B. Arch Design Thesis - "Soor-Shala"

SOOR - SHALA SUBMITTED BY : ZUMI VORA

B.Arch.V. Sem.X Academic Year: 2014 Faculty of Architecture Sarvajanik College of Engineering and Technology, Surat Thesis Title: Soor-Shaala Submitted by: Zumi Vora 2

CERTIFICATE

Dr. R. K. Desai Marg, Opp. Mission Hospital, Athwalines, Surat – 395 001

This is to certify that Zumi Vora has submitted the Case Study/Final Thesis Report of Under Graduate Thesis on the Subject: Soor – Shala as a mandatory requirement for the completion of B. Arch. Course, at Faculty of Architecture, Sarvajanik College of Engineering and Technology(SCET), Surat, for the academic year 20113 – 2014. His/Her work is found to be satisfactory for the Thesispurpose.Guide Prof. Mahesh Nagecha Prof. Persi Engineer Thesis DepartmentCo-OrdinatorIncharge, Principal, Faculty of Architecture Faculty of Architecture BACHELOR OF ARCHITECTURE OF ARCHITECTURE Sarvajanik College of Engineering & Technology (SCET)

FACULTY

I thank Khamir Crafts Park Resourse , Gandharva Maha VidhyalaYa, National School Of Drama, AIIS, Bhuj Area Development Authority BHADA, Gujarat Tourism for their kind support and co-operation.

I thank the entire teaching faculty of SCET for their intermittent love and care, help and support in everything I did in my academic years. As well as in my personal life. Also thank the Administrative staff and Librarians. Special thanks to my family and my Parents for helping me and being supportive in each and every way possible. A very special thanks to my dear friends, Dipti, Veeru, Pratik for your constant support. Also thanks to Ruchi, Tanvi, Hardika, Janki, Ishani, Varun

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I thank Ar. Raka Chakravarthy for her support and guidance. Also thanks to Ar. Vismay Wadiwala for all the support.

I feel immense pleasure to place on record my deepest gratitude to honorable principal Prof. Persi Engineer, to my thesis co- coordinator Prof. Mahesh Nagecha and to my thesis guide Mehul Patel.

ACKNOWLEDGEMENTS:

I owe my sincerest obligation to their moral support, interest, efforts, understanding , guidance, and constructive critisim during the whole process of thesis.

My thesis project is an aGempt done to revive the declining Kutchi folk music. It aims to examine architecture of a specific region and a specific type of built environment, within the vernacular tradiQons.

The process of to aGain the goal of the project will be gained by different stages of design process. Site analysis, Regional and contextual study, Concepts, Materials study, all this will be a part of process in achieving my project aims. Now to aGain the goal, and aims of insQtute, I will be Doing a few case studies. The studies of other insQtutes relevant to my project. Case studies would include Program base case study, Environmental based study, Material based study. AZer the case study , analysis will be the next step, which will result in data supporQng my project. Proper derivaQon of the concepts, further development of the design, along with site model, proper three dimensional views, will support my deign.

PREFACE:

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The Indian Classical architecture is well preserved but the vernacular architecture is threatened by new demands and urbanizaQon. My thesis project is to hold on to that culture of regional architecture. This thesis is will be To revive that regional essence in urban and new challenging demands is the goal of my project. Secondary, since the music culture is Kutch region is fading away, the arQsans face lot of problems to survive. This thesis project will help those arQsans to earn their livelihood by their talent of playing instruments. This project will give such arQsans a plaUorm to connect with the world, and spread their art. It will help them to learn new art and music from visitors and will be a place for them to interact and exchange knowledge.

