन के लिए आवश्यक बुनियादी ढांचा उपलब्ध हो सकता है।

भूतल पार्किंग की आवश्यकता

174 ECS (25%)

प्रस्ताव

बेसमेंट पार्किंग

520 ECS (75%)

तहखाने क्षेत्र की आवश्यकता

16672 sqm.

कलाएं हैं, जिन्हें अंतरराष्ट्रीय स्तर पर पहचान मिली है, फिर भी ऐसे कला रूपों

धरोहर हैं जिन्हें संरक्षित करने की आवश्यकता है। इन कला रूपों को संरक्षित और फैलाने का एक तरीका उन्हें आवश्यक एक्सपोज़र प्रदान करना है, इसे नई पीढ़ी को अग्रेषित करना और इसे आगे बढ़ाने के लिए कलाकारों को प्रशिक्षित

लुटियंस दिल्ली के एक मजबूत संदर्भ में design नेशनल सेंटर फॉर परफॉर्मिंग एंड विजुअल आर्ट्स ’डिजाइन करना। लगभग 70 वर्षों की स्वतंत्रता के बाद, प्रस्तावित एनसीए, दिल्ली ऐसी प्रमुख बिजली संरचनाओं के संदर्भ में सभी प्रकार के स्वदे शी कला रूपों को एक अंतरराष्ट्रीय मंच प्रदान करना है। इस स्कीम में उन स्थानों की भारतीय धारणा को दर्शाया जाना चाहिए और उन कला

Museum & Gallery Cultural info. Centre

रूपों को सम्मानित करने के लिए आर्टिकुलेशन बनाया जाना चाहिए।

Public facilities

अनुसंधान के परिणाम

Admin

विभिन्न आवश्यकताओं के साथ कई प्रकार के कला रूपों के कारण, इस तरह की जरूरतों को पूरा करने के लिए रिक्त स्थान को अनुकूल बनाने की

Main theatre

Indian Theatre

एनसीए के लिए प्रस्तावित साइट लुटियंस दिल्ली में केंद्रीय विस्टा के साथ राजपथ और जनपथ के राष्ट्रीय अभिलेखागार में स्थित है। यह IGNCA के साथ प्लॉट साझा करता है।

संदर्भ - केस स्टडी

आवश्यकता होती है। एक विशेष टाइपोलॉजी जो एक प्रकार के प्रदर्शन के लिए अच्छी तरह से काम करती है, अन्य के लिए उपयुक्त नहीं हो सकती है।

प्रसंग अध्ययन

साइट जनपथ और राजपथ के साथ लुटियन दिल्ली के मजबूत संदर्भ में स्थित है।

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National Centre for Arts, New Delhi

Bharat Bhawan, Bhopal

Jawahar Kala Kala Kendra, Academy, Jaipur Goa

Rabindra Bhawan, Delhi

भवन का प्रत्येक भाग अलग है फिर भी आसानी से एक दूसरे से बहता है, जो किसी भी सार्वजनिक भवन के लिए आवश्यक है

प्रकाश, छाया और रंगों के परस्पर क्रिया, उपयोगकर्ता में भावनाओं को जागृत करते हैं और उसे आगे बढ़ने के लिए आमंत्रित करते हैं।

एनएसडी और एसआरसीपीए के मजबूत संदर्भ में बैठी यह इमारत अपने संदर्भ में बहुत दृढ़ता से दोहराती है

अच्छी तरह से हल परिसंचरण। संदर्भ में मांडोवी नदी पर बनी इमारत।

प्रौद्योगिकी

स्वोट अनालिसिस Strength

Weakness

Opportunity

साइट भारत की राजधानी शहर में स्थित है जो परियोजना के लिए आवश्यक जोखिम दे ती है। शहर के केंद्र में स्थित होने के नाते यानी लुटियन दिल्ली के अपने अतिरिक्त फायदे हैं। साइट अच्छी तरह से जागने की दूरी पर बस स्टॉप और मेट्रो के साथ सार्वजनिक परिवहन के माध्यम से जुड़ा हुआ है।

साइट पर गैर-समान रूप से बिखरे हुए बहुत से पेड़ बड़े रिक्त स्थान प्रदान करना मुश्किल बनाते हैं। साइट और राजपथ के बीच मोटा पेड़ कवर सेंट्रल विस्टा के दृश्य को बाधित करता है। सुरक्षा चिंताओं को खुले छतों से केंद्रीय विस्टा के प्रत्यक्ष दृश्य की अनुमति नहीं है

NCA IGNCA का जवाब दे सकता है जैसे कि दो भवन एक दूसरे की कार्यक्षमता की तारीफ करते हैं। एक खाली साइट पर काम करना (चूंकि मौजूदा इमारतों को ध्वस्त करने का प्रस्ताव है) साइट योजना के संदर्भ में इसके अतिरिक्त लाभ हैं।

Threat सेंट्रल विस्टा के साथ उच्चतम सार्वजनिक सभा भवन में से एक होने के नाते, साइट सुरक्षा के मामले में अत्यधिक संवेदनशील हो जाती है।

डिजाइन आउटकम

डिजाइन चरण 1

डिजाइन चरण 2

डिजाइन चरण 3

अंतिम नक्शा

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Declaration The thesis titled National Centre for Arts, New Delhi is a requisite of the Bachelors Program in the Department of Architecture, School of Planning and Architecture, New Delhi – 110002, and was completed by the undersigned in January – May 2019.

The supervisors were Prof. Amit Hajela (Design ,Research & Technology Guide) and Ar. Shiriesh Malpani (Design and Research Guide).

The undersigned hereby declares that this design is his original work and has not been plagiarized in part or full from any source. Furthermore this work has not been submitted for any degree in this or any other University.

Vaibhav

A/2769/2014 B. Arch 5th year, Section- B School of Planning and Architecture, New Delhi

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National Centre for Arts, New Delhi

Certificate We certify that the thesis titled National Centre for Arts, New Delhi by Vaibhav enrollment no. A/2769/2014 was guided by us in January – May 2019. On completion of the report and based on the declaration by the candidate herein above, we accept & forward the report to the Department of Architecture, School of Planning and Architecture, New Delhi.

Prof. Amit Hajela

(Design, Research & Technology Guide)

Ar. Shiriesh Malpani

Prof. (Dr.) Jaya Kumar

(Design & Research Guide)

(Coordinator & Studio Director)

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A note to the reader A thesis is a reflection of 5 years worth of hardwork, efforts, failure and dedication.

This one is no different. Sincerest efforts were made to make it worth everything like it should be. However, there’s no utopia. This report is a small compilation of my research, findings & design attempts. Most of what I learnt could not be published in this report. Similarly, its possible that you might find some human errors or some loose ends in this report even though efforts were made to make it perfect. In other words, this report is not quite there where it was intended to be. So, if you find any errors in the report or need some clarification, you can write to me at vaibhavgupta.spa@gmail.com. I’d try my best to respond whenever possible.

Good luck for your endeavor!

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National Centre for Arts, New Delhi

Acknowledgments I would like to express my foremost gratitude to my guides Prof. Amit Hajela and Prof. Shiriesh Malpani for their consistent guidance, motivation and support in channelizing my thoughts in right direction.

I am also thankful to studio director & coordinator Prof. (Dr.) Jaya Kumar for helping us organize our research and providing her valuable inputs on the project.

I’m deeply indebted to my seniors Nayan Jain, Shiva Sah and juniors Nitesh Maurya, Ayush, Raghav Mathankar, Sundaram Kumar and Divyansh for their constant and undivided help without whom I’d probably be writing this acknowledgment an year later. I’d like to extend my thanks to Sandeep Raju, Naga Gopi & Vaidehi for their timely support.

Finally I’d like to express my deepest gratitude towards my family for their constant support and motivation and my brother Lakshay for all he did for my thesis.

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Table of contents:

[1] Introduction

[2] Areas of Research & Case Studies

• • • • • • • • • • • • • • • •

Introduction Need identification News coverage Intent Proposition Location justification Project brief Research question Aim Objective Scope Limitation Methodology Challenge Conclusion Inference

20 21 22 24 24 25 25 25 26 26 26 27 27 27 27 27

•

Research framework

28

• •

• • • • • • • • • • •

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National Centre for Arts, New Delhi

Typologies for performing spaces Design requirements of Auditorium & concert halls Amphitheater design requirements Conference hall design requirements Design requirements of Museum & Art gallery Performing Arts Visual Arts Bharat Bhawan, Bhopal Jawahar Kala Kendra, Jaipur Kala Academy, Goa Rabindra Bhawan, New Delhi Case example: Kamani Auditorium, New Delhi Case study comparison matrix

30 31 35 36 37 38 44 48 52 56 58 67 72

[3] Program Development & Analysis • • • • • •

Key points Project scope Area program summary Detailed area program Functional diagram Sectional distribution

•

Inferences

76 77 78 79 85 85 85

[4] Site Analysis • • • • • • • • • • • • • • • • •

Location Accessibility Connectivity Site Site Photos Survey Plan Existing site condition History (site) Context analysis Central vista analysis Central vista photos Land use Applicable development controls Climate Vegetation Materiality/ texture study Site attributes

86 87 87 88 89 90 91 92 93 94 96 98 98 99 100 102 103

[5] Technology Study • • • • •

Structural systems Acoustic requirements HVAC load calculation Water requirement calculation Power requirement calculation

106 114 116 118 120

[6] Determinants & Directives • •

Project justification SWOT analysis

[7] Design Development 122 123

• • • • •

Design directives Design exploration Design stage #1 Design stage #2 Design stage #3

124 125 126 128 130

[8] Concept & Design translation • • • • • • • • •

Response to site Response to context Response to program Response to artforms Drawings Context model Model 3D views Jury comments

134 134 135 135 136 146 147 148 149

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List of figures Figure

Content

Source

Page

Fig 1.1

Kathputli (dying artform of India)

Google Images

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Fig 1.2

Dhokhra Handicraft (dying artform of India)

Google Images

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Fig 1.3

Chhau Dance (dying artform of India)

Google Images

Fig 1.4

The NCPA will come up on the sprawling Indian Express lawns of the Indira Gandhi National Centre for Arts.

Fig 1.5

Representational image of performers

21 22

Financial Express online 23

Fig 2.13

Trees acting as noise barrier

NPTEL online resources 35

Fig 2.14

Sound reflection in amphitheatre

NPTEL online resources 35

Fig 2.15

Sound transmission in amphitheatre

NPTEL online resources 35

Fig 2.16

Conference hall with podium-seating typology

Google Images

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Fig 2.17

Conference room

Google Images

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Fig 2.18

Possible routes for art galleries

Time Saver Standards

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Fig 2.19

Viewing angles

Time Saver Standards

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Fig 2.20 Viewing angles

Time Saver Standards

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Time Saver Standards

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Fig 2.22 Viewing angles

Time Saver Standards

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Fig 2.21

Spotlights are best placed in sync with natural light

Auditorium functional layout

Time Saver Standards

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Fig 2.23 Bomalattam

Google Images

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Fig 2.2

Auditorium seating design for best viewing

Time Saver Standards

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Fig 2.24 Shadow puppet

Google Images

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Different typologies in Auditorium seating layout

Time Saver Standards

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Fig 2.25 Glove puppet

Google Images

Fig 2.3

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Fig 2.26 Chador badoni

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Fig 2.4

Curvature for rows of seats

Time Saver Standards

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Fig 2.27 Kathputli

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Fig 2.5

Viewing angles in auditorium

Time Saver Standards

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Fig 2.28 Shadow puppet

Google Images

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Fig 2.6

Sectional view of auditorium functionality

Time Saver Standards

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Fig 2.29 String puppet

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Fig 2.30 Togalu

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Fig 2.7

Desired viewing angles from balcony

Time Saver Standards

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Fig 2.31

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Fig 2.8

Sectional view of auditorium functionality

Time Saver Standards

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Fig 2.32 Tamasha

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Fig 2.33 Bhavai

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Fig 2.9

Auditorium stage design

Time Saver Standards

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Fig 2.34 Mudiyettu

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Fig 2.10

Preferred angle for seat arrangement

Time Saver Standards

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Fig 2.35 Dashavatar

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Fig 2.11

Greek amphitheatre

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Fig 2.36 Dhaanu jatra

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Fig 2.12

Built mass acting as noise barrier

NPTEL online resources 35

Fig 2.37 Therukoothu

Google Images

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Fig 2.1

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National Centre for Arts, New Delhi

Swang

Fig 2.38 Rasleela

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Fig 2.65 Jabro

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Fig 2.39 Krishna parijatam

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Fig 2.66 Oja pali

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Fig 2.40 Koodiyattam

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Fig 2.67 Ranapa

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Fig 2.41

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Fig 2.68 Purulia chaau

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Fig 2.42 Bhangra

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Fig 2.69 Hagalu Vesha

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Fig 2.43 Bihu

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Fig 2.70 Jaggahalige

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Fig 2.44 Cham

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Fig 2.71

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Fig 2.45 Dalshone

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Fig 2.72 Padhar

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Fig 2.46 Gaudiya nritya

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Fig 2.73 Pulikkali

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Fig 2.47 Sattriya

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Fig 2.74 Thirayattam

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Fig 2.48 Gnungmala

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Fig 2.75 Sohrai

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Fig 2.49 Giddha

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Fig 2.76 Patachitra

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Fig 2.50 Rumtek chaam

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Fig 2.77 Chalchitra

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Fig 2.51

Bahuwa

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Fig 2.78 Gond

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Fig 2.52 Khukuri

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Fig 2.79 Kangra

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Fig 2.53 Deodhani

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Fig 2.80 Kohbar

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Fig 2.54 Kathak

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Fig 2.81

Madhubani

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Fig 2.55 Gombhira

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Fig 2.82 Madhubani

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Fig 2.56 Kagyed

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Fig 2.83 Mandana

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Fig 2.57 Jhumar

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Fig 2.84 Miniature

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Fig 2.58 Pandav nritya

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Fig 2.85 Madhubani

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Fig 2.59 Nati

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Fig 2.86 Maru gurjara

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Fig 2.60 Namgen

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Fig 2.87 Pahari

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Fig 2.61

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Fig 2.88 Patachitra

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Fig 2.62 Khatok chenmo

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Fig 2.89 Phad

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Fig 2.63 Raibenshe

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Fig 2.90 Pichwai

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Fig 2.64 Ho ajina

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Fig 2.91

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Bagurumba

Yak chaam

Onapottam

Pithora

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Fig 2.92 Aipen

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Fig 2.93 Thangka

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Fig 2.94 Warli

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Fig 2.95 View of Bharat Bhawan, Bhopal

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Fig 2.96 View of Jawahar Kala Kendra, Jaipur

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Fig 2.97 View of Kala Academy, Goa

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Fig 2.98 View of Rabindra Bhawan, New Delhi

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Fig 2.99 View of Rabindra Bhawan, New Delhi

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Fig 2.100 View of Bharat Bhawan, Bhopal

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Axonometric sectional view of Bharat Fig 2.101 Bhawan

https://www.archdaily. com/791942/adclassics-bharatbhavan-charles-correa

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Fig 2.102 Entrance of Bharat Bhawan

Author

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Fig 2.103 View from courtyard of Bharat Bhawan

Author

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Fig 2.104 Plan of Bharat Bhawan

https://www.archdaily. com/791942/adclassics-bharatbhavan-charles-correa

Fig 2.105 Functional relationship in Bharat

https://www.archdaily. com/791942/adclassics-bharatBhawan bhavan-charles-correa

Fig 2.112 View of Jawahar Kala Kendra, Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Schematic plan of Jawahar Kala Kendra, Fig 2.113 Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Navagraha - it was primary concept Fig 2.114 behind planning of Jaipur city

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Fig 2.115 Plan of Jawahar Kala Kendra, Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Fig 2.116 View of Jawahar Kala Kendra, Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Axonometric view of every zone in Fig 2.117 Jawahar Kala Kendra, Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Fig 2.118 View of Jawahar Kala Kendra, Jaipur

http://www. archinomy.com/ case-studies/1867/ jawahar-kala-kendrajaipur-india

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Fig 2.119 View of Kala Academy, Goa

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Fig 2.120 Plan of Kala Academy, Goa

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Functional relationship in Kala Academy, Fig 2.121 Goa

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Fig 2.107 View of Bharat Bhawan

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Fig 2.108 Structural grid in Bharat Bhawan

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Fig 2.109 Sectional view of Bharat Bhawan

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Circulation flow diagram of Bharat Fig 2.110 Bhawan

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Fig 2.111 Longitudinal section of Bharat Bhawan

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Fig 2.122 Structural grid in Kala Academy, Goa

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Fig 2.123 Plan of Kala Academy, Goa

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Fig 2.124 View of Rabindra Bhawan, New Delhi

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Context plan of Rabindra Bhawan, New Fig 2.125 Delhi

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Ground plan of Rabindra Bhawan, New Fig 2.126 Delhi

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First floor plan of Rabindra Bhawan, Fig 2.127 Delhi

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Roof plan of Rabindra Bhawan, New Fig 2.128 Delhi

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Fig 2.129 Section of Rabindra Bhawan, New Delhi

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Fig 2.130 Section of Rabindra Bhawan, New Delhi

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Zonal analysis of Rabindra Bhawan, New Fig 2.131 Delhi

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Fig 2.132 Massing of Rabindra Bhawan, New Delhi

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Fig 2.133 Facade elevation and section

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Structural system of Rabindra Bhawan, Fig 2.134 New Delhi

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Shadow analysis of Rabindra Bhawan, Fig 2.135 New Delhi

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Ground plan of Kamani Auditorium, New Fig 2.136 Delhi

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Fig 2.137 Balcony plan of Rabindra Bhawan

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Auditorium stage plan of Rabindra Fig 2.138 Bhawan

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Fig 2.139 Plan of green room in Rabindra Bhawan

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Fig 2.140 Stage bar system

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Fig 2.141 Stage bar system

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Section of Kamani Auditorium, New Fig 2.142 Delhi

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Fig 2.143 Auditorium light system

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Fig 2.144 View of Rabindra Bhawan, New Delhi

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Fig 2.145 View of NCPA, Mumbai

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Fig 2.146 View of Bharat Bhawan, Bhopal

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Fig 2.147 View of Kala Academy, Goa