PART II: CASE STUDIES 1 Khamir CraZs Park, Kutch 2 NaQonal School of Drama, New Delhi 3 NaQonal CraZs Museum, New delhi 4 NaQonal Centre of Performing Arts, Mumbai 5 American InsQtuQon of Indian Studies, New Delhi 6 Gandharva Mahavidhyalaya , New Delhi 7. Inferences

PART III: SITE STUDY AND ANALYSIS

6 INDEX: PART I: INTRODUCTION AND PROJECT BACKGROUND. 1. INTRODUCTION 2. REGIONAL STUDY 2.1 Kutch Region 2.2 Kutchi Music 2.3 Bhuj City

S5lt houses in north india Toda huts in nilgiri plateau

region and a specific type of built environment, within the vernacular tradiQons. Gain insights into the nature of built form which responds to the forces at work in a parQcular context . This habitat is threatened by the stresses of ‘development’ in which forms from the urban areas are imitated without considering their relevance. This process is difficult to stop even when the change is not necessarily for the beGer. TradiQonal bhunga Bhunga today The purpose of this search was –

Indian architecture has evolved through various ages in different regions of the country. Architecture of India is extremely rich and also enormously varied. In different regions of the country, diversiQes can be seen in manifestaQons of unique heritage. The Indian Classical architecture is well preserved but the vernacular architecture is threatened by

7 PART 1: INTRODUCTION AND PROJECT BACKGROUND

new demands and urbanizaQon.

The last decade is also significant for two other developments which have touched architecture not only in India but throughout the world. Firstly the scope of historic conservaQon has widened. It now includes the urban fabric and other historical and cultural areas. Archeology too has extended its horizons into the realm of architecture and urbanism. Secondly, the search for some meaning in architecture, with a view to locate ‘Indianness’, have been started. Bhungas in kutch

Not to present here an architectural tradiQon for imitaQon or emulaQon, but to examine architecture of a specific

INFERENCE.

Although architecture of this kind is usually rural, it sQll provides ideas and teaches lessons which can be useful in an urban context.

So what is needed today is:

Make use of local materials and technology, and create designs that will respond to the site condiQons and context of the region.

When people build, they create a habitat where generaQve forces are culture and context. While a ‘culture’ is the sum total of human understanding, values and accomplishments, ‘context’ represents the constraints and potenQals that a physical environment has to offer. A tradiQonal habitat today is not the result of a one-Qme effort but is the culminaQon of hundreds of years of understanding and responses to a parQcular context. Working under different constraints and restricQve local condiQons, they respond directly to the situaQons as they find them, and achieve rich and expressive forms. This directness of approach lends to a natural and contextual order which eliminates superficiality. This approach is not restricted to the house form alone, but permeates each and every element of the living environment from a house to an enQre seGlement. FuncQonalism has ruthlessly rejected decoraQon in architecture, but vernacular shelter is quite oZen decorated.

So there is a need for cultural district which will provide a common plane for all these acQviQes to take place.

The ques5on arises: If change must come, what form should it take? Should it relate to the tradiQonal form of the habitat? What should change and what should conQnue?

The regional context has been a very important parameter in evolving forms and paGerns of the human habitat. The limitaQons imposed by nature have oZen proved virtues. Constraints have resulted in harmony within the built environment.

A common plaUorm for the people to interact and be aware of their of their cultural and architecture heritage and give exposure to the rich architectural and cultural heritage of their region. Opportunity to the local arQsans to showcase their art and handicraZ, since like architecture, art is also generated by various layers-physical as well as cultural.

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Kutch is geographically divided into parts, which have extreme diversity, from rann (i.e. Desert land), grassland, mainland (consisQng of hill, planes and dried river beds), coastline and creeks and mangroves in it. This diversity is one of the important aspects in designing the culture of the region. Various groups and communiQes inhabit Kutch. Among which some have adopted modern lifestyle and few have maintained more of tradiQonal lifestyle.

Culture is blend of inherited ideas, beliefs, values and knowledge; which form shared base of society and is reflected in all its aspects. Culture is assembly of varied forms such as tradiQons, religion, languages, arts, literature, food; clothing, games and all which are required to define people and their way of living. In India, culture is the integraQon of large diversity; it can be seen in every region of the naQon.

In case of Kutch, a large diversity is found geographically, due to which cultural values varies in different part of the region. Even art and craZ form, language, tradiQons, clothing, music, food habits, dwelling type are quite different in each community in the region. Then the quesQon arises- what makes it a region? What Qes these different parts together? What is the common inherent value, which is constantly changing, but has its evolving roots? If we understand these aspects, we can understand what Kutch is, as a place, as a region that binds the people with numerous diversiQes into one cumulaQve whole.

There are many aspects, which form the region and had strong influences, which can’t be neglected. Another earthquake in June 1819 diverted the course of the Indus enQrely away from Kachchh, turning ferQle land into the dry and arid landscape it is known as today. Even so, Kachchh is a unique arid ecosystem that boasts widespread thorn forest, grasslands edged by the Rann and mangroves along the coasts.

9 2.REGIONAL STUDY

Kutch is known as a living heritage. Kutch is well known for its art and craZ, for the geographical diversity and few people refers it for religious purpose; but Kutch is beyond that.

Map of Kutch Mandvi Beach White Rann Greater Rann of Kutch Music Culture Food Culture TradiQons

Kutch, the formerly princely state, is the largest district of the state of Gujarat. Kutch is uniquely known for its large diversity found in its geography. Kutch has disQnct idenQty, which is derived through its culture, its tradiQonal architecture, craZs and clothing of various communiQes of the region.

2.1 KUTCH REGION

The climate is unrelenQngly hot arid dry in the north and hot arid humid in the South with a vast diurnal range of temperature (Max.48' C to 20 C), especially in winter. The scanty monsoon rains averaging a few cenQmeters annually (below 40 cm) fall mainly during the months of July and August. The winds mainly flow from South and Southwest direcQons for major part of the year.

PEOPLE

Through the centuries is believed that various hardworking people - hospite and tolerant with shrewd business insQncts. renowned for their tradiQonal skills - have seGled in this unpropiQous land. It merged with Indian Union 1948 aZer the parQQon of India and became part of Gujarat State.

The tradiQonal basis of Kachchh's prosperity has been its foreign trade to various Parts of the world and its people arid its people were seafarer trader-, Kachchh being in island it has great coastline of around 350 Km and had overseas trade connecQons with the various countries of eastern and western world. By the nature of its terrain- desert and marshlands Kachchh was on the fringe of the great historical trade routes. It is vivid by important ports of Kandla, Baluchistan, Persia and Gujarat, Kathiawar and Marwar of India.

Kachchh like India is 3 land of mulQ - religious communiQes and ;groups of people living together in harmony. People belong to mainly Hindu, Islam and Jain religious. The social structure is based on caste system, as sQll prevalent in several parts of India. However these religious with other castes and sub-castes co-exist peacefully without communal tension

The various pastoral communiQes stay in the desert region like Rabaris, Harijans Ahirs, Maldharis and are believed to have migrated from north India and Pakistan about 1000 years ago. This part is known as Banni region. They stay as communiQes in small seGlements called Vandh scaGered all over Kutch. CraZsmanship forms an integral part of the lifestyles expressing their disQnct idenQty.

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PLACE Kutch, a vacant expanse of conQnuous yellow sands stretching Qll the horizon, seldom a view of huts or seGlements, where few people in a group with their livestock and camels move slowly from one place to another in the scorching heat, sandstorms and completely barren- this is Usually the iniQal hazy mental picture of kutch There is instead a mix of dry lands with green farms and occasionally coconut orchards which made- vivid that Kachchh, had a diverse landscape. The landscape and ecosystems, of Kachchh vary from the Great Rann grasslands of Banni, the Dhand marshes. Kala Dungar (black mountain in Paccham the plains of Lakhpat and Jakhau. the mangrove swamps of Mundra and Koteshwar the liGle Rann and ;Gulf, Kachchh with coral reefs anQ creeks. Kachchh district (22.50 to 24.50 N Lat., 68 degrees to 72.00 If Long) is the westernmost part of Gujarat state and second largest district in India bordering Pakistan, It is a massive thickset with area of 45,000-5cl.km. It is Mostly covered by salt marshlands of the Rann Kutch is a unique landmark in India, which has land and desert surrounded by seawater. During the monsoons the two Rann get flooded and for many inhabitants, Kachchh becomes like an island cut off from the surrounding regions by swamps and salt marshes.