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Fig 2.148 View of Jawahar Kala Kendra, Jaipur

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Fig 2.149 View of SUPVA, Rohtak

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Fig 2.150 View of MoMA, New York

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Fig 2.151 Plan of Rabindra Bhawan, New Delhi

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Fig 2.152 Schematic plan of NCPA, Mumbai

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Fig 2.153 Plan of Bharat Bhawan, Bhopal

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Fig 2.154 Plan of Kala Academy, Goa

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Fig 2.155 Plan of Jawahar Kala Kendra, Jaipur

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Fig 2.156 Plan of SUPVA, Rohtak

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Fig 2.157 Plan of MoMA, New York

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Fig 4.11

Nursery between IGNCA Kala Nidhi and Rajpath

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View of IGNCA Kala Nidhi from Rajpath

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View of southern face of site

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Vehicular entry to buffer with board reading ‘No Parking’

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Area distribution pie chart for NCA

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Function connection for NCA

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Site vegetation cover

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Function distribution for NCA

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Fig 4.21

book 'Concepts & Respones' by Razia Grover

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Winning scheme for IGNCA proposed Fig 4.22 by Ralph Lerner

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Location of Zone-D8 in Delhi map where site is located Author

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Site with context and metro connectivity Google Maps imagery 87

Fig 4.23 Currently existing built structures on site IGNCA office

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Fig 4.4

Site with trees and immediate context

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Fig 4.24 Demarcation of NCA in IGNCA plot

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Mati Ghar designed by SHiFt Architects on the site

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Fig 4.25 Figure ground plan of New Delhi

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CV Mess building

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Figure ground plan of Central Vista, New Fig 4.26 Delhi Google Earth imagery 94

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Vernacular mud and thatch house as an installation

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Typology study of Central Vista, New Fig 4.27 Delhi

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Amphitheatre (Rangabhoomi)

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Media Centre on site

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View of Central Vista from Rashtrapati Fig 4.28 Bhawan

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Fig 4.29 3D view of Central Vista

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IGNCA Kala Nidhi building from Man Fig 4.10 SIngh Road 16

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Original scheme of Lutyens Delhi

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Space between building & Rajpath acts Fig 4.52 as active public space

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Fig 4.53 Master Plan of Delhi 2021

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Fig 4.54 Master Plan for Zone D

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Fig 4.55 Temperature & Rainfall graph

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Fig 4.56 Wind speed & direction

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Fig 4.32 View of National Archives from Rajpath

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Fig 4.33 National Archives

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Fig 4.34 Shastri Bhawan from Rajpath

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Fig 4.35 Krishi Bhawan

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Fig 4.36 Krishi Bhawan from Rajpath

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Central Secreteriat Metro entry with Fig 4.37 Krishi Bhawan behind it

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Fig 4.38 Rail Bhawan

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Fig 4.57 Wind data

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Fig 4.39 Rail Bhawan from Rajpath

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Fig 4.58 Trees on site

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Fig 4.40 View of North block

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Fig 4.59 Tree mapping on site

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Fig 4.60 Facade of Jaipur House

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Fig 4.42 Vayu Bhawan as seen from Rajpath

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Fig 4.62 Facade of National Archives

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Fig 4.43 Udhyog Bhawan

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Facade of Ambedkar International Fig 4.63 Centre

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Facade of North Block, Central Fig 4.64 Secretariat

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Fig 4.45 Ministry of External Affairs JLN Bhawan

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Fig 4.65 Facade of IGNCA

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Fig 4.46 JLN Bhawan as seen from Rajpath

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Fig 4.66 Facade of National Museum

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Fig 4.47 Main Entrance of JLN Bhawan

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Fig 4.67 Facade of National Museum

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Fig 4.48 National Museum

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Fig 4.68 Facade of IGNCA

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Fig 4.49 National Museum Entry

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Fig 4.50 National Museum as seen from Rajpath

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Auditorium section and column joint detail

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Fig 7.1

Design directives

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Design exploration

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Design exploration

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Design exploration

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Fig 7.20 Design stage 3 physical model

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Design stage 3 physical model

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Fourth floor plan for NCA

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Fifth floor plan for NCA

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Basement plan for NCA

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Fig 8.10 Elevations

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List of abbreviations used AHU

Air Handling Unit

BOH

Back of the House

CIC

Cultural Information Centre

CV

Central Vista

CVC

Central Vista Committee

DDA

Delhi Development Authority

DUAC

Delhi Urban Arts Commission

ECS

Equivalent Car Space

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Electrical Sub Station

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FCU

Fan Coil Unit

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FOH

Front of the House

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GOI

Government of India

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HVAC

Heating, Ventilation & Air Conditioning

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IGNCA

Indira Gandhi National Centre for Arts

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LBZ

Lutyens Bungalow Zone

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MEP

Mechanical, Electrical & Plumbing

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model [1:500]

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MICE

Meeting, Incentive, Conventions & Exhibitions

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model [1:500]

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MPD

Master Plan for Delhi

Fig 8.20 model [1:500]

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NCA

National Centre for Arts

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model [1:500]

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NCPA

National Centre for Performing Arts

Fig 8.22 model [1:500]

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NDMC

New Delhi Municipal Corporation

Fig 8.23 model [1:500]

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RCC

Reinforced Cement Concrete

Fig 8.24 3D views

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Fig 8.25 3D views

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Fig 8.26 3D views

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Fig 8.27 3D views

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Introduction

1 Introduction

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India is a culturally diverse nation with numerous traditions, language, art forms associated with different regions and communities. Indian civilization has been the origin of some of the most incredible art forms know to the mankind.

These art forms span across various domains— from dance to music, from painting to sculpture.

Although, many forms of indigenous classical arts have attained recognition at national and international level, nevertheless still there exist a large treasure of such art forms which are limited within the bounds of their region/ community.

These art forms are not only the identity of their community but also a heritage for the nation.

They’ve been treasured in every nook and corner of the country where the artists are struggling very hard to preserve them. However as a nation, India still lacks in providing required platform for their promotion and preservation. Thus, one way forward to preserve and spread these art forms is to provide them required exposure by forwarding it to new-generation, train & support artists to carry it further.

Need Identification As India moves in the direction of becoming the next superpower—driven by advancement in technology—there are certain things that India is leaving behind - its culture, traditions, heritage and arts. The invaluable Indian art forms are losing its sheen and artists are moving on to some other source of earning for the survival. (https://incredibleindianartform.com/dying_art_ forms/)We’ve already lost many art forms and much of the remaining is on verge of extinction.

There is an immediate need for people to understand the importance of local arts and culture. Unfortunately in India the traditional Art forms are largely under-appreciated in the mainstream due to high influence of western culture. These art forms exist in niche. The office of Development Commissioner (Handicrafts), Government of India has released a list of 35 traditional crafts which are endangered. List can be found at http://handicrafts.nic.in/pdf/List_Of_ Identified_As_Endangered_Craft.pdf (the list is limited to Crafts and not other forms of arts like dance, music, painting, etc. However it gives an idea of current situation)

Examples of endangered artforms in India Saving this treasure of art forms is need of the hour and government is taking steps to promote and facilitate them. A budget of Rs 2843.22 crore (2017-18) is allocated to ministry of culture for the same. (https://www.indiaculture.nic. in/aboutus-finance-budget) One of the main reason for such condition is that India is majorly lacking in providing adequate infrastructure for institutes which aim to promote and preserve traditional art by bringing them to masses. Thus the need for providing a national centre for arts arises which is capable to provide a platform for traditional art forms to mark their value internationally.

Fig 1.1 - Kathputli (dying artform of India)

Fig 1.2 - Dhokhra Handicraft (dying artform of India)

Fig 1.3 - Chhau Dance (dying artform of India)

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News Coverage Country’s biggest performing arts centre to come up in city at Rs 350 crore (Source: Indian Express, May 13, 2017 https://indianexpress.com/article/cities/delhi/countrys-biggest-performing-arts-centre-to-come-upin-city-at-rs-350-crore-4653470/)

Delhi’s NCPA will be constructed across an area of 10 to 11 acres and will be bigger than the centre in Mumbai which is spread over seven acres.

The national capital will soon be competing with Mumbai to play host to artistes from across the globe, with the Union Ministry of Culture giving its nod to set up a National Centre for Performing Arts (NCPA) in Delhi.

Sources in the ministry said the NCPA will come up on the sprawling lawns of the Indira Gandhi National Centre for Arts (IGNCA) — barely 1.5 km from the capital’s cultural hub that houses Sahitya Kala Akademi, National School of Drama and the Sangeet Natak Akademi.

Being touted as the biggest centre in the country, sources said the Ministry wants to provides a space for cultural activities and ensure performing arts gets a boost both nationally and internationally.

While the first premier NCPA is at Mumbai’s Nariman Point, a second centre has been proposed in Thiruvananthapuram. Delhi’s NCPA will be constructed across an area of 10 to 11 acres and will be bigger than the centre in Mumbai which is spread over seven acres.

The ministry has allocated a budget of Rs 350 crore for the project, which is scheduled to be completed in three years. Sources said the centre is set to have a huge auditorium with state-of-the-art facilities and technology.

An expert panel has been asked to study various stage structures and halls in other countries to ensure that the architecture projects a balance between folk and regional performance art, and international performance art.

“Famous performance art spaces, such as those in France and the USA, have been studied. We will look at other models as well. The Delhi NCPA will outshine even international performing art centres. The IGNCA is setting up various committees to work out the basic model and blueprint in consultation with renowned artists and experts, which will be led by our ministry,” a senior official said.

As many organisations have been stressing on the need to emphasise on performing arts, the ministry believes the centre will give a space to artistes to showcase their talent.

Fig 1.4 - Exhibition at IGNCA. Representational image

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National Centre for Arts, New Delhi

Delhi to get India’s biggest performing arts centre; here’s all you need to know about it

Delhi aiming to provide a space for cultural activities. According to sources, the centre is said to outshine even international performing art centres.

Here is all you want to know about it:

(Source: Financial Express Online, May 13, 2017 https://www.financialexpress.com/india-news/delhi-to-get-indias-biggest-performing-arts-centreheres-all-you-need-to-know-about-it/666638/)

– The report said that according to sources in the ministry, the NCPA will be constructed on the lawns of the Indira Gandhi National Centre for Arts (IGNCA), which is barely located 1.5 kilometres from Delhi’s cultural hub housing Sahitya Kala Akademi, National School of Drama and the Sangeet Natak Akademi.

Delhi will soon get a huge performing arts centre to host national and international artists, as the Union Ministry of Culture has given its nod to set up a National Centre for Performing Arts in the national capital Delhi will soon get a huge performing arts centre to host national and international artists, as the Union Ministry of Culture has given its nod to set up a National Centre for Performing Arts (NCPA) in the national capital, reported The Indian Express. The first premier NCPA is at Mumbai’s Nariman Point and the second centre has been proposed in Thiruvananthapuram.

Now, the ministry has issued directives to come up with another centre in

– With the aim to provide a space for cultural activities and ensure performing arts gets a boost both nationally and internationally, the Delhi’s NCPA will be constructed across an area of 10 to 11 acres, said sources.

It will be bigger than the centre present in Mumbai which is spread over seven acres.

– Being touted as the biggest centre in the country, the ministry has allocated a budget of Rs 350 crore for the project, reported The Indian Express. It is scheduled to be completed in three years.

– The report quoted sources as saying the centre is set to have a huge auditorium with state-of-the-art facilities and technology.

– In order to maintain the standard of the centre, an expert panel has been asked to study various stage structures and halls in other countries. The panel has been asked to ensure that the architecture projects a balance between folk and regional performance art, and international performance art.

– Several famous performance art spaces, including those in France and the USA, have been studied along with looking at other models as well. He stated that the Delhi NCPA will outshine even international performing art centres, according to Indian Express quoting a senior official. Furthermore, the IGNCA is setting up various committees to work out the basic model and blueprint in consultation with renowned artists and experts, which will be led by our ministry, he said.

Fig 1.4 - Dance performers. Representational image

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Intent There exists a few institutions in India which focuses on promoting & preserving Indian arts. One such institute is Indira Gandhi National Centre for Arts (IGNCA) which was launched on 19th November, 1985 by the late Prime Minister Shri Rajiv Gandhi. The site allocated was at junction of Rajpath and Janpath along ‘Central Vista’ in New Delhi.

The institute was imagined as the largest in India for the purpose it serves.

However, till 2017 only a small part of the proposed scheme was built.

Thereupon, Union ministry of Culture proposed a ‘National Centre for Arts’ in one part of site along with expansion of existing IGNCA infrastructure.

The proposed NCA is projected as largest centre for performing & visual arts in country leaving behind NCPA, Mumbai.

Thus, intent of this thesis is to propose a scheme for NCA, Delhi which respects its context and significance by doing proper research and analysis to correctly understand the needs and expectations associated with it.

Proposition To design a ‘National Centre for Performing and Visual Arts’ in a strong context of Lutyens Delhi which was created by the British govt. to impose their power & prominence through built expression. The strong use of geometry as an indicator for levels for hierarchy and dominance in built form was induced. Post-independence, the structures were inherited by Indian govt. However the use of hierarchical distribution remained the same. Around 70 years’ post-independence, the proposed NCA, Delhi in the strong context of such prominent power structures aims to provide an international platform to all forms of indigenous art forms. Thus the scheme should reflect upon Indian perception of spaces and built articulation to honor those art forms. At the juxtaposition of these two contrary styles is where the scheme finds its true manifestation.

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National Centre for Arts, New Delhi

Location justification The city of Delhi presently houses only one major Cultural Hub i.e. Mandi House. However, one cultural hub for such a vast city is inadequate. On top of that, it too lack in many aspects, the primary being lack of public interaction spaces, no dedicated pedestrian paths and insufficient parking infrastructure. According to Delhi Development Authority (DDA) master plan 2021, the city should ideally have 90 cultural hubs, out of which 60 were projected to be developed by 2016. However, no noticeable development in the field is observed yet.

Being the capital of the nation, presence of an International level center for Indian becomes of absolute importance. It is therefore an obligation for the city to provide required infrastructure to expand patronage and reinforce the importance of such indigenous art forms at national level

Project Brief

Research Question

What is the paradigm to develop & showcase Indian art forms at international scale through built manifestation?

As an attempt to serve the issue raised above, National Center for Arts (NCA) was proposed by Union Ministry of Culture in 2017. Proposed site of the project is Indira Gandhi National Centre for Arts (IGNCA) lawns located on junction of Rajpath and Janpath within strong context of National School of Drama, Sahitya Kala Akademi and the Sangeet Natak Akademi.

The proposed NCA is projected to be the largest in India after existing NCPA in Nariman Point, Mumbai & a proposed NCPA in Thiruvananthpuram.

Imagined as a national-level stage for performing arts, the center was first proposed in 1985 in the same location by the then Prime Minister of India Rajiv Gandhi. In an international competition organized for the same Prof.

Ar. Ralph Lerner secured the winning position with his entry serving as a masterplan for the site. However, the project never saw completion and only a small part of the proposed scheme was built. So, 30 years after the competition, the project was again proposed in 2017 with an intent to create a scheme for National Center for Arts (NCA).

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Aim To design a scheme for proposed NCA by adding the provision for Display/ exhibition of Visual arts along with Performing arts. The scheme has to be designed such that it respects the context of colonial architecture while being sensitive to the spaces to cater to needs of traditional performers and artefacts. Located along the Central Vista, the aesthetics and form needs to be very sensitive to the urban fabric of the place.

Objective The project looks to create a scheme for NCA while considering the aspects listed above. So the objectives are: • To deeply understand the quality and type of spaces required for different types of art-forms.

• To understand the architecture prevalent in the location of origin of such art-forms.

• Create a scheme that gives required attention to needs of performers & artists along with visitors. The project has to pay its regards to the physical context of the location it is situated it and its importance at national level.

Scope The scope of project includes developing a scheme to cater the spatial needs of proposed NCA. Apart from that, extensive research shall be carried out to understand the requirement of space for different art forms and finding the ‘Indian’ value associated with each of the spaces.

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National Centre for Arts, New Delhi

Limitation The project design experiences following limitations listed below: • Being located in a prime location along the central vista in Lutyens Delhi, the design is restricted by strict development controls relevant to the area.

• Although there are artforms other than performing or visual like martial arts, the scheme caters primarily to the former two.

Methodology

Conclusion •

Currently there’s a gap in India between requirement and availability of NationalInternational scale art centre which needs to be filled soon.

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Due to inadequate exposure and promotion, most traditional artforms in India are on verge of extinction.

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Delhi being the capital city of India provides tremendous opportunities for upliftment in current state of Indian arts. However, currently it itself lacks in providing required infrastructure at that scale.

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In 2017, Union Ministry of Culture proposed a national level centre for arts in IGNCA lawns which is currently underused for the same purpose. The centre is proposed to be largest in the country leaving behind NCPA, Mumbai.

The methodology involved in preparing the proposed scheme is • Perform a historical research of site and program, its relevance and expectations at national and international level.

• Deeply understand the requirement of project based on case studies and compare it with proposed area program thus updating the program.

• Understand and cater to the need of typological, expression & material continuity.

Challenge To create something that serves as a platform for all sorts of Indian arts and cultural practice at an international level, it becomes imperative for the space to be designed considering the requirements of artifacts, artists and thorough understanding of the context from where they originated.

Above that, building something so sensitive to Indian art and craft style in a context of colonial establishment creates a strong juxtaposition in its own.

Challenge lies in preserving the urban-scape of the region while creating spaces inspired from local architecture.

Inference To preserve, promote & popularize Indian art forms, a National centre for arts is required. The centre being of National importance should be ideally established in capital of country.

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Research Framework Building Functionality

Areas of Exploration

Research Methodology

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Case studies, site visit of similar projects

• • • •

User Identification

Need identification of different users, circulation, behaviour pattern and access permission.

Understanding different perspectives from viewpoint of different users: • Artist/ Performer • National/ International visitor • Administrator • Working Staff • Housekeepers • Security Personnel • VIP guests

Historical Context of site

• •

History of Lutyens Delhi IGNCA competition, its need & relevence and shortlisted scheme.

Research through papers, books & arcticles on the subject. Book ‘Concepts & Responses’ by Razia Grover to understand more about competition & leading entries.