The importance of ports of Kachchh declined due to rise of Bombay in the later half of 10th century, MigraQon sQll conQnue and the people have to find work in various places of India. Scarce rainfall constraints farming acQvity and besides trading people are engaged in salt producQon (up to 40 % of naQonal producQon), caGle breeding coGage industry, handicraZs, texQle prinQng and recently as construcQon labour.

The

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CONSTRUCTION MATERIALS AND TECHNIQUES: MATERIALS TECHNOLOGIES FOR WALLING SYSTEMS MUD + STABILIZING MATERIAL COMPRESSED STABILIZED EARTH BLOCKS (CSEB) BAMBOO + MUD WATTLE AND DAUB MUD + STABILIZING MATERIAL RAMMED EARTH MUD + OTHER LOCAL MATERIALS ADOBE CONSTRUCTION(SUNDRIED MUD BLOCKS) LOCAL STONE STONE RUBBLE MASONARY FOR ROOFING WOOD WOODEN FRAME STRUCTURES HAY THATCH ROOF OTHER TECHNIQUES LIME LIME PLASTER WOOD + MUD VAAD ( BOUNDARY WALLS) MUD LIPPAN KAAM ( MURALS) MUD CHITTAR KAAM ( MUD PAINTINGS) MUD MUD JAALI WOOD LACQUER WORK WOOD WOODEN CARVINGS

The beliefs, religion, climate, materials, social structures and economy of the people of that place shape the living pattern and the habitat. In Kutch region two distinct architectural typologies are evolved due to different climatic, social and economical conditions within the region.

interwoven

The

The central, western and coastal area with hot and humid climate has long row type houses with narrow streets network and dense population. other settlements in northern desert of Banni area with hot and dry climate and some parts in southern coastal desert are resided by the nomadic and semi- nomadic pastoral communities in a humane habitat of circular mud and thatch houses. They have evolved by social conditions and scarcity of building materials in desert area. built form and spatial organization and the organic planning of settlements from village to town to city is in following order: Traditional village structure, street pattern and typical houses Towns and city Desert settlements

11 ARCHITECTURE

A habitat in a tropical climatic region is a composition of open, semi – open and enclosed spaces together forming public, private realm – collectively called built form or built environment.

beautiful

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Majority of the arQsts who have sung or played an instrument in this album are engaged in profession like caGle herding, truck driving , daily wage labour ,manufacturing of handicraZs , autorickshaw driving etc. for thei livelihood. The classificaQon of the music styles into broad categories is based on our understanding and percepQon only and is in no way the only way of doing the same.

Many of the folk instruments are simple like Ghado-Ghamelo, Manjeera, Surando, Morchang, jhanj, jodia-pava etc. but the constant use for generaQon has redefined the music to such an extent that it has become extremely complex with vast depth. Even the style in which they are played, makes it unique to Kutch. The age old classical music of Kutch was very different from Indian Classical music. It had its own raags, raghinis, and taals(rhythms). This is seen clearly in the music of Kutch even today.

Due to its religious nature, the music is taken very seriously but the element of spontanelty is also widely seen among the people, who are willing to break into a song whenever the mood suits them. The nomadic or semi nomadic communiQes staying in the grasslands, spent long periods of Qme alone with caGle and in order to pass Qme use music or play instruments to entertain themselves. This Qme alone in vast open lands has brought a calm and serene spirituality in their soul which relected in their simple but very soulful music. The musical forms influenced by Sufism Kaai,Bheth, Waai, Maulund, Dastaan.

“Allibn” Abd al-Qannad, a famous sufi saint said “Sufism consists of extending a „spiritual staQon‟ and being in constant union. Music is very highly revered among Sufism as it is considered helpul in achieving this union. In kutch the stong influence of Sufism is seen in many music forms pracQced by Muslims and Hindu communiQes, especially, the caGle owners who are close to nature.

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Lok Geet Shram geet, Lok geet, Lagan geet Hindu DevoQonal Bhajan, Doha chhand. Instrumental Folk instruments of Kutch

The music of Kutch showcases its diversity just like its culture. Each tribe which came to Kutch brought its own culture music and instruments which over years have given unique idenQty to Kutch. From the Sufism influenced music form of maldharis (caGle herders) which traces its origin in Sindh, to the bhajan influenced by saints of Kutch, Saurashtra , Marwad and Dhamaal of Sindh tribe which traces its origins to Africa , all find a place in eclecQc culture. It very difficult to trace origin of some old form of music like Dhorr sung by Rabaris.

A) Music With Sufi Influence.

INFLUENCE MUSICAL FORMS Sufism Kaafi, Dastaan, Bheth, Waai, Maulud.

12 2.2. KUTCHI MUSIC

1. SURANDO: raZed intricately, the base of the Surando is fashioned from a single piece of wood to create the most precise shape and perfect melody. A stringed instrument at heart, the Surando was brought to life in the provinces of Sindh. TradiQonally used by the Fakirani Jat community in the areas of Kutch. The indelible sounds of the Surando can only be heard when Osman Jat the last known master of this instrument strums his deZ fingers across the strings. The quaint art of creaQng rhythm that he acquired from his father might soon be exQnct.

The simultaneous sounds of Jodia Pava or a paired flute

convenQonally played in the open grass lands fills the air with its disQncQve sound. There are two common variants of the Jodia Pava namely the Sarkhi and the Dodi. The difference between the two is on the basis of their overall length; while the Sarkhi comprises two equal length flutes the Dodi on the other hand features two flutes of unequal length. TradiQonally used by the Maldharis or the caGle herders, the remarkably beauQful Jodia Pava is fashioned out of the wood of the Karad tree. Usually played by the Harijan Marwada, Sodha, Rabari, and other Muslim communiQes of the Kutch, one the flutes is used for creaQng the root note while the other one that features a number of holes is used to play the melody. The Maldhari communiQes of Kutch like normally play this instrument. SomeQmes the sounds of the Jodia Pava are also used to speckle Kutchi and Sindhi folk songs with a more disQnct flavor.

4. KHANJREE: The Khanjari forms an inextricable link with the Indian musical performances. The Khanjari that belongs to the idiophone class of instruments that produce sounds simply by way of the instrument vibraQng itself. There are no strings or membranes that are required for the producQon of sounds from a Khanjari. The Khanjari is a type of frame drum, that is circular or ring like in shape and one side of the instrument is covered with skin of the crocodile or iguana. The circular barrel is either wooden or metallic in construcQon. The Khanjari in North India has a jingling plate to it while those in South India so not.

3.

JODIA- PAWA:

COMMUNITY PLAYING: JAT COMMUNITY PLAYING: BHOPA- BHOPI, MARWADA MEGHWAL COMMUNITY PLAYING: MALDHARIS COMMUNITY PLAYING: VARIOUS

2. GHADA : The Ghada was originally used by Indian hunters to aGract deer in the olden days. The famous legend of Soni and Mahiwal is also woven around the beats of the Ghada. A popular folk instrument of Punjab the Ghada is a spherical earthen pitcher that is also made in copper, brass, aluminum and silver. The dimensions of the Ghada are 1Z in height and a maximum circumference of 2Z, with a mouth that is 9-12 cm wide. The mouth of the Ghada is varied in thickness to produce contrasQng notes. Earthen Ghadas are usually painted while the metallic ones are engraved and the Ghada is played by striking on both sides of it. A Ghada player wears rings on his fingers to create crisp and sharp notes when his fingers strike the sides, and the mouth of the Ghada is alternately opened and closed to differenQate between sounds. The Ghada player places the instrument in front of him or places it in his lap while performing on it.