Site Study

•

Understanding of current site conditions, existing built on site, topographical conditions, existing flora Edge conditions, response to immediate and larger context Architectural language, streetscape Accessibility and connectivity

Site visit, survey plan of site prepared by ‘ABM Engg. & Surveyors’ and relevent data available online.

Finding applicable development controls like max. ground coverage, max. permissible FAR, height restrictions, basement norms, setbacks.

Finding applicable clearance needed for project like DUAC, fire dept. clearance etc.

Study of MPD, follow applicable bye-laws for non-residential plots in LBZ. Central vista guidelines and limits prescribed in project brief.

• • •

Development controls

• •

28

Understanding individual components, zoning & functionality of spaces (standalone & interdependent) Hierarchy of privacy (Public spaces v/s limited access) Connection between spaces and movement system for different users Built form & its connection to open spaces, landscaping Fundamental arithmentics related to space requirement & capacity

National Centre for Arts, New Delhi

Context study

Areas of Exploration

Research Methodology

• •

Relevence of International level Arts Centre in capital of India.

Response to Central Vista and other prominent institutes in the vicinity like Rashtrapati Bhawan, Ambedkar International Centre, IGNCA building, etc.

Understanding the need associated with the project and its challanges

Research through papers, books & arcticles on the subject.

Study of different art forms native to India and their origin Study of the space requirement for display & creation of such artworks.

Study of impact of architecture on art-forms (in terms of creation and display/ performance) Elements of traditional architecture prevalent at place of origin of various art forms Means and need of adopting modern technology for display & recreation for art-forms

•

•

Indian Art-forms

• • • • •

Technology Study

Climate (micro & macro)

•

Study of technological aspects (requirement, details, necessity & applicable rules) associated with • Structure of the project • Services (HVAC, MEP) • Sustainable stratigies (Active & Passive) • Safety (Fire hazard/ natural disaster) • Security (Security of people, building & artworks against theft/ vandalism)

•

•

•

• •

Understanding the climate conditions of Delhi like avg. temperation, temperature range over month & year, rainfall pattern, humidity in various seasons, etc Study of sun angles at site and shadow analysis Understanding the climatic requirements and its solutions

•

• •

Case study of modern museums to understand the technical requirement Research through papers, books & arcticles on the subject.

Case study to understand the technical requirement Research through papers, books & arcticles on the subject.

Analyzing climatic data available for city of Delhi Software analysis for sunlight and shadow angle Case study to understand the response to climate

29

Typologies for performing space

2.1 Areas of Research

This chapter is divided in two parts.

The first part will deal with the primary areas of research to have the background knowledge to start the design process.

The second part will deal with looking at practical examples of similar such projects in the form of case study and understand how similar problem have been tackled in other projects.

30

Performance art involves physical movements and integration with the space. Different viewing angles provides the performer a liberty to express their art as desired. Thus the need of different types of stage and sitting area arises in different forms of performing arts.

Some example of possible typologies are explored. A typology which might be well suited for one type of art form might not work for other.

Thus different typologies are explored in context of desired usage.

Design requirements of Auditorium & Concert Halls Auditoriums are spaces which can accommodate functions such as : • Theatre/ Drama/ Dance • Music concerts • Instrumental performance • Opera or Ballet • Screening/ Projection • Public speaking An auditorium can be simply broken down into three main functional zones: • Front of the house • Stage and Seating space • Back of the house

Front of the house

Back of the house

The front of the house is dedicated to the audience, the foyer facilities for all the requirements and needs of the audience such as refreshments, info. Desks, toilets. It also acts as the waiting area, distributes and manages the crowd pre and post show.

The building should be legible to a user and the facilities should be provided such that they do not hamper the movement of people through the foyer space. A clever way to manage a foyer space is by providing clear signage to help the user to find directions to seat and other facilities.

The back of the house is to accommodate all those activities and people who are responsible for the performance. BOH is required to meet the technical requirements of the production house while remaining hidden from general public. Hence any of the activities in BOH should not intersect with public spaces at any given point.

FOH consists of: • Reception & info. desk • Administrative office • Service lobby • Equipment store • Cloak room • Janitor’s room • Toilet(s) • Refreshment area

It consists of: • Backstage storage • Green room(s) • Toilets • Scenery docks • Backstage gallery

Stage & Auditorium The stage and the audience share very crucial relationship as the interaction between the performance and the audience in any live performance is what determines the success of the design of an auditorium. The optimum array of seating should be provided with consideration of the visual and acoustic clarity for the audience.

Fig 2.1 - Auditorium functional layout

31

Optimum audio clarity depends on: 1. correct reverberation time, 2. absence of echo, 3. correct loudness level at all parts of the hall, and 4. low background noise, Hall function

Vol/ person

Music

5.0 - 5.5 cum

Theatre

4.0 - 5.0 cum

General Purpose

4.0 - 5.0 cum

•

•

Background noise level < 40 to 45 dB (as measured on ‘A’ scale of sound level meter) should be achieved within the hall.

The average height may vary from 6 m for small halls to 7·5 m for large halls. Ceiling may be flat but it is preferable to provide a slight increase in the height near the center of hall.

Fig 2.2 - Auditorium seating design for best viewing

32

National Centre for Arts, New Delhi

Fig 2.3 - Different typologies in Auditorium seating layout

•

Fan-shaped plan is preferred due to acoustical considerations.

•

The side walls should be arranged to have an angle of not more than 100 degrees with the curtain line.

•

It is recommended that the distance of the farthest seat from the curtain line should not normally exceed 23 m.

•

Rear Wall- The auditorium rear wall should be either fiat or convex in shape. This should not be concave in shape, but where it cannot be avoided, the acoustical design shall indicate either the surface to be splayed or convex corrugations given in order to avoid any tendency for the sound to focus into the hall.

Fig 2.4 - Curvature for rows of seats

•

Side wall - Where the side walls are nonparallel as in the case of a fan-shaped hall. the walls may remain reflective and may be architecturally finished. in any manner required. Where the side walls are parallel they may be left untreated to a length of about 7 m from the proscenium end. Difference between the direct path and the path reflected from side wall shall not exceed 15m.

•

•

Fig 2.5 - Viewing angles in auditorium

Roof and ceiling - In large halls a false ceiling is usually provided below the trusses.

The portion of the false ceiling near the proscenium is constructed of reflective material (usually plaster of Paris) and is suitably inclined to help reflections from the stage to reach the rear seats of the hall. The remaining portion of this ceiling is constructed to take acoustical treatment.

Concave shaped ceilings (in the form of dome or barrel) should be avoided. The rear portion of the ceiling may be treated with sound absorbing material partly for control of reverberation and partly to prevent build-up of audience noise.

Floor - The floor elevation is based on the principle that each listener shall be elevated with respect to the person immediately in front of him so that the listener’s head is about 12 cm above the path of sound which would pass over the head of the person in front of him. It is possible to reduce this to 8 cm, if the seats are staggered. As an empirical rule the angle of elevation of the inclined floor in an auditorium should not be less than 8 degrees.

Fig 2.6 - Sectional view of auditorium functionality

Fig 2.7 - Desired viewing angles from balcony

•

Balcony - Where a balcony is provided, its projection into the hall should not be more than twice the free height of the opening of the balcony recess.

•

Line of sight - The elevation of the balcony seat should be such that line of sight is not inclined more than 30 degrees to the horizontal.

•

The seats should be arranged in concentric arcs of circles drawn with the center located as much behind the center of the curtain line as its (curtain line) distance from the auditorium rear wall.

Fig 2.8 - Sectional view of auditorium functionality

33

Fig 2.9 - Auditorium stage design

•

The angle subtended with the horizontal at the front-most observer by the highest object should not exceed 30 degrees. On this basis, the distance of the front row works to about 3.6 m for drama and it should be 4.5m or more for cinema purposes.

•

The width of a seat should be between 45 cm and 56 cm.

•

The back to back distance of chairs in successive rows of seats shall be at least 85 cm - 106 cm (extra comfort)

•

Seats should be staggered sideways in relation to those in front so that a listener in any row is not looking directly over the head of- the person in front of him.

References: • • •

Fig 2.10 - Preferred angle for seat arrangement

34

National Centre for Arts, New Delhi

IS: 2526 - 1963 : Code of practice for Acoustical design of Auditoriums and Conference halls NBC 2016 vol-2 Part 8, Section 4 : Acoustics, Sound Insulation and Noise Control Time Saver Standards for building types, 2nd edition

Amphitheater Design Requirements

should be broken into convex surfaces which in either case should be of at least 90 to 180 cm width.

Fig 2.13 - Trees acting as noise barrier Fig 2.11 - Greek amphitheatre

•

Prevailing noise conditions should not exceed 45 dB on ‘A’ scale.

Fig 2.12 - Built mass acting as noise barrier

•

The amphitheatre should be so located that wind direction is towards the audience from the stage.

•

Facing sun for audience makes it difficult for them to view performances comfortably.

•

Back stage wall should be made reflective and broken into convex shaped surface.

Overall shape should be flat in plan; however, if it is desired to be concave, it

Fig 2.14 - Sound reflection in amphitheatre

•

Depth of stage should be arranged to suit individual requirements; where it exceeds 6 m, it is necessary to treat back stage wall acoustically. A ceiling reflector should be provided for directing the sound to the rear seats. This reflector may be hard reflecting surface slanting at a suitable angle towards the audience and fixed over the main sound originating area of the stage.

•

Even if reflectors are provided as recommended sound amplification should be resorted to in case the number of audience exceeds 600 or back ground noise is more than 45 to 50 dB. The loudspeaker system should be so designed that it is capable of providing an average level up to 80 dB over the entire listening area.

Fig 2.15 - Sound transmission in amphitheatre

35

Conference Hall Design Requirements

Fig 2.16 - Conference hall with podium-seating typology

Conference Hall -Basic difference between conference halls and auditoriums, like theaters and cinema halls, lies in the possibility of sound originating, in the former case from any part of the hall. In a conference hall a table or cluster of tables is generally placed in the center of the hall, and persons who are listeners as well as speakers sit around the table. Conference hall may have any shape to suit architectural or any other special requirements. In designing conference halls particular consideration should, therefore, be given to the following requirements.

•

Acoustics of the halls should be so designed as to ensure proper conditions for listening, assuming that a person may speak or listen from anywhere in the hall.

•

Optimum reverberation time should be chosen. It may be noted that too long a reverberation time muffles and confuses the speech intelligibility while too short a time prevents build-up of proper level for good listening.

•

Use of sound amplification system should be avoided as far as possible. But where necessitated, because of size or other requirements, low level loudspeakers or head phones should be provided for individual or a group of seats.

•

Absorbent material should be distributed evenly over the wall surfaces of the hall.

Fig 2.17 - Conference room

36

National Centre for Arts, New Delhi

•

Ceiling should not be domed and should not be ‘higher than 6 meters. Acoustical treatment on the ceiling should be confined to peripheral regions only. In the case of larger halls with considerable heights, more area of ceiling would need to be treated,

Design requirement of Museum & Art Gallery The museum/ gallery design is divided into 5 major components• Public / Area having artwork collection Eg : Display Galleries • Non Public / Area having artwork collection Eg : Business centre, meeting room • Public / Area not having collection Eg : spillout, cafeteria, toilets • Non Public / Area not having collection Eg : Office, Security room • Collection storage The following key points must be carefully considered while designing a museum/ art gallery: • The artifacts in art galleries are presented in such a manner that a viewer can see all those in a single round

this means that well lit pictures should be hung 10m away with the top not more than 4.9m above eye level and bottom about 70cm below.

•

Smaller pictures should ideally be hanged in such a fashion that the point of emphasis stays at eye level.

Fig 2.20 - viewing angles

Fig 2.19 - Viewing angles

Fig 2.21 - Spotlights are best placed in sync with natural light

Fig 2.18 - Possible routes for art galleries

•

Art galleries can have smaller rooms to accommodate same group of work in a room and maximize wall space for paintings.

•

The normal human angle of vision starts at 27 deg above eye level. For standing viewer,

Fig 2.22 - viewing angles

37

Performing Arts

Fig 2.23 - Bomalattam

Fig 2.25 - Glove puppet

Fig 2.27 - Kathputli

Fig 2.24 - Shadow puppet

Fig 2.26 - Chador badoni

Fig 2.28 - Shadow puppet

Performing arts are a form of art in which performers/artists use their voices, bodies often in calibration with other objects to convey their artistic expression. Performing arts include a range of disciplines and typologies which are performed in front of a audience either live or distant in digitally recorded format. The various performances ranges from theatre, music (vocal & instrumental), dance and puppetry.

Performers are basically artists performing or participating in the performance to audience.

They often use costumes, make-ups, light & sound effects to alter and adapt their appearances according to performance.

Traditional Indian Artforms (Performing) Puppetry

Puppetry is a form of theatre or performance that involves the manipulation of puppets â&#x20AC;&#x201C; inanimate objects, often resembling some type of human or animal figure that are animated or manipulated by a human called a puppeteer. The puppeteer uses movements of her hands, arms, or control devices such as rods or strings to move the body parts of the puppet. The puppeteer often speaks in the voice of the character of the puppet, and then synchronizes the movements of the puppetâ&#x20AC;&#x2122;s mouth with this spoken part.

String Puppets

Himachal Pradesh

Kathputli

Rajasthan

Shadow Puppet

Tamil Nadu

Rod Puppet

Orissa

Chador Badoni

Jharkhand

Bommalattam

Tamil Nadu

Sakhi Kandhei Togalu Gombeyaata

Fig 2.29 - String puppet

38

Fig 2.30 - Togalu

National Centre for Arts, New Delhi

Karnataka

Theatre Theatre is a collaborative form of performing art that uses live performers to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience.

Bhand Pather

Jammu & Kashmir

Swang

Haryana

Nautanki

Uttar Pradesh

Ragini

Haryana

Rasleela

Haryana

Bhavani

Gujarat

Jatra

Bengal

Maach

Madhya Pradesh

Bhaona

Assam

Tamaasha

Maharashtra

Dashavatar

Goa

Krishnattam

Kerala

Mudiyettu

Kerala

Yakshagaana

Karnataka

Therukoothu

Tamil Nadu

Dhanu Jatra

Orissa

Sonha Bihan

Chattisgarh

Gammatiha

Chattisgarh

Rahas

Chattisgarh

Yakshagana

Telangana

Chindu Bhagavatham

Telangana

Koodiyattam

Kerala

Krishna Parijatha

Karnataka

Kalo

Goa

Dashavatar

Goa

Fig 2.31 - Swang

Fig 2.32 - Tamasha

Fig 2.33 - Bhavai

Fig 2.34 - Mudiyettu

Fig 2.35 - Dashavatar

Fig 2.36 - Dhaanu jatra

Fig 2.37 - Therukoothu

Fig 2.38 - Rasleela

Fig 2.39 - Krishna parijatam

Fig 2.40 - Koodiyattam

39

c) Dance

Fig 2.41 - Bagurumba

Fig 2.43 - Bihu

Fig 2.45 - Dalshone

Fig 2.47 - Sattriya

Fig 2.49 - Giddha

40

Fig 2.42 - Bhangra

Dance is a performing art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture. Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. An important distinction is to be drawn between the contexts of theatrical and participatory dance.

Fig 2.44 - Cham

Fig 2.46 - Gaudiya nritya

Fig 2.48 - Gnungmala

Fig 2.50 - Rumtek chaam

National Centre for Arts, New Delhi

Jhumar

Punjab

Gidda

Punjab

Kathak

Uttar Pradesh

Lu Khangthamo

Sikkim

Gha To Kito

Sikkim

Chi Rimu

Sikkim

Gnungmala Gnunghey

Sikkim

Be Yu Mista

Sikkim

Rumtek Chaam

Sikkim

Yak Chaam

Sikkim

Gaudiya Nritya

West Bengal

Hafiz Nagma

Jammu & Kashmir

Purulia Chhau dance

West Bengal

Rouf/ Wanwun

Jammu & Kashmir

Raibenshe dance

West Bengal

Khatok Chenmo

Ladakh

Laghur Nritya

West Bengal

Kompa Tsum-tsak

Ladakh

Ranapa

West Bengal

Jabro

Ladakh

Dhali

West Bengal

Chaams

Ladakh

Paika Nritya

West Bengal

Chabs-Skyan Tses

Ladakh

Gombhira

West Bengal

Raldi Tses

Ladakh

Bagurumba

Assam

Alley Yaato

Ladakh

Bihu

Assam

Namgen

Himachal Pradesh

Bohuwa

Assam

Nati

Himachal Pradesh

Ojapali

Assam

Kayang Mala

Himachal Pradesh

Deodhani

Assam

Dalshone and Cholamba

Himachal Pradesh

Sattriya

Assam

Shand and Shabu

Himachal Pradesh

Aji Lamu

Arunachal Pradesh

Chhambha

Himachal Pradesh

Chalo

Arunachal Pradesh

Pandav Nritya

Uttrakhand

Hiirii Khaniing

Arunachal Pradesh

Bhangra

Punjab

Lion and Peacock dance

Arunachal Pradesh

Pasi Kongki

Arunachal Pradesh

Soowa

Chattisgarh

Ponung

Arunachal Pradesh

Perini Sivatandavam

Telangana

Popir

Arunachal Pradesh

Kuchipudi

Andhra Pradesh

Naga Dance

Nagaland

Vilasini Natyam

Andhra Pradesh

Ras Lila

Manipur

Andhra Natyam

Andhra Pradesh

Nupa Pala

Manipur

Burrakatha

Andhra Pradesh

Pung Cholom

Manipur

Veeranatyam

Andhra Pradesh

Maibi

Manipur

Butta Bommalu

Andhra Pradesh

Khamba Thoibi

Manipur

Tholu Bommalata

Andhra Pradesh

Cheraw

Mizoram

Dappu

Andhra Pradesh

Bizu

Tripura

Tappeta Gullu

Andhra Pradesh

Lebang Boomani

Tripura

Dhimsa

Andhra Pradesh

Garia

Tripura

Kolatam

Andhra Pradesh

Hai Hak

Tripura

Bagavatha Nadanam

Tamil Nadu

Paika

Jharkhand

Chakkai Attam

Tamil Nadu

Chhau

Jharkhand

Kamandi

Tamil Nadu

Santhal

Jharkhand

Karagattam

Tamil Nadu

Odissi

Orissa

Paampu Atam

Tamil Nadu

Chhau

Orissa

Kathakali

Kerala

Dalkhai

Orissa

Mohiniyattam

Kerala

Saila Tribal Dance

Chattisgarh

Theyyam

Kerala

Karma Tribal Dance

Chattisgarh

Padayani

Kerala

Chandaini Gonda

Chattisgarh

Thullal

Kerala

Lorik Chanda

Chattisgarh

Kummattikali

Kerala

Kari

Chattisgarh

Chakyar Koothu

Kerala

Hareli

Chattisgarh

Kunitha

Karnataka

Raut Nacha

Chattisgarh

Kodagu

Karnataka

Panthi

Chattisgarh

Beesu Samsale & Kamsale Nritya

Karnataka

Fig 2.51 - Bahuwa

Fig 2.52 - Khukuri

Fig 2.53 - Deodhani

Fig 2.54 - Kathak

Fig 2.55 - Gombhira

Fig 2.56 - Kagyed

Fig 2.57 - Jhumar

Fig 2.58 - Pandav nritya

Fig 2.59 - Nati

Fig 2.60 - Namgen

41

Fig 2.61 - Yak chaam

Fig 2.63 - Raibenshe

42

Fig 2.62 - Khatok chenmo

Fig 2.64 - Ho ajina

Fig 2.65 - Jabro

Fig 2.66 - Oja pali

Fig 2.67 - Ranapa

Fig 2.68 - Purulia chaau

National Centre for Arts, New Delhi

Somana Kunita

Karnataka

Suggi Kunita

Karnataka

Bootha Aradhane

Karnataka

Goravara Kunita

Karnataka

Ghode Modni

Goa

Dekhni

Goa

Goff Talgadi

Goa

Shigmo

Goa

Powada

Maharashtra

Banjara Holi Dance

Maharashtra

Lavani

Maharashtra

Koli

Maharashtra

Garba

Gujarat

Raas

Gujarat

Dandiya

Gujarat

Ghoomar

Rajasthan

Bhavai

Rajasthan

Kachi Ghodi

Rajasthan

Rituals/ Performances These are traditional rituals performed in different parts of the country symbolizing cultural, religious, communal values. This performances are often performed in public places like open ground, temples, parks, etc.