13 KUTCHI MUSICAL INSTRUMENTS

5. CHUNG:

Nissan and is a popular five stringed drone and beat instrument. The Tandoora accompanies devoQonal music and the famous Terathali dance that deriving from its name is danced on thirteen thali (plate like utensils with broad and sharp brims). The Tandoora is a variaQon on the Ektara and is one of the oldest string instruments. Tandoora is made of wood with a base that is usually dried gourd and is strewn with four strings that can be tuned to different pitches to the convenience of the Tandoora player. The instrument is played with two fingers and produces a droning sound effect.

6. SANTAAR::

The instrument that accompanied the voices of prominent

on the other. COMMUNITY PLAYING: VARIOUS COMMUNITY PLAYING: VADI AND VARIOUS OTHER. COMMUNITY PLAYING: KALBELIAS

Bearing a striking similarity to a peacock or Mor in its shape, the

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8. MURLI: ConvenQonally associated with the members of the society that are involved with catching snakes like the Kalbelias along with the Saperas, the sounds of the Murli can be heard in most parts of India. Also referred to as the ‘Been’, according to folklore the rich sounds of the Murli if played by the true master are known to allure celesQal serpents to surface and aGract them to the music.CraZed out of a round shaped, wild fruit known as the Tumbdo, the Murli features a wide pipe at one end and two narrow pipes

7.

palm sized Morchang is a small instrument that is created out of brass or iron. Extremely popular amidst the caGle herders of the Kutch region, the sounds of the Chang help the people pass their Qme in solitude in the lonesome grasslands of this vast herding ground. This uniquely craZed instrument acts as both a wind and a string instrument. Played by placing both the rods of the instrument against the teeth and then plucking the central wire with the finger, the ingeniously craZed Morchang produces a varied range of sounds. CreaQng the melody with the tongue and by controlling the breath, the performer has to put in a lot of effort to master the unique musical instrument known as Morchang..

The Tandoora is more popularly known as the Chautara or

Hindu Saints like Meerabai and celebrated Sufi Saints like Shah LaQf hundreds of years ago was the Santaar. Popular all over India before the rise of the Harmonium, the Santaar was played by numerous singers along with the instruments like Ektaata, Ramsagar and Tambura that resembled the Santaar. Featuring a large rounded base with a diameter that ranges from 6 to 24 inches that is fashioned out of wood or the fruit of a creeper that occurs in the wild known as the Khari Tumbdo along with an elongated sQck measuring a few feet that juts out of the other end, the base of the Santaar produces and exquisite range of melodies. The intricately craZed base is shaved and then mounted with leather and has 1 to 8 strings that are strung along the shaved porQon of the Tumbdo and the sQck of the Santaar. TANDOORA:

They are oZen unaware of or unable to access government music promoQon schemes and opportuniQes. They live in remote villages and have liGle access to a listener market. They struggle to acquire professional skills and performance capabiliQes.

KMVS

For many this means leaving the music tradiQon behind altogether, as the Qme required to earn enough for basic living expenses prevents them from performing or teaching the music to a younger generaQon.

thereaZer conQnued to support and showcase the musicians while documenQng the music. This eventually led to the seyng up of ’SOORVANI' in 2011 as an autonomous organized associaQon of folk musicians in Kutch. Soorvani endeavors to improve the status, condiQon and well-being of kutchi folk musicians.

STEPS TAKEN FOR REVIVING THE KUTCHI REGIONAL MUSIC

, an established organizaQon of more than 15,000 rural women of Kutch, iniQated a unique community radio program in the district. During the course of developing the program with the communiQes and arQstes of Kutch, KMVS uncovered the depth and talent in kutchi folk music, and also discovered the dire state of the musicians themselves.

Despite the region’s strong musical tradiQon Kutchi folk music has been in decline for a variety of different reasons. The parQQon of India in 1947 split the Sindhi community across naQonal boundaries, threatening that culture’s sustainability.