Kurjan

Rajasthan

Kazhai Kothu

Tamil Nadu

Onapottan

Kerala

Pulikalli

Kerala

Thirayattam

Kerala

Jaggahalige Kunita

Karnataka

Music Music is an art form whose medium is sound organized in time. General definitions of music include common elements such as pitch, rhythm, dynamics, and the sonic qualities of timbre and texture. Music is performed with a vast range of instruments and vocal techniques ranging from instrumental pieces, solely vocal pieces to pieces that combine singing and instruments.

There are many types of music which are suited for different occasion, mood and context. Within the arts, music may be classified as a performing art, a fine art or as an auditory art.

Hagalu Veshagaararu

Karnataka

Padhar

Gujarat

Sufiana Kalam

Jammu & Kashmir

Chakri

Jammu & Kashmir

Henzae

Jammu & Kashmir

Ladishah

Ladakh

Jhoori

Himachal Pradesh

Laman

Himachal Pradesh

Samskara

Himachal Pradesh

Baul

West Bengal

Bishnupuri Classical

West Bengal

Kirtan

West Bengal

Shyama Sangeet

West Bengal

Rabindra Sangeet

West Bengal

Nazrul Geeti

West Bengal

Atulprasadi

West Bengal

Dwijendrageeti

West Bengal

Probhati Snageet

West Bengal

Kantageeti

West Bengal

Ganasangeet

West Bengal

Adhunik Gaan

West Bengal

Borgeet

Assam

Oi Nitom

Assam

Kamrupi Lokgeet

Assam

Padi

Orissa

Carnatic

Andhra Pradesh

Karadimajal

Karnataka

Fig 2.69 - Hagalu Vesha

Fig 2.70 - Jaggahalige

Fig 2.71 - Onapottam

Fig 2.72 - Padhar

Fig 2.73 - Pulikkali

Fig 2.74 - Thirayattam

43

Visual Arts

Fig 2.75 - Sohrai

Fig 2.76 - Patachitra

Fig 2.77 - Chalchitra

Fig 2.78 - Gond

Fig 2.79 - Kangra

Fig 2.81 - Madhubani

Fig 2.83 - Mandana

44

Fig 2.80 - Kohbar

Fig 2.82 - Madhubani

Fig 2.84 - Miniature

National Centre for Arts, New Delhi

The visual art forms are those in which artist uses different materials as a medium of expression.

It varies from 2D art forms like painting, textile, printmaking to 3D like ceramics and sculpting.

Modern technologies like videography and audio recording resulting in film making which is intersection of visual & performing arts.

Visual arts consists of art forms like ceramics, drawing, painting, sculpture, printmaking, crafts, photography, video and film making.

Traditional Indian Artforms (Visual) Drawing & Painting

It is a form of visual art where an artists depicts something with the help of charcoal, paint or similar tools on a generally flat surface like paper, leaf, cloth, wall or stone. There are a wide varieties of such artforms depending upon the medium of expression viz. pencil/ charcoal/ paint/ mud, etc. They also vary in size from extremely small miniature paintings to larger ones on walls or canvases.

Mando

Goa

Terah Taal

Rajasthan

Kangra

Himachal Pradesh

Pahari Painting

Himachal Pradesh

Peeth

Uttrakhand

Aipen

Uttrakhand

Madhubani

Bihar

Thangka Paintigs

Sikkim

Patachitra

West Bengal

Chalchitra

West Bengal

Jadu Patiya

Jharkhand

Sohrai

Jharkhand

Kohvar

Jharkhand

Patachitra

Orissa

Mandana

Madhya Pradesh

Pithora

Madhya Pradesh

Gond

Madhya Pradesh

Warli

Maharashtra

Nirmal

Telangana

Tanjore

Tamil Nadu

Batik

Rajasthan

Miniature

Rajasthan

Pichchavi

Rajasthan

Sculpting In this artform, artist depicts his work by creating a 3 dimensional sculpture. This is widely practiced in India in various medium like stone, metal, clay/ terracotta, wood, etc.

Tumba

Crafts

Textile

Craft is a type of work where useful and decorative devices are made completely by hand or by using only simple tools. Usually the term is applied to traditional means of making goods.

The term umbrellas a very large spectrum of work ranging from ceramic pottery, bamboo objects, metal jewellery, ivory artifacts, carpet/ mat, furniture making, textile making and many more.

Textile arts simply crafts the uniqueness in a given fiber product either itâ&#x20AC;&#x2122;s natural fiber or synthetic fiber. In this artform, artist depicts his work by incorporating beautiful images and color elements along with an integrity of exquisite designs on different fabrics.

Bidri

Telangana

Manasa chali

West Bengal

Carpet weaving

Jammu & Kashmir

Maru Gurjar

Rajasthan

Shawl weaving

Jammu & Kashmir

Phad

Rajasthan

Chamba Rumal

Himachal Pradesh

Pietra Dura/ Prachin Kari

Uttar Pradesh

Phulkari

Punjab

Kantha

West Bengal

Tlieng

Meghalya

Dokra

West Bengal

Godna

Chattisgarh

Dokra

Orissa

Zari

Madhya Pradesh

Dokra

Chattisgarh

Bandhej

Madhya Pradesh

Loha Shilp

Chattisgarh

Banjara needle craft

Telangana

Tangalia

Fig 2.85 - Madhubani

Fig 2.86 - Maru gurjara

Fig 2.87 - Pahari

Fig 2.88 - Patachitra

Fig 2.89 - Phad

Fig 2.90 - Pichwai

Fig 2.91 - Pithora

Fig 2.92 - Aipen

Fig 2.93 - Thangka

Fig 2.94 - Warli

Chattisgarh

Gujarat

45

2.2 Case Studies

Fig 2.95 - View of Bharat Bhawan, Bhopal

Bharat Bhawan, Bhopal

46

Fig 2.96 - View of Jawahar Kala Kendra, Jaipur

Jawahar Kala Kendra, Jaipur

Fig 2.97 - View of Kala Academy, Goa

Kala Academy, Goa

Fig 2.98 - View of Rabindra Bhawan, New Delhi

Rabindra Bhawan, New Delhi

Fig 2.99 - View of Kamani Auditorium, New Delhi

Kamani Auditorium, New Delhi

47

Case Study : Bharat Bhawan, Bhopal

Fig 2.100 - View of Bharat Bhawan, Bhopal Fig 2.101 - Axonometric sectional view of Bharat Bhawan

Year of Completion Site Area Built-up area Architect(s)

48

1982

Overview

10000 sqm

Bharat Bhawan is multi art centre designed by Charles Correa in 1982 set up to create an interactive proximity between verbal, visual & performing arts. It provides space for contemporary expression, thought, quest & innovation. It is located in Bhopal, the capital of Madhya Pradesh.

11150 sqm Charles Correa

Architectural style

Contemporary Indian

Climate Conditions

Humid subtropical climate, with cool, dry winters (avg. 16°C), a hot summer (avg. 30°C) and a humid monsoon season

National Centre for Arts, New Delhi

The site is on a gently sloping plateau overlooking the lake. Natural contours are well integrated with the overall design. The building’s terraces and courtyard with progression through space gives feel of maze or puzzle, where parts are casually revealed and complexity of internal paths acts like village layout.

Concept Based on idea of â&#x20AC;&#x2DC;non-buildingâ&#x20AC;&#x2122; by Charles Correa, only a glimpse of the built is seen from the entrance as if there is no building at all. Due to sloping terrain, building unfolds itself when on walks in gradually levelling down. Series of courts and terrace gardens are inspired from Indian village setting.

Fig 2.102 - Entrance of Bharat Bhawan

Fig 2.103 - View from courtyard of Bharat Bhawan

Spatial Organisation Bharat Bhawan has a series of terrace gardens which cascade down till the lake. The visitors enters at the highest level and walk down the pedestrian spine, flanked by a pattern of courtyards in order to reach different parts of the complex.

It house an art gallery, a fine-arts workshop, an open air amphitheater, a studio theatre, an auditorium, a museum of tribal & folk art, libraries of Indian poetry, classical as well as folk music.

Fig 2.104 - Plan of Bharat Bhawan

49

Structure

OAT

The structure of Bharat Bhawan is based on RCC framework. The grid consist of group of 4 columns at distance of 2m. The group is placed at distance of 9m from each other. This structural framework is adopted throughout the building.

terrace

Shop Gallery

Fig 2.106- View of Bharat Bhawan

Library Court

Tribal Court Museum

Theatre Court

Toilet

Admin

Museum

Fig 2.105 - Functional relationship in Bharat Bhawan

Fig 2.107 - View of Bharat Bhawan

Functional Relationship

Sustainability Measures

The zoning is done by providing more open public space towards lake like OAT and open terraces. However, the museum is placed away probably to regulate the exposure to moisture which might harm the artifacts.

Sunken courts are provided to regulate harsh sun during summer and create a micro climate.

Shell structures on top brings in light. Use of locally available material is also considered.

50

National Centre for Arts, New Delhi

Fig 2.108 - Structural grid in Bharat Bhawan

Spatial Analysis

Inferences

• The site is on a gently sloping plateau overlooking the lake such that the contours are used in design.

• The natural contours have been used to create a series of sunken courts and terrace gardens around which are cultural facilities.

• The terraces and courtyards are connected like a progression in space, where complex of internal streets acts like a village layout.

• It’s built with the properties of the unbuilt weaved in so intricately that the transition between the open and close space is so smooth that it is one continuous journey through one space to another.

• The view of the lake has been explored in the best manner. The view of lake is visible from all possible terraces.

• The inside of the Bharat Bhavan is a medley of courtyards, split-level exhibition spaces, galleries and performance rooms.

• Upon entering, the visitor has the choice of following the path of terraces cascading down to the lake, or descending to the three courtyards which provide access to the majority of the cultural facilities.

• Each of the parts of the building is distinct yet flows easily one another, linked by meandering paths.

• An outdoor museum, libraries of poetry and music and a museum find a place here as well, and are designed in such a manner that they draw natural light from three conical skylights.

• The route through the terraces encourages movement down the site’s natural gradient, with the courtyards providing tranquil spaces for rest and relaxation.

• The sunken courtyards at Bharat Bhavan provide shade from the scorching midday sun, while the raised terraces offer refreshing air and space at cooler times of day.

Fig 2.109 - Sectional view of Bharat Bhawan

Fig 2.110 - Circulation flow diagram of Bharat Bhawan

Materiality The material used are red sandstone, brick, sand & exposed concrete. The internal finish is of marble, granite and sand stone, one of most commonly used combinations in the Indian architecture for decades now, keeping the building rooted to its culture.

The proportions of the building are well ordered, borrowing geometric patterns from Indian culture making it more relevant to the context.

Fig 2.111 - Longitudinal section of Bharat Bhawan

51

Case Study : Jawahar Kala Kendra, Jaipur

Fig 2.112 - View of Jawahar Kala Kendra, Jaipur

Year of Completion Site Area Built-up area Architect(s)

52

1991 38450 sqm 9000 sqm Charles Correa

Architectural style

Contemporary Indian

Climate Conditions

Hot semi arid climate. Very less rainfall and high temperatures during summer months.

National Centre for Arts, New Delhi

Overview

Fig 2.113 - Schematic plan of Jawahar Kala Kendra, Jaipur

Jawahar Kala Kendra is an arts and crafts centre located in the city of Jaipur. The centre was built in the year 1986 and the construction completed in 1991. The centre was launched by the state government to provide space to the cultural and spiritual values of India and display the rich craft heritage. The centre is dedicated to the late prime minister of India Jawaharlal Nehru.

Ideas for the building, sited in an open field near the university in a new part of the city, formed in Correaâ&#x20AC;&#x2122;s mind; but it was not until 1986 that the concept for the building was finalized.

Concept The centre is an analogue of the original city plan of Jaipur drawn by Maharaja Jai Singh- a scholar, mathematician & an astronomer in the mid-17th century. His city plan guided by Shilpa Shastras was based on the ancient Vedic mandala of nine squares or houses which represents nine planets.

Due to presence of a hill, one of the squares was transported to the east and two of the squares were amalgamated to house the palace.

Based on that, Correaâ&#x20AC;&#x2122;s plan for the Kendra invokes directly the original navagraha or nine house mandala. Similar to original city layout, one of the square is pivoted to create the entrance. The squares are defined by 8m high wall, symbolic of the fortification of wall along the Jaipur old city.

Fig 2.114 - Navagraha - it was primary concept behind planning of Jaipur city

Fig 2.115 - Plan of Jawahar Kala Kendra, Jaipur

53

Fig 2.116 - View of Jawahar Kala Kendra, Jaipur

Spatial Organisation The building program has been “disaggregated” into eight separate groupings corresponding to the myths represented by that particular planet: for instance, • The library is located ill the square of the planet Mercury which traditionally represents knowledge.

• The theatres are in the house of Venus, representing the arts.

• The central square, as specified in the Vedic Shastras, is a void: representing the Nothing which is Everything.

The flooring pattern in this square is a diagram of the lotus representing the sun.

Fig 2.117 - Axonometric view of every zone in Jawahar Kala Kendra, Jaipur

54

National Centre for Arts, New Delhi

Spatial Analysis

Inferences

The centre has been made in eight blocks housing:

•

The buildings in a contemporary metaphorical replication of the basic plan of the city of Jaipur, based on the vastu pursh mandala.

•

The architect in his attempt to create a brand image for the historical city, has tried to get the essence of the existing form but superficially.

•

The critical sustainable aspect of the traditional architecture of Jaipur has not been tackled well.

•

The place has an amazing interplay of light , shadow and colors, evoking emotions in the user and invite him to move further.

• Museums, • Theatre, • Library, • Arts display room, • Cafeteria, • Hostel • Studio The centre is frequently occupied with artists and arts loving people. Many exhibitions and performances by local artists are displayed at the centre. The annual festivals of classical dance and music are held in the centre. The centre hosts many workshops of dance and music.

•

The spaces flow as an narrative and changes the moods of the user, but the over all circulation lacks of continued covered corridor, which makes the place unusable during summers and rains.

•

The open air theatre is only good to look at, it is enclosed by the high walls which create acoustic and ventilation problems at the time of crowd.

•

The high walls with no fenestration in the facade makes the building enclosed and it does not open up to the city.

However within the building the activities are disintegrated but combine to a heterogeneous mixture of various cultural activities happening individually.

Fig 2.118 - View of Jawahar Kala Kendra, Jaipur

55

Case Study : Kala Academy, Goa

Fig 2.119 - View of Kala Academy, Goa

Year of Completion Site Area

1985 25500 sqm

Built-up area Architect(s)

Charles Correa

Architectural style

Contemporary Indian

Climate Conditions

Tropical monsoon climate. Hot & humid climate for most of the year.

Receives heavy rainfall throughout the year.

Fig 2.120 - Plan of Kala Academy, Goa

56

National Centre for Arts, New Delhi

River River edge

OAT Library

Theatre 1

Sunken Terrace Pantry

Amphitheatre

Lounge

Reception

Gallery

Fig 2.121 - Functional relationship in Kala Academy, Goa

Fig 2.122 - Structural grid in Kala Academy, Goa

Fig 2.123 - Plan of Kala Academy, Goa

57

Case Study : Rabindra Bhawan, New Delhi

Fig 2.124 - View of Rabindra Bhawan, New Delhi

Year of Completion Site Area

1961 12400 sqm

Built-up area Architect(s)

58

Habib Rahman

Architectural style

Post-colonial architecture

Climate Conditions

Monsoon influenced humid subtropical climate bordering a hot semi-arid climate with extreme hot summer and extreme cold winters.

National Centre for Arts, New Delhi

Fig 2.125 - Context plan of Rabindra Bhawan, New Delhi

Overview Designed by Ar. Habib Rahman, Rabindra bhawan was created to house the offices of 3 national academies (Lalit kala Akademi for Plastic Arts, Sangeet Natak Academy for dance, drama & music, Sahitya Academy for literature) which represented Indian culture by word, form & spirit.

The building is located at Mandi House circle along the intersection of Feroz Shah road & Copernicus road in New Delhi

Concept Design of building inspired from simplicity of Rabindra Nath Tagore. The building design was a shift from Bauhaus design which was initially rejected by Pt. Jawahar lal Nehru to simple, elegent structure with Indian elements to represent National academies.

Program • • • • • • •

Administrative offices of all 3 academies Exhibition gallery for paintings and sculpture Moderate size theatre Canteen Storage Shops Utilities

Fig 2.126 - Ground plan of Rabindra Bhawan, New Delhi

59

Fig 2.127 - First floor plan of Rabindra Bhawan, New Delhi

60

National Centre for Arts, New Delhi

Fig 2.128 - Roof plan of Rabindra Bhawan, New Delhi

Fig 2.129 - Section of Rabindra Bhawan, New Delhi

61

Fig 2.130 - Section of Rabindra Bhawan, New Delhi

62

National Centre for Arts, New Delhi

Spatial Organisation The building is divided into three major blocks: Administrative building, Gallery & Theatre. The administrative block which is biggest of all occupies prominent amount of space on site. The block resembles english alphabet ‘Y’ in plan which was chosen to maximize the site cover and respond to the urban context. 3 wings in the building place the offices of 3 academies respectively connected by a central core. The

other 2 blocks are place in the pockets created by admin block on site which are placed according to inter-relation with respective wing of admin block. The wing of Lalit Kala Akademi is kept near to galley and Sangeet Natak Academy is kept near to theatre. Each block has individual entry such that the function of one block doesn’t interfere with working of other.

Service entry is provided from Feroz Shah road.

Large patch of landscaped green is provided between theatre and admin block to accommodate informal outdoor activities.

Garden is also used as extended part of Gallery where permanent sculptures have been placed.

Fig 2.131 - Zonal analysis of Rabindra Bhawan, New Delhi

63

Form & Layout All the 3 blocks in Rabindra Bhawan are different in terms of form, layout & articulation depending on functions. Combination of concrete dome & jaali is used to cover central core. Thereâ&#x20AC;&#x2122;s a subtle

curve in facade of building giving it a slight organic & fluid form.

Gallery is connected to administrative block through an arched walkway.

Fig 2.133 - Facade elevation and section

Facade Facade of administrative block is made of numerous closely placed windows and 2 rows of continuous thin chajjas emphasizing the horizontality of the building.

Gallery block has concrete jaali and brick facade. Blank brick walls of the 1st floor gives illusion of heavy slab resting on delicate base.

Fig 2.132 - Massing of Rabindra Bhawan, New Delhi

64

National Centre for Arts, New Delhi

Continuous strip of small windows runs on each floor for daylighting.

Exhibition gallery facade is clad with intricate jaali as well as filler wall between 2 columns purely used for aesthetic purposes.

Structural System Composite structure is used for construction of administrative block. Brick masonry load bearing walls are used with combination of RCC framework. The structural grid of the building is divided in two grids of 12ft and 25ft module where the shorter span has two modules of 25ft and longer span of wings have 8/9 modules of 12ft span. The RCC columns are placed in the central part of each wing at the position of intersection of 2 grids and load bearing walls are kept on periphery. The roof slab is projecting 6ft outside the periphery. The RCC dome covers the hexagonal shaft of lift and staircase which is placed on the supports of those walls of shaft and 2 columns of foyer.

The structural design of exhibition gallery is also based on 12ft module. However, in this case the entire structure is RCC framework with different filler walls at each level. The columns are placed along periphery and central part creating a service core.

The theatre is designed with combination of many grids forming a complex layout of different dimensions. The dimension of grid changes with dimension.

The columns of the sitting area are placed on the intervals of 10ft from center to center and columns of stage and the back stage are placed at an interval of 11ft. The false ceiling above the sitting area is suspended from the 8ft deep pre stress concrete beams which also support the flat slab above the same area. The foyer area of the theatre has a semicircular vaulted slab which is also in module of 11ft above stage area.

Fig 2.134 - Structural system of Rabindra Bhawan, New Delhi

65

Climatic Response Although the orientation of Rabindra Bhawan is largely context driven than climate, micro detailing has been done to respond to different climatic conditions. Facade of administrative block is made of numerous closely placed windows and 2 rows of continuous thin chajjas.

The lower row in each case has been placed on cantilever brackets so that it is away from the wall and is not obstructing the breeze (since the building wasnâ&#x20AC;&#x2122;t air-conditioned initially).

The angle of sunshades is designed to eliminate the strong morning and afternoon sun owing to harsh summer in Delhi.

Materiality Conventional local materials like brick, stone to provide the building a earth, grounded feel which blends it with its surroundings. The walls of administrative block is made with brick masonry having brick cladding. Random rubble stonework is used at end of each wing with concrete jaali.

Concrete dome over the administrative block & chajjas symbolizes the amalgamation of modern with spiritual. The entrance facade of gallery is made of glass door and steel, however all other sides consists of concrete jaali.

Fig 2.135 - Shadow analysis of Rabindra Bhawan, New Delhi

66

National Centre for Arts, New Delhi

Case Example : Kamani Auditorium, New Delhi Overview

Typology

Kamani Auditorium, is a sister body of the Bhartiya Kala Kendra Trust.

It is one of the most prestigious Halls in Delhi. It has been host to some of the best National and International dance, music and theatre performances.

The theatre is an early version of modernized proscenium. There is a smooth transition between the stage and the seating hall. Though the orchestra pit is missing.

Connectivity The auditorium is connected well to the city. A public bus stop is situated right outside the auditorium. And the Mandi House Metro station is less than 5 minutesâ&#x20AC;&#x2122; walk away.

Stage The performing area of the stage is as wide as 15m by 14m. It also has about 4m wide wings on both the sides. Although there is no space, other than a meter wide corridor provided at the back. The stage is equipped with 21 flying bars operated through the cable in the wings. There is a fly tower whose height is about 14m.

Seating The total seating capacity of the theatre is 632 seats of which about 140 are provided in the balcony. The seating arrangement is linear, seats are arranged in bays, surrounded by 1.5m of walkway aisle. Seating rows are arranged in offset curves one behind the other, for better view of the stage even from the sides.

Green room Are located below the stage due to area shortages. Two sets of stairs are located on both the wings that connect the green room below to the stage above.

Dressing and storage rooms are also located below attached to the common green room.

Fig 2.136 - Ground plan of Kamani Auditorium, New Delhi

67

Fig 2.138 - Auditorium stage plan of Rabindra Bhawan

Fig 2.139 - Plan of green room in Rabindra Bhawan Fig 2.137 - Balcony plan of Rabindra Bhawan

68

National Centre for Arts, New Delhi

KAMANI STAGE BAR SYSTEM 9.5"

39'2" (11m93cm)

8'1"

6'1/2" (1m84cm)

MUSIC PIT 46'10" (14m26cm)

1212" (30.4cm)

1

2 - MAIN CURTAIN

2'6"(76cm)

2

3 - 1st LIGHT BAR

21.5" (54cm)

3

4 - SET BAR

20.5" (50cm)

4

1 - MAIN FRILL

5 - FRILL

20.5"(50cm)

6 - 2nd LIGHT BAR

27.5" (70cm)

7 - WORKING LIGHT

21.5" (50.5cm)

8 - SET BAR 9 - FRILL

5

51'2" (15m34cm)

6 7

21.5" (55.5cm)

8

2'5" (70.5cm)

9

34.5" (90cm)

10

10 - SET

11 - 3rd LIGHT BAR 12 - FRILL 13- SET BAR 14 - SET

15 - FRILL 16- SET BAR

27.5" (70cm)

MOTORISED

11

31.5" (80cm)

12

17.5" (40.5cm)

13

23.5"(60.3cm)

14

16" (40cm)

15

27.5" (70cm)

16 17

17 - CYC BAR

19" (40.9cm)

18 - CYC BAR

26" (60.7cm)

19- DRUM

33" (84 cm

19

20- DRUM

12.5"(30cm)

20

MOTORISED

18

Fig 2.141 - Stage bar system

Fig 2.140 - Stage bar system

Fig 2.142 - Section of Kamani Auditorium, New Delhi

69

KAMANI AUDITORIUM LIGHTS FITTED ON THE STAGE AND FOH AREA

167 166 165

155 154 153

164 163 162

152 151 150

S.NO.

3 4

11

2

FOH 2

--

10

--

--

4

14

3

FOH 3

--

--

12

--

--

12

4

LIGHT BAR 1

(B.NO.3)

6

--

--

--

3

9

5

LIGHT BAR 2

(B.NO.6)

6

--

--

--

3

9

6

LIGHT BAR 3

(B.NO.10)

--

4

--

--

3

7

LADDER 1(R)

7

CYCLORAMA LIGHT BAR 1 (17) - TRUSS

--

--

--

8

--

8

BAR NO 3 (TRUSS)

8

LADDER 1 (LEFT)

--

2

2

--

--

4

9

LADDER 1 (RIGHT)

--

2

2

--

--

4

10

LADDER 2 (LEFT)

--

2

2

--

--

4

11

LADDER 2 (RIGHT)

--

2

2

--

--

4

12

LADDER 3 (LEFT)

--

2

2

--

--

4

13

LADDER 3 (RIGHT)

--

2

2

--

--

4

14

LADDER 4 (LEFT)

--

2

2

--

--

4

15

LADDER 4 (RIGHT)

--

2

2

--

--

4

16

LADDER 5 (LEFT)

3

--

--

--

--

3

17

LADDER 5 (RIGHT)

3

--

--

--

--

3

18

WORKING LIGHT - Hallogen (B.NO.7)

--

--

--

--

--

4

19

TORMANTLE (I) - (Stage) Left

--

1

1

--

1

3

20

TORMANTLE (I) - (Stage) Right

--

1

1

--

1

3

21

TORMANTLE (II) - (Hall) Left

--

2

--

--

1

3

22

TORMANTLE (II) - (Hall) Right

--

2

--

--

1

3

18

36

38

8

20

124

LADDER 2(R) BAR NO 6

203

202

201

204

205

206

207

208

TORMENTER (L)

TORMENTER (R)

MUSIC PIT

200 VFOH 1 (L)

212 211 210 209

199 198

200 199 198

197 196

195 194

197 196

195 194

VFOH 2 (L)

VFOH 1 (R) 213

214

215 216

VFOH 2 (R)

219 218 217

220 221 222

VFOH 3 (L)

VFOH 3 (R)

225 224 223

226 227 228

FOH II

FOH III

Light Pannel Pearl 2015

TOTAL :-

LED PAR

LED WASH POWER POINT

Fig 2.143 - Auditorium light system

70

TOTAL

3

156, 157, 158

LADDER 1(L)

PR - 575

--

BAR NO. 11

LADDER 2(L)

LED Wash

8

LADDER 3(R) XLR

XLR

2 1

1 KW PAR

--

BAR NO. 14

LADDER 3(L)

T-11 P.C.

--

LADDER 4(R) 161, 160, 159

1 KW. FRESNEL

FOH 1

LADDER 5(R)

LADDER 4(L)

TYPE OF LIGHT

1

BAR NO. 17 (TRUSS) LADDER 5(L)

LOCATION

National Centre for Arts, New Delhi

1 2

LIGHT CONTROL PANEL - PEARL 2010 MACOSTAR DPR 120, 216 CHANNEL DIMMER MODULE (3003 K) FOR SOFT PATCHING (From 1 - 192 and 201 - 224), (193 - 200 Blank)

*Updated on 01-07-2016

KAMANI AUDITORIUM

Sound and Lighting services

SOUND EQUIPMENT LIST S.NO.

DESCRIPTION

QTY

LOCATION

Sound Equipment fitted in Control Room 1

Mixer 24 Channel - DIGICO S-21

1

Control Room

2

Controller - DBX

1

Control Room

3

Digital Signal Processor (Soundweb London BLU-160)

1

Control Room

4

I Tech Series Amplifier crown 4000 (1250 W Per Channel)

2

Control Room

5

I Tech Series Amplifier crown 6000 (1750 W Per Channel)

2

Control Room

6

Amplifier Crown XTI-6000

2

Control Room

7

Amplifier Crown XLS-402 for SB Control 25 (650 W Per Channel)

2

Control Room

8 9

Amplifier Crown XTI-6002 (1700 W Per Channel) QSC MX 2000a Power Amplifier (650 W Per Channel)

2 3

Control Room Control Room

Hall (LRC)

(1750 W Per Channel)

The hall is acoustically designed, but for convenience sound amplification systems are provided.

Stage lighting is done using lights placed in the fly tower, just above the stage and on the false sealing above the audience. These services are controlled by the controllers placed in the control room above the balcony.

Sound Equipment on Stage & in Hall 1

Speaker JBL -VRX 932 LA (800 W)

8

2

Flyable Sub-woofer JBL VRX 918S (800 W)

4

Hall (LR)

3

Surface Sub-Woofer JBL - SRX 718S (800 W)

2

Hall (LR)

4

Speaker EAW Model LA-215 (Monitor) (650 W)

6

Hall (LRB)

5

Speaker JBL SB Control 25 (25 W)

4

Speaker JBL SB Control 25 (25 W)

6

7

Speaker JBL SB Control 25 (25 W)

4

Under Balcony 02 - Foyer, 02 - CafĂŠ Kamani, 02 - Control Room 03 - Green Room, 01 - Manager Room

8

CD player Pioneer Model 350

2

Control Room

9

Headphone SONY MDR 7506

1

Control Room

10

Signal Distributor (Distribution Amplifier) CE 104B

1

Control Room

11

DI Box (Passive)

2

Control Room

12

DI Box - BSS (Active)

4

Control Room

6

List of Microphones 1

Mike SM 58 (Shure)

12

Control Room

2

Mike SM 57 (Shure)

5

Control Room

3

Mike SM 87 Beta (Shure)

3

Control Room

4

Sechnneizer with Switch

2

Control Room,

5

Gooseeneck Mike (AKG)

2

Control Room

6

Gooseeneck Mike - MX418 (Podium) - Shure

2

Control Room

7

Foot Mike - MX391/C

4

Control Room

8

Foot Mike - Crown

4

Control Room

9

Cordless Mike (Shure) ULX-P4

2

Control Room

( Shure )

HVAC The hall uses central air conditioning plant, with a capacity of about 80 tons.

Structural system The structural system used for the roofing is mono-pitched metallic trusses. The hall is rectangular with dimensions of about 17m by 32m.

71

Case study comparison matrix Project Name & location

Rabinra Bhawan, New Delhi

National Centre for Performing Arts, Mumbai

Fig 2.144 - View of Rabindra Bhawan, New Delhi

Year of Completion Site Area | Built-up area Architect(s)

Bharat Bhawan, Bhopal

Fig 2.145 - View of NCPA, Mumbai

Fig 2.146 - View of Bharat Bhawan, Bhopal

1961

1969

1982

12140 sqm | --- sqm

32000 sqm | --- sqm

10000 sqm | 11150 sqm

Habib Rahman

Philip Johnson, Rustom Patel

Charles Correa

Site Plan

Fig 2.151 - Plan of Rabindra Bhawan, New Delhi

Criteria for selection

72

Located in Delhi, it faces near similar challenge in terms of response to climate & context

National Centre for Arts, New Delhi

Fig 2.152 - Schematic plan of NCPA, Mumbai

An old but very functional centre for performing arts. Prime reason for NCA in Delhi

Fig 2.153 - Plan of Bharat Bhawan, Bhopal

Well integration of public spaces.

Use of Indian courtyard typology to address harsh climate.

Kala Academy, Goa

Fig 2.147 - View of Kala Academy, Goa

Jawahar Kala Kendra, Jaipur

State University of Performing & Visual Arts campus, Rohtak

Fig 2.148 - View of Jawahar Kala Kendra, Jaipur

Museum of Modern Arts, New York

Fig 2.149 - View of SUPVA, Rohtak

Fig 2.150 - View of MoMA, New York

1985

1992

2014

1939

25500 sqm | --- sqm

38450 sqm | 20000 sqm

101200 sqm | 44250 sqm

--- sqm | --- sqm

Charles Correa

Charles Correa

Raj Rewal

Yoshio Taniguchi, Philip Goodwin, Edward Stone

Fig 2.154 - Plan of Kala Academy, Goa

Grounded to earth design with vast expanse of greens creating and ideal enviornment for learning

Fig 2.155 - Plan of Jawahar Kala Kendra, Jaipur

Use of locally available material and use of traditional knowledge of vastu to organise spaces

Fig 2.156 - Plan of SUPVA, Rohtak

A very recent example of reinterpreting the spaces as per Indian requirement and use of local material

Fig 2.157 - Plan of MoMA, New York

Universal icon of a well known and well functional museum attracting 2.5M people per year.

73

Lalit Kala Akademi (Rabinra Bhawan), New Delhi

National Centre for Performing Arts, Mumbai

Bharat Bhawan, Bhopal

Project Components

Museum, theatre, art gallery, reading & listening library, teaching & research block, music research lab, audio-visual archieves

Theatres, art galleries, amphitheatre, reading & listening library, teaching & research block, music research lab, studio for archival documentation & audiovisual archieves

contemporary art galleries, amphitheatre, a museum of tribal art, an auditorium, a library of Indian poetry, a print shop, and a studio for an artist-in-residence

Climate Conditions

Monsoon influenced humid subtropical climate bordering a hot semi-arid climate with extreme hot summer and extreme cold winters.

Mumbai has tropical, wet & dry climate which is moderately hot and has high levels of humidity.

Average temperature is 27.2°C

Bhopal has a humid subtropical climate, with cool, dry winters (avg. 16°C), a hot summer (avg.

30°C) and a humid monsoon season

Sustainable system

Thick load bearing wall adding to thermal insulation. Leuvers on windows to block direct sun and rain

Well ventilated inside spaces. Use of leuvers to break direct harsh sunlight

Well ventilated inside spaces due to shell ‘chatri’, sunken couryards for daytime heat.