Younger music students suffer from an oppressive, hierarchical relaQonship with their teachers. Given all these challenges, there is liGle incenQve – financial or communal – for a younger generaQon of musicians to take-up the tradiQon.

It's mission is to preserve, sustain, revive, energize and promote Kutch’s folk music tradiQons; support the musicians living in remote villages to develop their performance capacity, and enable them to earn their livelihood through their musical talent, while immersing themselves in their passion for music and poetry. “Soorvani” is a program associaQng of more than 300 folk musicians from Kutch district, and a 'sangam' of the varied streams of musical tradiQons in the region. Drawn from the syncreQc cultural heritage of Kutch, the musicians - instrumental and vocal - represent a rich tapestry of communiQes who migrated to the coastal regions and famed grasslands of Kutch over the last 1200 years.

The decreasing demand for tradiQonal folk music among kutchi audiences has, in turn, marginalized many musicians Lacking an interested audience many musicians are forced to turn to other work in order to sustain themselves and their families.

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The musicians that remain face problems, too.There are few leZ. They are not organized. They negoQate for performances independently with middlemen, resulQng in exploitaQon and creaQng unhealthy compeQQon. They have liGle pracQce Qme.

Female folk singers are restrained by patriarchal norms and have few opportuniQes to learn or engage in their craZ.

Also there are many other types of instruments like Santar, Ghado gamelo, Jodia pawa, Nobat sharnai, Dholak, Manjeera, Khanjaree, Morchung, Ektar, Morli, Dhambhuro etc.

PROBLEMS FACED BY THE ARTISANS

In 2000,

Kutch Mahila Vikas Sangathan (KMVS)

16 AREA STANDARDS REQUIRED FOR PLAYING DIFFERENT INSTRUMENTS: SURANDO: GHADA : www.tradiQonalindianmusic.co.uk worldsufifesQval.org JODIA – PAWA: www.tradiQonalindianmusic.co.uk KHANJAREE: dekulture.com MORHUNG: flickr.com SANTAAR/ TANDOORA: www.tradiQonalindianmusic.co.uk

17 STANDARDS REQUIRED FOR DIFFERENT SPACES: CLASSROOMS CLASSES IN EXTERIOR LIBRARY BARRIER FREE STANDARDS: Refrence : neufert standards

18 STANDARDS REQUIRED FOR DIFFERENT SPACES: ARCHIVES : Refrence : neufert standards

19 STANDARDS REQUIRED FOR DIFFERENT SPACES: STAIRCASES : Refrence : neufert standards

20 STANDARDS REQUIRED FOR DIFFERENT SPACES: RAMPS: BARRIER FREE STANDARDS: Refrence : neufert standards

21 STANDARDS REQUIRED FOR DIFFERENT SPACES: RECORDING STUDIO Refrence : neufert standards

22 STANDARDS REQUIRED FOR DIFFERENT SPACES: ROOM ACOUSTICS: Refrence : neufert standards

Bhuj is important place in terms of administraQve, culture, economy and educaQon of the region. Bhuj has inhabited many historic buildings and social insQtutes in its urban fabric i.e. Kutch museum, darbargadh and aina mahal, fateh mohammed tomb, jubilee hospital, rao pragmalji’s palace, chhatris of the king, various gates of the city. AZer the 2001 earthquake, the region was badly affected and rehabilitaQon was done. But due to the disaster, immediate connecQons of the region with the surroundings were affected. For the growth and welfare of the region, government introduced many schemes. This led to industrial and economic growth of the region, which apparently led to aGract variety of public all around the country, for trade/tourism. So gradually a need for the rise of tourist acQviQes became the priority. Bhuj, being the center of the region became a hub for tourist acQviQes.

Bhuj, capital of the Kutch region, is the center of region and has linkages to major part of the region.Bhuj is called walled city, It is enveloped by a big stonewall having five gates and a window, at a regular distance. Bhuj has played a major role in history and development of the region.