Structural system

Concrete frame with load bearing walls

Concrete frame

Coffered Slab on RCC columns with (2m-6m-2m tartan grid) concrete shell atop for ventilation

Facade & fenestration treatment

Exposed brick wall with horizontal leuvers

Stone cladding with leuvers on western face

Stone cladded walls with green terraces

Post-colonial architecture

Then International style

Contemporary Indian architecture

Sitting in the strong context of National School of Drama & SRCPA this building reponds very strongly to its context

An old but very functional centre for performing arts. Prime reason for NCA in Delhi

Proper ventilation is the prime requirement for any institutional building and sealed-box architecture isn’t suitable for India

Architectural style Key Learnings

74

National Centre for Arts, New Delhi

Kala Academy, Goa

Jawahar Kala Kendra, Jaipur

State University of Performing & Visual Arts campus, Rohtak

Museum of Modern Arts, New York

1000 seat Auditorium, preview theatres, art galleries, 2000 seat amphitheatre, canteen, black box, meeting room, rehearsal room, guest room, library, class room

Theatres, courtyard, art galleries, amphitheatre, library, teaching & research block, cafeteria, museum, documentation studio

Auditorium, library, teaching & research block, studio, classroom, cafeteria, common facility zone

Gallery, office, research space, education facility, movie theatre, library, design & book store, restaurant, sculpture garden

Tropical monsoon climate. Hot & humid climate for most of the year.

Receives heavy rainfall throughout the year.

Hot semi arid climate. Very less rainfall and high temperatures during summer months.

Hot semi-arid climate with very little rainfall. Average temperature of 25°C

Humid continental. Below freezing temperature during winters

Extensive use of pergola to control micro climate. Well ventilated inside spaces.

Classical rajasthani courtyard typology well suited for harsh climate of the area. Thick wall acts as insulators.

Microclimate created with shading devices & courtyard, insulation on outer wall, glazed window. NW-SE orientation with green buffer

Glazed glass facade to absorb the daytime heat which is suitable for cold climate in NYC.

Concrete frame having 6m x 6m grid, Wafer slab

Concrete frame

Concrete frame

Concrete frame with Steel truss in gallery to create large column-free space

Stone clad & Plaster. Parapets around terrace

Dry cladded red sand stone

Stone cladding with fenestration to allow winter sun

Mostly glass facade with exposed joints and slab

Contemporary Indian architecture

Contemporary Indian architecture

Contemporary Indian architecture

Modernist Architecture

Well resolved circulation. The building looking onto River Mandovi in the context.

Segregation of spaces was done to facilitate seperate utilisation of building at once without comprimising the integrity of flow of movement

Proper seperation in all institute buildings in placement and connectivity connected by centrally placed auditorium & library

The building has highly flexible spaces with special provision for unanticipated art forms which made it the world renowned museum for around a century

75

Key points

3 Program Development & Analysis

The area program is based on the schematic area program for NCA developed by Union Ministry of Culture which isn’t open to public yet. The dimensions are mostly derived from ‘Time Saver Standards’, ‘Neuferts’ & Indian codes. Suitable assumptions have been made wherever required based on case studies and site visits.

76

•

The scope of project is to foremost prepare a design scheme to the brief prepared

by Union ministry of Culture, GOI for establishment of NCA in 2017

•

The official brief for the project is kept confidential. Thus, the proposal is prepared on basis of the same which was procured on the condition that it shall be used for academic purpose only and shall not be shared/ published in its original form.

•

The brief laid out the broader requirements for the project. The detailing is done on basis of learnings from case studies and standards.

•

The applicable by laws for the area are referred for the site. However, wherever there’s an ambiguity, the figures in brief are followed.

•

The brief demanded a centre for performing arts. However, a component of visual arts is proposed to serve the need established in chapter 1.

Project scope

Area program summary

The main focus of this program is to create public centre dedicated to performing and visual arts, which would provide a platform to showcase, promote and preserve various artforms in India at national and international level. The spaces should cater to following facilities: •

Exhibition spaces and cultural information centers to showcase the history and development of Indian art styles.

•

Spaces to promote interaction of artists with viewers to promote awareness.

•

•

Cultural info. Centre

Multiple performance spaces of different sizes and kinds to host cultural events of various scale and types.

•

Provide public areas to invite visitors and allow for functions which require larger informal gatherings.

Public facilities alongside IGNCA which could be used as shared resource between IGNCA and NCA.

Main theatre

Museum & Gallery

Indian Theatre

Public facilities Admin

Fig 3.1 - Area distribution pie chart for NCA

Site Area

46,319 sqm (11.45acre)

Max. Permissible FAR

1.2 (55,580 sqm)

FAR achieved

0.64 (~35775 sqm)

Max. Ground coverage

25% (11580 sqm)

Parking ECS

2 ECS/ 100sqm

Total ECS requirement

694

Surface parking requirement

174 ECS (25%)

Basement parking

520 ECS (75%)

Basement area requirement

16672 sqm.

Component

Area (sqm)

Amphitheater

203

Performance ground

420

Main theatre

4100

Concert hall

1865

Indian theatre

1128

CIC & conference facility

2450

Museum & Gallery Block

23450

Public facilities

1127

Admin & mgmt.

476

Site services

1078

Residential

20 77

Detailed Area Program No.

Facility

Users

A

Outdoor events

1

Amphi theatre (200 capacity)

Area/ User Unit area Unit Nos. Total area Comments / Source

1

Sitting for Audience

200

0

140 IS 2526:1963

1

Stage

25

1

1

Podium stage

2

1

1

Green Room

12

2

24

2

Changing room

3

4

Yes

Yes

No

Yes

Yes

No

Yes

Yes

No

No

No

No

200-500

12 Separate room for Men & Women No

No

No

200-300

Yes

Yes

Yes

No

No

No

50-150

25 2 For narrator/ anchor

AC Req.

203

Total of 1 2

Ground Ventilation Service Illuminance (lux) Req. Req Req

Open Air Performance space/ Mela ground

2

Audience Gathering space

2

Storage Room

400 As per brief 20

1

Total of 2

420

Total of A

623

Total covered area

56

Circulation & structure (40%)

22 Only for built structures

Total Built area of A

78

Grand Total of A

645

B

Theatre/ Auditorium

1

Main National Theatre (Dance/ Music/ Drama)

1

Front of House Box Office/ Ticketing/ Information counter

2

6

1

6

Yes

No

No

200-500

Cloak Room

2

20

1

20

No

No

No

200-500

No

Yes

No

150-300

Yes

9

No

Yes

No

150-300

Yes

Visitor Washroom

120

No

Yes

No

150-500

Waiting Lounge

162 10% of main hall (IS 2526:1963)

No

Yes

No

150-300

Foyer Security check

78

20 For decoration material, carpet, equipments, chairs, etc.

National Centre for Arts, New Delhi

324 20% of main hall (IS 2526:1963) 6

2

Yes

Yes

No.

Facility

Users

Area/ User Unit area Unit Nos. Total area Comments / Source

Food & Beverage bar 1

500

No

Yes

Yes

Yes

150-300 200-300

3

10

30

No

No

No

200-300

Yes

Green Rooms

12

Performer & Crew lounge

48

2

24

No

No

No

200-500

Yes

1

48

No

Yes

No

150-300

Yes

Storage Room

40

1

40

No

No

No

200-500

120

1

120

No

Yes

No

200-500

Workshop & carpentry

20

1

20

No

Yes

No

150-300

Laundary

20

1

20

No

Yes

No

200-500

Loading / Unloading dock

40

1

40 Time Saver Standards

Yes

Yes

Yes

100-200 (Avoid glare to drivers approaching the bay)

12

1

12

No

No

No

200-500

9

1

9

No

No

No

150-300

Projection room

10

1

10

No

No

No

100-200

Light & sound control room

Rehearsal areas

Costumes collection

Yes

Control Room Security control room

1

AC Req.

Back of House Dressing Room

1

Ground Ventilation Service Req. Req Req Illuminance (lux)

Yes

12

1

12

No

No

No

200-500

Yes

Recording room

6

1

6

No

No

No

150-300

Yes

Manager cabin

8

1

8

No

Yes

No

300-750

Yes

120

No

No

Yes

50-150

Yes

No

No

No

50-150

Yes

Yes

Performance area Stage Sitting for Audience

40

3

1800

0

1620 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963) 3280

Total of 1 2

Theatre (concert hall)

2

Front of House Box Office/ Ticketing/ Information counter Cloak Room

6

1

6

Yes

No

No

200-500

15

1

15

No

No

No

200-500

2

4

Foyer

No

Yes

No

150-300

Yes

6

No

Yes

No

150-300

Yes

Visitor Washroom

70

No

Yes

No

150-500

Waiting Lounge

54 10% of main hall (IS 2526:1963)

No

Yes

No

150-300

Security check

108 20% of main hall (IS 2526:1963)

Yes

79

No.

Facility

Users

Food & Beverage bar 2

Ground Ventilation Service Req. Req Req Illuminance (lux)

AC Req.

250

No

Yes

Yes

150-300

Yes

24

No

No

No

200-500

Yes Yes

Area/ User Unit area Unit Nos. Total area Comments / Source

Back of House Green Rooms

12

2

Performer & Crew lounge

36

1

36

No

Yes

No

150-300

Storage Room

40

1

40

No

No

No

200-500

120

1

120

No

Yes

No

200-500

Workshop & carpentry

20

1

20

No

Yes

No

150-300

Loading / Unloading dock

40

1

40

Yes

Yes

Yes

100-200 (Avoid glare to drivers approaching the bay)

9

1

9

No

No

No

150-300

Projection room

10

1

10

No

No

No

100-200

Light & sound control room

12

1

12

No

No

No

200-500

Yes

Recording room

6

1

6

No

No

No

150-300

Yes

Manager cabin

8

1

8

No

Yes

No

300-750

Yes

75

No

No

Yes

50-150

Yes

No

No

No

50-150

Yes

Yes

Rehearsal areas

2

Yes

Control Room Security control room

2

Yes

Performance area Stage Sitting for Audience

25

3

600

0

540 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963) 1449

Total of 2 3

Theatre 3 (Literature & Public discussion)

3

Front of House Box Office/ Ticketing/ Information counter Cloak Room

6

1

6

Yes

No

No

200-500

15

1

15

No

No

No

200-500

45 20% of main hall (IS 2526:1963)

No

Yes

No

150-300

Yes

3

No

Yes

No

150-300

Yes

70

No

Yes

No

150-500

23 10% of main hall (IS 2526:1963)

Foyer Security check

2

2

Visitor Washroom Waiting Area Food & Beverage bar 3

2029

No

Yes

No

150-300

Yes

100

No

Yes

Yes

150-300

Yes

24

No

No

No

200-500

Yes

Back of House Green Rooms

80

National Centre for Arts, New Delhi

12

2

No.

3

Facility

Users

Area/ User Unit area Unit Nos. Total area Comments / Source

AC Req. Yes

Performer & Crew lounge

30

1

30

No

Yes

No

150-300

Storage Room

25

1

25

No

No

No

200-500

Rehearsal areas

60

1

60

No

Yes

No

200-500

Workshop & carpentry

20

1

20

No

Yes

No

150-300

Loading / Unloading dock

40

1

40

Yes

Yes

Yes

100-200 (Avoid glare to drivers approaching the bay)

9

1

9

No

No

No

150-300

Projection room

10

1

10

No

No

No

100-200

Light & sound control room

12

1

12

No

No

No

200-500

Yes

Recording room

6

1

6

No

No

No

150-300

Yes

Manager cabin

8

1

8

No

Yes

No

300-750

Yes

75

No

No

Yes

50-150

Yes

No

No

No

50-150

Yes

Yes

Control Room Security control room

3

Ground Ventilation Service Req. Req Req Illuminance (lux)

Yes

Performance area Stage Sitting for Audience

25

3

300

0

225 0.6 - 0.9 sqm/ person including gangways excluding stage (IS 2526:1963)

Total of 3

806

Total of B

5535

Circulation & structure (40%)

2214

Grand Total of B

7748

C

Information & Resource Centre

1

Cultural Resource centre & conference facility Reception Lobby

1128

40

1

40

Yes

Yes

No

150-300

Visitors Orientation

100

1

100

No

Yes

No

300-750

Yes

Cultural Information Centre

400

1

400

No

Yes

No

300-750

Yes

Interpretation area

400

1

400

No

Yes

No

300-750

Yes

Business centre

100

1

100

No

Yes

No

300-750

Yes

Conference room

20

2

40

No

Yes

No

300-750

Yes

Lecture Hall

60

1

60

No

Yes

No

200-500

Yes

Screening room

100

0

60

No

Yes

No

50-200

Yes

Library

100

4

400

No

Yes

No

200-500

Yes

81

No.

Facility

Users

Seminar Halls

75

2

AC Req.

No

Yes

No

300-750

Yes

160

Yes

Yes

No

150-300

Yes Yes

150 1750

Total of 1 2

Ground Ventilation Service Req. Req Req Illuminance (lux)

Area/ User Unit area Unit Nos. Total area Comments / Source

Museum & Gallery block

2450 (Across National Archives diametrically opposite to National museum across central vista)

Public / No collection Reception lobby Box office/ ticketing counter

80

2 6

1

6

Yes

No

No

200-500

Cloak room

20

1

20

No

No

No

200-500

Public toilet

80

1

80

No

Yes

No

150-500

Retail

15

2

30

No

No

Yes

300-750

Yes

Food Counter/ Kiosk

20

2

40

No

No

Yes

300-750

Yes

Permanent Exhibition space

8000

1

8000

No

No

No

50-750 (depending Yes upon light sensitivity)

Temporary Exhibition space

3000

2

6000

No

Yes

No

50-750 (depending Yes upon light sensitivity)

Studio space for Art creation

150

3

450

No

Yes

No

300-750

Yes

Public orientation hall

150

1

150

No

Yes

No

150-300

Yes

Workshop

20

1

20

No

Yes

Yes

150-300

Yes

Packing/ Unpacking dock

40

1

40

No

No

No

150-300

Yes

Loading Dock

40

1

40

Yes

No

Yes

100-200 (Avoid glare to drivers approaching the bay)

6

1

Yes

No

No

50-150

General store

25

1

25

No

No

No

100-200

Museum office

40

1

40

No

Yes

No

300-750

Yes

Conference room

25

1

25

No

Yes

No

300-750

Yes

Security & Protocol offices

10

1

10

No

No

No

300-750

Yes

800

2

1600

No

No

No

50-150

Yes

10

1

10

No

No

No

50-100

Yes

Public / Collection

Non Public / Collection

Receiving

6 (for parcel, newspaper, etc)

Yes

Non Public / No Collection

Secure area Collection storage Computer server room

82

National Centre for Arts, New Delhi

No.

D

Facility

Users Total of 2

16752

Total of C

18502

Circulation & structure (40%)

7401

Grand Total of C

25903

Ground Ventilation Service Req. Req Req Illuminance (lux)

AC Req.

23453

Public Facilities Café

100

2

200

Yes

Yes

Yes

300-750

Yes

Restaurant

200

1

200

Yes

Yes

Yes

150-300

Yes

BookShop

40

2

80

Yes

Yes

Yes

300-750

Regional Food Kiosk

15

4

60

Yes

Yes

Yes

300-750

Cultural merchandise

25

2

50

Yes

Yes

Yes

300-750

CD-DVD outlet

15

1

15

Yes

Yes

Yes

300-750

100

2

200

Yes

Yes

No

150-500

Restroom & facilities

E

Area/ User Unit area Unit Nos. Total area Comments / Source

Total of D

805

Circulation & structure (40%)

322

Grand Total of D

1127

Admin & management block Reception Lobby

20

Yes

Yes

No

150-300

Director(s) room

15

No

Yes

No

300-750

Yes

Meeting Room

25

No

Yes

No

300-750

Yes

Directors secretariat & Mgmt. office

60

No

Yes

No

300-750

Yes

Finance & Accounts dept

60

No

Yes

No

300-750

Yes

Record Room

40

No

No

No

200-500

Yes

HR

20

No

Yes

No

300-750

Yes

Program and box office staff

20

No

Yes

No

300-750

Yes

Security & Protocol offices

10

No

Yes

No

300-750

Yes

Board room

25

No

Yes

No

300-750

Yes

First Aid room

10

Yes

Yes

No

200-500

Yes

Storage

15

No

No

No

200-500

Server Room

20

No

No

No

50-100

Total of F

Yes

340

83

No.

F

Facility

Users

Area/ User Unit area Unit Nos. Total area Comments / Source

Circulation & structure (40%)

136

Grand Total of F

476

Site Services

370

ELSS & Electric room

100

1

100 As per brief

Yes

Yes

Yes

70

1

70 As per brief

Yes

Yes

Yes

Fire Tank & Water tank

200

1

200 As per brief

No

Yes

Yes

HVAC Plant

200

2

400 Special HVAC for Museum

Yes

Yes

Yes

Guard Room

Yes

Yes

Ward

Yes

Yes

DG Set & Panels

G

Ground Ventilation Service Req. Req Req Illuminance (lux)

Total of G

770

Circulation & structure (40%)

308

Grand Total of G

1078

Residential

Grand Total of H

20

Total Built area

H

36431 sqm

Parking (2ECS/ 100sqm) Total Area

35353 sqm

ECS

708

Surface Parking

25%

177 ECS

Basement Parking

75%

531 ECS

Basement Parking Area

32

531

16992 sqm

Surface Parking Area

13

177

2213 sqm

Total Parking Area

84

Excluding Site Services

National Centre for Arts, New Delhi

19205 sqm

AC Req.

Admin

Functional diagram Cultural Information Centre

Indian Theatre

Museum & Art gallery

Main theatre

Concert hall

Amphitheatre

Sectional Distribution

Public facilities

Inferences •

Since cultural information centre consists of functions which acts as support functions for both visual arts gallery and performing spaces like theatre & concert hall, it is best suited in a position where it is directly accessible by both facilities.

•

Open air performing spaces like amphitheatre require silent background. Thus it is well suited in area of site away from roads to keep from traffic noise.

•

Public functions should be placed towards southern face of site to attract visitors from central vista lawns.

Mela ground

Fig 3.2 - Function connection for NCA

Fig 3.3 - Function distribution for NCA

85

Location

4

The proposed site for NCA is located along the central vista in Lutyensâ&#x20AC;&#x2122; Delhi at the junction of Rajpath and Janpath across National Archives. It shares plot with IGNCA. Fig 4.1 - Location of Zone-D8 in Delhi map where site is located

Janpath

Site Analysis Parliament House

National Archives Rajpath

Dr. Rajendra Prasad Road

SITE

IGNCA

National Museum

India Gate

Fig 4.2: Satellite image showing location of site with context

86

550m Central Secreteriat Metro Station 600m

National Archives bus stop

Fig 4.3: Site with context and metro connectivity

Accessibility

The proposed site for NCA can be accessed from 3 sides. It is connected via Dr. Rajendra Prasad road on north and Janpath road on west.

Pedestrian access is also possible from southern side. The 4m wide foothpath along the boundary of site facilitates to smooth pedestrian movement.

Connectivity Metro

Bus

The nearest metro station is ‘Central Secretariat’ which is at 550m (7 min walk) along Dr. Rajendra Prasad Road

The nearest Bus stop is ‘National Archives’ on the western face of site on Janpath Road 87

Site N Bunglows Shani Temple

Dr. Rajendra Prasad Road

National Archives

160.36m

Janpath

210.36m

89.47m 50m

IGNCA Kala Kosh & Kala Nidhi

Man Singh Road

241.47m

Raksha Bhawan

152m Dargah

Rajpath

Scale 1:4000

88

National Centre for Arts, New Delhi

Fig 4.4: Site with trees and immediate context

Site Photos

Fig 4.5: Mati Ghar designed by SHiFt Architects on the site

Fig 4.6: CV Mess building

Fig 4.11: Nursery between IGNCA Kala Nidhi and Rajpath

Fig 4.12: View of IGNCA Kala Nidhi from Rajpath

Fig 4.7: Vernacular mud and thatch house as an installation

Fig 4.8: Amphitheater (Rangabhoomi)

Fig 4.13: View of southern face of site

Fig 4.14: Small dargah built in buffer between site and Rajpath

Fig 4.9: Media Centre on site

Fig 4.10: IGNCA Kala Nidhi building from Man SIngh Road

Fig 4.15: Land between site and Rajpath is often used as parking

Fig 4.16: Vehicular entry to buffer with board reading ‘No Parking’

89

Survey Plan

Fig 4.17: Site survey plan

NTS

The site is majorly flat with maximum level difference of .7m as per survey plan. The site is relatively higher towards west side 90

National Centre for Arts, New Delhi

Existing site condition

Fig 4.18: Site vegetation cover

Vegetation cover The site is densely covered with trees and patches of green. There are 527 trees within IGNCA plot out of with 219 falls in area proposed for NCA. The details for trees are given in vegetation section of report.

Fig 4.19: Storm water & sewer pipeline

Storm water & sewer lines The existing storm water (blue lines) and sewer lines (orange) on site indicate that most of storm water which could be collected is sent to sewer drain for now.

EJB

BW

EJB

BW

BW

EJB EJB

Fig 4.20: Street lamp & poles

Electric poles & street lights The street lamps are non-uniformly scattered throughout the site and in its surroundings.

91

History (Site)

Fig 4.21: Original scheme of Lutyens Delhi

1931 The site proposed for NCA was originally concieved for same purpose ‘socio-cultural’ centre in original scheme by Edwin Lutyens.

Mati Ghar

1985 An internation design competition was organised for IGNCA to be built on the site. The winning scheme was proposed by Ralph Lerner, USA.

Media Centre

CVC Mess

Builtup Area Detail

IGNCA Kala Nidhi and Kala Kosh

Fig 4.23: Currently existing built structures on site

1985-2017 Only 1 of 8 buildings proposed by Ar. Ralph Lerner was built on site.

However, few other structures like CVC mess, Maati Ghar, EMU & a media center came up over time which weren’t part of original scheme.

92

Fig 4.22: Winning scheme for IGNCA proposed by Ralph Lerner

National Centre for Arts, New Delhi

Fig 4.24: Demarcation of NCA in IGNCA plot

2017 The ‘Union Ministry of Culture’ approves formation of NCA on IGNCA site along with expansion of IGNCA. 11.44 acres of land was allocated for NCA

Context Analysis

Fig 4.25: Figure ground plan of New Delhi

93

Central Vista Analysis

Fig 4.26: Figure ground plan of Central Vista, New Delhi

Symmetry followed along central vista

Symmetry not followed along central vista

Fig 4.27: Typology study of Central Vista, New Delhi

Dominant typology along CV is such that they reflect visual symmetry along the access points

Fig 4.28: View of Central Vista from Rashtrapati Bhawan

94

National Centre for Arts, New Delhi

Rail Bhawan Krishi Bhawan Shastri Bhawan National Archives Ambedkar International Centre Proposed NCA site Bunglows

IGNCA Kala Nidhi & Kala Kosh

Raksha Bhawan

Vayu Bhawan Udhyog Bhawan Ministry of Health & Family Welfare Ministry of Housing & Urban Affairs Ministry of External Affairs JLN Bhawan National Museum

Vigyan Bhawan Project Monitoring Group Vice Presidentâ&#x20AC;&#x2122;s House

Fig 4.29: 3D view of Central Vista

Fig 4.30: View of Central Vista towards Rashtrapati Bhawan

95

Central Vista Photos

Fig 4.31: Park beside National Archives used as public space

Fig 4.32: View of National Archives from Rajpath

10

9

7 8 6 5

Fig 4.33: National Archives

4

3

Fig 4.34: Shastri Bhawan from Rajpath

SITE 2

1

11 20 12

13

14

15 16

18 19 17

21

22

Fig 4.35: Krishi Bhawan

Fig 4.37: Central Secreteriat Metro entry with Krishi Bhawan behind it.

96

Fig 4.36: Krishi Bhawan from Rajpath

Fig 4.38: Rail Bhawan

National Centre for Arts, New Delhi

Fig 4.39: Rail Bhawan from Rajpath

Fig 4.40: View of North block

Fig 4.41: Rail Bhawan, Krishi Bhawan & Udhyog bhawan from North Block

Fig 4.42: Vayu Bhawan as seen from Rajpath

Fig 4.43: Udhyog Bhawan

Fig 4.44: MHFW & MHUA headquarters

Fig 4.45: Ministry of External Affairs JLN Bhawan

Fig 4.46: JLN Bhawan as seen from Rajpath

Fig 4.47: Main Entrance of JLN Bhawan

Fig 4.48: National Museum

Fig 4.49: National Museum Entry

Fig 4.50: National Museum as seen from Rajpath

Fig 4.51: Patches of unkempt land along central vista

Fig 4.52: Space between building & Rajpath acts as active public space

97

Land Use

Applicable Development Controls

The site was always intended to be a place for cultural center since the planning of New Delhi. Even in Master Plan Delhi - 2021, the intended use for site is socio-cultural centre

Being located in LBZ, the DUAC LBZ guidelines 1988, 2015 & MPD 2021 bye laws are applicable. The project is also get CVC, DUAC, NDMC & Fire dept. clearance.

Fig 4.53: Master Plan for Delhi 2021

Fig 4.54: Master Plan for Zone D

98

National Centre for Arts, New Delhi

Site Area

46,319 sqm (11.45 acre)

Max. permissible FAR

~120% (55,580 sqm)

Setback

15m on all sides except the side along with IGNCA

Height Restriction

32m (7 floors)

Maximum ground coverage

25% (11580 sqm)

Basement

3 levels permissible for parking

Parking ECS

2 ECS/ 100sqm

Climate Inferences: The climate of Delhi is an overlap between monsoon-influenced humid subtropical and semiarid, with high variation between summer and winter temperatures and precipitation. It experiences temperature ranging from 48°C in summers days to 0°C in winter nights. Average temperature variation within a day is around 20°C. Prevailing wind direction is WWN to EES and months of Jul & Aug experience rainfall over 130mm

Fig 4.55: Temperature & Rainfall graph

Fig 4.56: Wind speed & direction

Fig 4.57: Wind data

99

Vegetation

Tree Neem

15

225

990 Evergreen

The proposed NCA site largely covered with 30 kinds of trees which are scattered throughout. There are 219 trees within the site boundary with girth ranging from 32mm to 2753mm.

Pilkhan

5

380

1845 Deciduous

Pipal

11

510

1720 Deciduous

Putrajinwa

9

145

635 Evergreen

Raijamun

1

700

700 Evergreen

Semal

15

225

990 Deciduous

Shahtoot

11

160

955 Evergreen

Silveroak

24

30

765 Evergreen

Siras

2

350

380 Deciduous

Vankhajoor

1

475

475 Evergreen

Tree

no.

Girth range (mm)

Type

Alstonia

2

160

1115 Evergreen

Ornamental

Amaltas

15

190

540 Deciduous

Ornamental

Ashok

40

130

900 Evergreen

Sacred

Babool

2

335

1050 Evergreen

Negative impact

Banyan

2

1940

2750 Evergreen

Sacred

Bargad

1

450

450 Evergreen

Sacred

Bear

2

285

765 Deciduous

Bottlepalm

5

320

320 Evergreen

Chid

1

225

225 Evergreen

Chiku

1

160

160 Evergreen

Fruit bearing

Eucaliptus

4

575

890 Deciduous

Negative impact

Gular

5

300

925 Deciduous

Jamun

19

190

795 Evergreen

Fruit bearing

Junglijalebi

8

360

640 Deciduous

Fruit bearing

Kachnar

1

525

525 Deciduous

Ornamental

Karanj

1

160

160 Deciduous

Ornamental

Karipatta

1

160

160 Deciduous

Kurejia

2

285

605 Deciduous

Ornamental

Mango

5

65

955 Evergreen

Fruit bearing

Marodfali

8

125

480 Deciduous

100

National Centre for Arts, New Delhi

no.

Girth range (mm)

Type

Sacred Fruit bearing Fruit bearing

Fruit bearing

Ornamental

Fig 4.58: Trees on site Transplantable trees Non Transplantable trees

Flowering / fruit bearing trees Sacred / Important trees Environmentally negative trees Other trees Area suitable for construction based on drip line

The site is largely populated with multiple varieties of trees, which are non-uniformly scattered. In a city like Delhi, which is termed as one of the ‘most polluted cities in the world’, trees are of utmost importance as a support system to the city. Thus the site demands the trees to be addressed as ‘Shared Heritage’ and allow each one of them to grow.

Trees are also in integral part of urban continuity of Lutyens Delhi.

Fig 4.59: Tree mapping on site

101

Materiality/ texture study

102

Fig 4.60: Facade of Jaipur House

Fig 4.63: Facade of Ambedkar International Centre

Fig 4.66: Facade of National Museum

Fig 4.61: Facade of Jaipur House

Fig 4.64: Facade of North Block, Central Secretariat

Fig 4.67: Facade of National Museum

Fig 4.62: Facade of National Archives

Fig 4.65: Facade of IGNCA

Fig 4.68: Facade of IGNCA

National Centre for Arts, New Delhi

Site attributes/ Inferences Physical

Natural

•

•

• • •

•

Site is located on intersection of Rajpath and Janpath on IGNCA lawns in Lutyens’ Delhi.

Site area is 11.44 acres. It shares plot with IGNCA located towards east of site.

As per MPD-2021, site is listed as socio-cultural center.

Site has access from 3 sides i.e. north, south & west. There’s Janpath on west & Rajendra Prasad Road on north. Buffer land between site and Rajpath on south is currently used as parking. However, a nursery and a small ‘dargah’ has came up recently.

Site is predominantly flat with a maximum level difference of .7m according to survey plan.

•

• •

Site has a significant vegetation cover of 219 trees of 30 different kinds which are irregularly scattered over the plot.

There’s a dense cover of trees between site and Rajpath blocking direct view of Central Vista from lower levels.

High vegetation cover also regulates the micro climate.

Currently, the storm water channel on site disposes water to sewer drain.

Contextual

Emotional/ metaphysical

•

•

•

Strong context of Lutyens Delhi offers the scheme an image bearing in mind the urban continuity of that area.

Due to security concerns, all the buildings along central vista aren’t allowed to have openable windows, balconies projecting towards CV. Terraces in public building don’t have parapet wall

•

Since the inception of IGNCA, site has always performed as socio-cultural centre. Thus it carries a nostalgic emotion for various artists and citizens.

It hosts events throughout the year and people from nearby buildings come to site as a getaway from their routine lives.

103

5 Technology Study

104

Structures • • •

Large span roof for auditorium Basement parking Foundation

Services • • • • •

Acoustics Light & Ventilation HVAC Water balance Power balance

Safety & Security • •

Fire safety Security from theft

Sustainability • •

Passive cooling strategies Vegetation cover

105

Structural systems

Fig 5.1: Auditorium section and column joint detail

106

National Centre for Arts, New Delhi

200 MM DIA STEEL CIRCULAR PIPE RUNNING HORIZONTALLY 100 MM DIA CIRCULAR PIPE BRACING THE HORIZONTAL PIPE TOP PURLIN (100 MM DIA STEEL PIPE) BOTTOM PURLIN (100 MM DIA STEEL PIPE) BRACING MEMBER (75 MM DIA CIRCULAR PIPE SOLID PIPE (100 MM DIA STEEL PIPE FIXED WITH PURLIN, EMBEDDED IN COLUMN) MS ANCHOR PLATE (30 MM THICK FIXED WITH ROD WHICH IS EMBEDDED IN COLUMN) MS HORIZONTAL ANCHOR PLATE (30 MM THICK FIXED WITH ROD WHICH IS EMBEDDED IN COLUMN) RCC COLUMN

100 MM DIA STEEL CIRCULAR PIPE RUNNING HORIZONTALLY

Fig 5.2: Auditorium roof section

100 MM DIA CIRCULAR PIPE BRACING THE HORIZONTAL PIPE TOP PURLIN (100 MM DIA STEEL PIPE) BRACING MEMBER (75 MM DIA CIRCULAR PIPE)

X

X' Fig 5.3: Auditorium roof structural plan

107

In a building, a structural system is a system by means of which load of and on the building is transferred to substructure and thus to earth.

Structure system vary in their frames as well as in their resistance methods of force.

They form: 1. Form active structure systems: They redirect external forces primarily through the form of its material, such as an arch or cable system.

2. Bulk active structure systems: These structures redirect external forces primarily through the bulk and continuity of its material such as beams and columns.

3. Vector active structure systems: These structures redirect external forces primarily through the composition of tension and compression members, such as truss.

4. Surface active systems: They redirect external forces primarily along the continuity of a surface, such as a plate or shell structure.

Fig 5.4: Load distribution system

108

National Centre for Arts, New Delhi

Fig 5.5: Large span structural systems

Basement parking Generally for basement parking, column grid chosen is in multiple of width of car bay to maximize parking efficiency

Fig 5.7: Basement parking grid system Fig 5.8: Basement parking

Thus the generally adopted grid is 6m, 8.5m, 11m (assuming 2.5m wide parking bay and 1m wide column)

Fig 5.6: Basement structural system

Where column alignment is not possible, it may be feasible to use transfer beams or angled struts to carry the loads from upper floors through the parking floors to the ground foundation. However, it is desired to minimize these conditions.

109

Large span structural systems

Fig 5.9: Comparison of different long span systems

110

National Centre for Arts, New Delhi

Fig 5.10: Structural grid to accommodate large span spaces

111

Multi-storey structural systems

Fig 5.11: Comparison of different structural systems

112

National Centre for Arts, New Delhi

Fig 5.12: Comparison of different structural systems

Fig 5.13: Coffer slab system

113

Acoustics Requirements References: • IS: 2526 - 1963 : Code of practice for Acoustical design of Auditoriums and Conference halls • NBC 2016 vol-2 Part 8, Section 4 : Acoustics, Sound Insulation and Noise Control Reflecting surfaces shall be so designed as to aid distribution of sound. Those areas which cause objectionable sound reflection and need to be treated with sound absorbents should be earmarked for treatment with sound absorbing material. These areas are 1. Rear wall, 2. Balcony parapet, 3. Areas which may reflect sound back to the stage 4. Concave areas

Sound reflection

Sound absorption

Hard, reflective, nonporous interior building surfaces such as

The materials generally used may be broadly classified into the following categories:

glass wood, plaster, brick concrete absorb 2% to 5% of the sounds striking the surface to reflect 95% or more of the sound.

Absorption coefficients are expressed as a percentage of the sound absorbed. A perfect sound absorber is an open window since it permits 100% of the sound to escape and not return.

which have a tendency to focus sound in certain places, and such other areas as will contribute to indirect sound arriving at any point in the hall later than 50 milliseconds after the direct sound. The rest of the sound absorbing material required to be introduced in the room should be distributed over the various remaining surfaces.

•

• • • • • • •

• •

Acoustic plaster (a plaster which includes granulated insulation material with cement) Compressed cane or wood fiberboard, unperforated and perforated Wood particle board Compressed wood wool Mineral/glass wool quilts and mats Mineral/compressed glass wool tiles Composite units of perforated hardboard backed by perforated fiberboard Composite units of perforated board (hardboard, asbestos board or metal sheet) backed by mineral or glass wool quilt or slab Special absorbers constructed of hardboard, teak ply, etc., backed by air.

In an average hall, most of the absorption is provided by the audience.

Fig 5.14: Compressed wood fiberboard

Fig 5.15: Wood acoustic panel

Fig 5.16: Sponge with acoustic marking

Fig 5.17: Wood acoustic panel

114

National Centre for Arts, New Delhi

Sound amplification system A loudness of speech level of about 60 to 70 dB is required for comfortable listening and good intelligibility provided the ambient noise level is within the acceptable values. This level can be obtained in an acoustically well designed hall provided the volume does not exceed 1400 cum and the maximum distance from the speaker to listener is 23 m, where background noise is high or the hall is large, a sound amplification system becomes necessary.

115

HVAC load calculation

Main National Theatre (Dance/ Music/ Drama)

The HVAC system proposed for scheme is Hybrid Centralised HVAC system. It consists of AHU (Air Handling Unit) & FCU (Fain Coil Unit) with air quality improvers

Box Office/ Ticketing/ Information counter

This system is recommended because: • It allows for varied control of temperature in various rooms and also the option to switch them off separately which leads to lower electric loads.

• The quality of air is also improved due to added filter system.

• Easier maintenance as cooling towers are consolidated.

Waiting Lounge

Foyer Security check Food & Beverage bar

324 9 162 500 30

Green Rooms

24

Performer & Crew lounge

48

Rehearsal areas Security control room

120 9 12

Rehearsal areas Security control room Light & sound control room

8

Stage

540

Theatre (Literature & Public discussion)

626

Box Office/ Ticketing/ Information counter Foyer Security check

8

Food & Beverage bar

Theatre (concert hall) Box Office/ Ticketing/ Information counter Foyer

1254 6 108

Security check

6

Waiting Lounge

54

Food & Beverage bar

250

Green Rooms

24

Performer & Crew lounge

36

75

Sitting for Audience

Manager cabin

1620

12

Manager cabin

Waiting Area

Sitting for Audience

9 6

6 120

120

Recording room

Recording room Stage

National Centre for Arts, New Delhi

6

Dressing Room

Light & sound control room

116

2998

6 45 3 23 100

Green Rooms

24

Performer & Crew lounge

30

Rehearsal areas

60

Security control room Light & sound control room

9 12

Recording room

6

Manager cabin

8

Stage Sitting for Audience

75 225

Cultural Resource Centre

1710

Computer server room

10

Visitors Orientation

100

Cultural Information Centre

400

Public Facilities

400

Interpretation area

400

Café

200

Business centre

100

Restaurant

200

Conference room

40

Lecture Hall

60

Screening room

60

Admin & Management Block

305

Director(s) room

15

Library

400

Meeting Room

25

Seminar Halls

150

Directors secretariat & Mgmt. office

60

Finance & Accounts dept

60

Record Room

40

HR

20

Program and box office staff

20

Security & Protocol offices

10

Board room

25

First Aid room

10

Server Room

20

Museum & Gallery block Reception lobby Box office/ ticketing counter

16587 160 6

Retail

30

Food Counter/ Kiosk

40

Permanent Exhibition space

8000

Temporary Exhibition space

6000

Studio space for Art creation

450

Public orientation hall

150

Workshop

20

Packing/ Unpacking dock

40

Receiving

6

Museum office

40

Conference room

25

Security & Protocol offices

10

Collection storage

Total

23880

Load calculation Total area to be air-conditioned:

23880 sqm

Assuming 1 Ton of cooling per 12 sqm space (based on assumption that 22 deg. C temp. is desired), total cooling required: 23880 / 12 = 1990 Ton The cooling effect produced is quantified as tons of refrigeration(TR). (Source BEE handbook) 1 TR of refrigeration = 3024 kCal/hr heat rejected.

The refrigeration TR is assessed as

TR = Q x Cp x (Ti – To) / 3024 Where • Q is mass flow rate of coolant in kg/hr • Cp is coolant specific heat in kCal /kg deg C • Ti is inlet, temperature of coolant to evaporator (chiller) in °C • To is outlet temperature of coolant from evaporator (chiller) in °C. Assuming, coolant as water • Cp = 1KCal/Kg deg C • Ti = • To = Thus for 1990Tn cooling, water requirement

Q = 1990 * 3024 / (1 * ) = Kg/hr

1600 117

Water requirement calculation

Rain water harvesting

Technology research

•

Site Area = 46,319 sqm

•

Water run-off coefficient • Roof : 0.85 • Hard Paving : 0.6 • Soft Paving : 0.35

•

Maximum Rainfall in Delhi in a day : 144mm (source : https://www.thehindu.com/news/cities/Delhi/ Delhi-gets-record-breaking-amount-of-rain-in-24-hours/ article14517380.ece)

•

The coefficient for evaporation, spillage, first flush, wastage is considered as 0.8

Roof Area : 11450 sqm.

Water Harvested = 11450 * 0.85 * 0.8 * 0.144 * 1000 lt. = 11,21,184 lt.

Hard Paved Area : 18581 sqm Water Harvested = 18581 * 0.6 * 0.8 * 0.144 * 1000 lt. = 12,84,318 lt.

Soft Paved/ Landscape Area : 16288 sqm Water Harvested = 16288 * 0.35 * 0.8 * 0.144 * 1000 lt. = 6,56,732 lt.

Total (max.) water harvested in a day: = 11,21,184+

12,84,318+

6,56,732 Fig 5.18: Water balance diagram

=

118

National Centre for Arts, New Delhi

30,62,234 lt. OR 3,062.2 cum.

Fresh water requirement (per day)

Landscape water requirement (per day)

Zone

water req. / unit

units

total req. (lt.)

1800 seat audi.

5

1800

9000

600 seat audi.

5

600

3000

300 seat audi

5

300

1500

Art gallery

5

10000

50000

Cultural info. centre

5

1000

5000

Office

25

200

5000

Restaurant /Cafe

55

400

22000

Library

10

200

2000

Total requirement

93,500 lt./ day

Recycled water requirement (per day) Zone

water unit req. / unit

total req. (lt.)

1800 seat audi.

10

1800

18000

600 seat audi.

10

600

6000

300 seat audi

10

300

3000

Art gallery

10

10000 100000

Cultural info. centre

10

1000

10000

Office

20

200

4000

Restaurant

15

400

6000

Library

15

200

2000

Total requirement

Landscape/ grass lawn water requirement = 5 lt./day Soft Paved/ Landscape Area : 16,288 sqm Water Required = 16288 * 5 lt./day = 81,440 lt./ day

Sewage water treatment As a thumb rule, 80% of water utilized by a building ends in sewer. So, total sewage water: = 80% of 2,42,500lt = 1,94,000 lt.

Assuming 70% efficiency of STP, water recycled = 70% of 194000lt. = 1,35,800 lt/day

1,49,000 lt./ day 119

Power requirement calculation

Solar power generation

Technology research

Average efficiency of Solar PV panel available in market = 15-17% Annual average solar intensity in Delhi

= 4.29 kWh/m2/day

Fig 5.19: Energy balance diagram

Thus average electricity generated per sqm per day using solar PV panel

= 17% of 4.29 kWh/m2/day

= 0.73 kWh/m2/day Assuming electricity is generated 300 days an year due to climatic conditions, clouds, etc.

Thus, annual electricity generation

= 300 * 0.73 kWh/m2

= 219 kWh/m2

120

National Centre for Arts, New Delhi

Now, total roof area =

11,400 sqm

Building power requirement

Available roof area for installing solar PV panels For a fully air-conditioned institutional building,

= 60% of total roof area (remaining the electricity requirement is taken as 15W/sqft.

Thus, total power requirement for the building is

40% for circulation & services)

= 385080 sqft * 15W = 6,840 sqm

= 5776.2 kW Thus, annual total electricity generation

= 6,840 * 219 kWh

= 14,97,960 kWh Electricity cost for non-domestic use in Delhi (2018-19) = Rs. 8/kWh Total cost saved per year by solar PV panel

= Rs. 8 * 14,97,960 = Rs. 1,19,83,680 Cost of 1 kW solar PV panel = ~ Rs. 60,000 Assuming 4hrs of effective solar power generation per day, solar PV panel capacity = 0.73 KWh/m2/4hrs

= 0.1825 kW/m2 Cost per sqm = Rs 60,000 * 0.1825 = Rs. 10950/sqm Thus, total cost = Rs. 10,950 * 6,840 = Rs. 7,48,98,000 Annual maintenance cost for solar PV panel

= 1% of total cost

= Rs. 7,48,980 pa

(except for first year) Thus, cost payback period = 6.6 years

Power backup & generator Power backup and generator systems are needed in nearly all buildings to allow smooth functioning in case of power failure/ cut (which is very common in Delhi) However, running entire system on generator might not be economically feasible. Thus, in the scheme, the spaces will be connected to backup assuming minimal utilization (No airconditioning). However, often art galleries have artefacts which are very sensitive to change in temperature and lighting conditions. Thus entire HVAC system along with other equipments needs to be working on backup.

Total area for spaces having artworks (display & storage) = 180300 sqft Thus, power load = 180300 * 15 W

= 2704.5 kW Remaining area

Thus, power load

= 385080 - 180300 sqft = 204780 sqft = 204780 * 7 W = 1433.460 kW

Total load

= 4137.9 kW

Assuming power factor as 0.8 lagging Generator capacity = 4137.9 / 0.8 kVA

= 5172 kVA backup is required

Power requirement for institutional building (only lighting) = 7W /sqft Power requirement for spaces having artworks (display & storage) = 15W /sqft

121

Project justification What

6

A National Centre for Arts (Performing & Visual)

Where IGNCA lawns, along Janpath, New Delhi

Why •

There exist a large treasure of such art forms in India which is limited within the bounds of their region/ community. These art forms are heritage for the nation which needs to be preserved by providing them required exposure. However, there’s a gap in India between requirement and availability of National-International scale art centre which needs to be filled soon.

•

Due to inadequate exposure and promotion, most traditional artforms in India are on verge of extinction.

•

Delhi being the capital city of India provides tremendous opportunities for upliftment in current state of Indian arts. However, currently it itself lacks in providing required infrastructure at that scale.

•

In 2017, Union Ministry of Culture proposed a national level centre for arts in IGNCA lawns over an area of 11.45 acre which is currently underused for the same purpose.

The centre is proposed to be largest in the country leaving behind NCPA, Mumbai.

Determinants & Directives

122

SWOT Analysis

Strength •

•

• • •

Site is located in capital city of India which gives required exposure to the project. Also being located in heart of city i.e. Lutyens Delhi has its added advantages.

Site is well connected by means of public transport with bus stop and metro at waking distance.

Good road connectivity Ample green cover regulates the micro climate Site is predominantly flat which makes it easier to work.

Weakness •

• •

•

Too many trees scattered nonuniformly over the site makes it difficult to provide larger spaces.

Thick tree cover between site and Rajpath obstructs the view of Central Vista.

Security concerns do not allow direct view of central vista from open terraces and balconies.

The scheme is required to be limited to a part of IGNCA lawn as demarcated in new proposal for NPA by Union Ministry. Thus there cannot be direct physical connection to the ‘kala nidhi’ which is existing on site.

Opportunity •

•

•

•

The NCA can respond to IGNCA such that the two building compliments the functionality of each other.

Working on an empty site (since existing buildings are proposed to be demolished) has its added benefits in terms of site planning and building design.

Being a National Centre for Arts, the project can reflect diverse cultures by means of architectural elements and built form.

Buffer space between site boundary and sidewalk on Janpath provides an opportunity to create offstreet parking (provided proper security measures are adopted)

Threat •

Being one of the highest public gathering building along Central Vista, site becomes highly sensitive in terms of security.

123

Design directives

7 Design Development

The site has vehicular access from 2 sides (shown in blue) and pedestrian access from all 4 sides

Site provides limited acea for construction due to heavy plantation of trees

The design has 2 major axis connecting both ends of site visually and by means of access as well.

Yellow area in diagram represent zone for performing arts, blue for visual arts and green for public spaces Fig 7.1: Design directives

124

Design exploration

Fig 7.2: Design exploration

Fig 7.3: Design exploration

Fig 7.4: Design exploration

Initial design scheme explored the possibility of interconnection between spaces, their functional relationship and overall structure following the constraints posed by the site.

125

Design stage #1

Fig 7.5: Design stage 1

126

National Centre for Arts, New Delhi

Pros Fig 7.6: Design stage 1 physical model

Fig 7.7: Design stage 1 physical model

•

The scheme very well responded to context in terms of typology of spaces, scale of form and materiality.

•

Position of courtyards gave a character to design. Each function has it dedicated open space which were connected to maintain visitor flow

•

The form seemed balanced in terms of open and built

Cons •

Different functions had different entry making it chaotic for first time visitor.

•

Some spaces were inadequate in terms of volume to accomodate the function within

Fig 7.8: Design stage 1 physical model

127

Design stage #2

Fig 7.9: Design stage 2

128

National Centre for Arts, New Delhi

Pros Fig 7.10: Design stage 2 physical model

•

This scheme retained the overall essence of initial design in terms of organisation of spaces.

•

The built was spread throughout the site making it lighter in the center which could act as public space.

•

The form maintained the hierarchy of access

Cons •

The design still lacked in providing cohesive flow at ground level

•

Volume of spaces were not meeting the demands

Fig 7.11: Design stage 2 physical model

Fig 7.12: Design stage 2 physical model

129

Design stage #3

Fig 7.16: Design stage 3 physical model

Fig 7.14: Design stage 3 physical model

130

National Centre for Arts, New Delhi

Fig 7.13: Design stage 3 physical model

Fig 7.17: Design stage 3 physical model

Fig 7.15: Design stage 3 physical model

Fig 7.18: Design stage 3 physical model

Fig 7.19: Design stage 3 physical model

Fig 7.20: Design stage 3 physical model

•

Functional distribution of spaces and their connections were further refined

•

Courtyards were replaced with atrium in response to Delhi climate

•

Ground level was resolved to allow visitor to experience entire site without having to get out or vice versa

Fig 7.21: Design stage 3 physical model

131

8 Concept & Design Translation

132

Working with all the requirements and expectations from NCA as summarized in previous chapters, this chapter contains the final design drawings. This design is an outcome of continuous effort to improvise and build upon merits of previous scheme with an attempt to minimize the cons.

Fig 8.1: Conceptual diagram showing functional distribution

133

Response to site

Response to context

Trees

CV typology

Currently the site has 219 trees as per survey which are scattered throughout. The design scheme is prepared giving maximum importance to the existing vegetation. In the scheme, 15 trees are transplanted and 11 are removed. Some new trees are added to compensate making a new total of 265.

Buildings around central vista follow a distinctive classical, symmetrical language. However, the design tried to break the monotony while preserving the key elements to maintain the continuity.

Access

The facade of the building is made up of red sand stone and Gwalior stone which forms the prominent architectural expression of the area. The building uses the said material to blend into the urban tissue.

Vehicular access has been provided from Janpath and Dr. Rajendra prasad road. Added access for pedestrians have been provided from IGNCA and central vista

Breaking the hierarchy

Noise Although 2 sides of sites is directly connected with large roads, still there isnâ&#x20AC;&#x2122;t much noise due to low traffic volume. Nevertheless, spaces like mela ground and amphitheater are placed away to reduce noise hindrance

Silent

Public attraction The project is visioned to be the most publically accessible building along CV, thus it is expected to draw visitors from rajpath lawn. Thus outdoor functions like melaground, amphitheater & public park is provided along CV to attract visitors

Climatic conditions Being located in Delhi, the design is required to address issues like extreme sun during summers, extreme winters and high rainfall. Thus, responses to discussed climatic issues are provided in various forms throughout the design 134

National Centre for Arts, New Delhi

Material continuity

The building along CV like Rashtrapati Bhawan, Secreteriat buildings followed a concentric system of dominance through hierarchy where different people were limited to a certain tier. However, NCA being a symbolic representation of â&#x20AC;&#x2DC;modern independent Indiaâ&#x20AC;&#x2122; follows a resilient form without a center

IGNCA IGNCA is another institute which was initiated with similar motive to preserve & promote indian artforms. Thus, in the scheme public functions like Amphitheatre, Mela ground and cafe, toilets, etc. are placed near IGNCA to promote sharing of resources.

Response to program

Response to artforms

Functional distribution

Facade as canvas

The design is broadly divided into 3 components i.e. performing arts center (Auditoriums & amphitheater), visual art gallery and support functions like cultural info. centre, library etc are provided such that it is located on intersection of the two. The support functions are accessible from both the performing & visual art centre.

Blank facade on multiple places are kept to be used as canvas for paintings. This will turn the facade more dynamic and viewers will be aware of different art-forms even bofore entring the gallery

Variable spaces

Segregation of visitors

In the scheme, three different types of auditorium are provided for different functions like drama, music concert, literature and mela ground, amphitheatre for open air performances. Apart from that, flexible spaces in gallery is provided to facilitate artforms of different sizes & kind

The design is designed considering different kinds of visitors at different times of day. Thus necessary segregation is provided to smoothly facilitate the functionality of each component

Workshop

Interfunctional connectivity All functions are connected by close internal loop such that a user isnâ&#x20AC;&#x2122;t required to find his way to particular zone from outside the building.

To create a connect between viewer and artist and introduce visitors to process of creation of arts, workshop spaces are provided where user can interact with artist and directly involve in/ witness the process.

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Drawings

Fig 8.2: Ground level plan for NCA

Ground Level Plan

NTS

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National Centre for Arts, New Delhi

Fig 8.3: First floor plan for NCA

First Floor Plan [+6000] NTS

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Fig 8.4: Second floor plan for NCA

Second Floor Plan [+10500] NTS

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National Centre for Arts, New Delhi

Fig 8.5: Third floor plan for NCA

Third Floor Plan [+15000] NTS

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Fig 8.6: Fourth floor plan for NCA

Fourth Floor Plan [+19500] NTS

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National Centre for Arts, New Delhi

Fig 8.7: Fifth floor plan for NCA

Fifth Floor Plan [+24000] NTS

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Fig 8.8: Basement plan for NCA

Basement Level 1 Plan NTS

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National Centre for Arts, New Delhi

Fig 8.9: Basement plan for NCA

Basement Level 2 Plan NTS

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Fig 8.10: Elevations

Elevations

NTS

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National Centre for Arts, New Delhi

Fig 8.11: Sections

Sections NTS

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Context Model

Fig 8.15: Context model [1:2000]

Fig 8.13: Context model [1:2000]

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National Centre for Arts, New Delhi

Fig 8.12: Context model [1:2000]

Fig 8.16: Context model [1:2000]

Fig 8.14: Context model [1:2000]

Fig 8.17: Context model [1:2000]

Model

Fig 8.21: model [1:500]

Fig 8.19: model [1:500]

Fig 8.18: model [1:500]

Fig 8.22: model [1:500]

Fig 8.20: model [1:500]

Fig 8.23: model [1:500]

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3D Views

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National Centre for Arts, New Delhi

Fig 8.24: 3D views

Fig 8.25: 3D views

Fig 8.26: 3D views

Fig 8.27: 3D views

Jury comments The external jury was organized on 16th May, 2019 where jurors Vinod Gupta & Raka Chakraborty examined the projects.

They appreciated the layout and visual axis maintained in the project. However, they felt that internal layout of art gallery could have been altered to make the space more interesting. Apart from that, juror Vinod Gupta added that the kind of sunshade proposed isnâ&#x20AC;&#x2122;t suitable for climate of Delhi and the designed gave more priority to cars than pedestrians.

Finally, they commented that design is working however the research lacks on technology front.

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