On the eastern side of the town is a hill known as Bhujiyo Dungar, on which there is Bhujia Fort, that separates Bhuj city and Madhapar town. It has one big lake named Hamirsar and several small lakes.

Bhuj City Bhuj Emblem Carvings Bhuj City Fortress with lake view Bhuj City Palace with Hamirsar Lake view

The old city was surrounded by the fort, which had five major gates and one small gate known as "chathi bari" (sixth window). Much of the fort wall has either fallen down or been demolished, due to the city's development and the earthquake of 2001.

23 2.3. BHUJ CITY

A lack of consistent urban form

A change in neighborhood life before and after earthquake Conservation and recreational zoning

Unauthorized development of , which has choked the medieval street pattern and threatens water bodies , vavs and channels

24 ISSUES POTENTIALS

Erasure of historic areas in earthquake Restoration of historic buildings

Inadequate capacity – building in urban local bodies and service industry The earthquake gave the state government an opportunity to completely rethink the applicability of existing planning, regulatory and development mechanisms in an unlikely context. Also due to the earthquake, Bhuj has got national as well as international exposure.

Development of heritage and natural sites as tourist destinations

Preparation of heritage regulations

ANALYSIS:

In both pre and post-disaster scenario, heritage resources in the city and the tourism industry have been under - uQlized and underdeveloped .The following progress must be addressed in the process of redevelopment:

Inadequate tourism infrastructure Conservation of religious centres

•Along with that it would be a place of aGracQon for a large number of people with different age groups. •The insQtuQon will be envisioned and designed for not only to serve the funcQonal need of program but it also provides the social plaUorm to interact between various people related to industrial sector.

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•To help the arQsans earn their livelihood with their talent of playing instruments.

•Provide accomodaQon faciliQes for visiQng arQsts and arQsans.

OBJECTIVES:

•

Develop a cultural district which will reflect the local culture of Bhuj and the Kutch region.

To revive the about to exQnct, Kutchi regional music culture.

AIM:

•Space for performing arQsts to perform and rehearse.

•Provide Ethnic restaurant that will serve local and regional cuisines to the visitors.

SCOPE OF WORK:

•Create an outdoor performance area for performing arts, musical events etc.

• Provide an Archives, which will store all the music records for a long term, and which can be used as a reference material.

•To provide space for refreshment for visitors through food stalls, food courts. •Provide informaQon to tourists on places to visit in Kutch.

•The insQtute will be a plaUorm for the arQsans, to teach others about the regional Folk music and promote it.

An aGempt to revive the Kutchi regional music which is tending to fade away. The aim is to upliZ the lifestyle of the ArQsans, with their talent of playing instruments.

•The building will need to be designed to accommodate various entrepreneurs from urban, semi-urban and rural areas. •The program doesn’t look into financial and administraQon aspects of an insQtute and only focuses on the architectural spaces and environmental development.

To serve the localiQes with an interacQonal plaUorm at a regional scale. (Exchange of knowledge about the region through various seminars, workshops, exhibiQons, public gatherings on fesQvals and holidays)

•Provide space for imparQng knowledge to local people as well as visitor through Seminar Hall and Library.

To understand the elements comprising culture of a place.

•The emergence of program is based on the proposal of “Soor-Shala” by KMVS.

To promote the local arQsans and help them upliZing their living standards.

•It would also act as an awareness center for local and tourists both, about the regional Music culture.

•Provide a work shop area for visiQng arQsts, music students and music appreciaQon courses. Provide exhibiQon space for any informaQve exhibiQons taking place.

•To find the relaQon between architecture and the culture of a place.

To conserve the architecture heritage and convey its importance to the masses and authoriQes.

•

•

25

•

•

•

To understand the cultural aspects of a public space, Study and understand role of public space and its importance in specific context.

•To serve the tourists with the glimpses of region (history and evoluQon of region, arts and culture, food culture, folk music, variety in the life style of the region)

•To provide space for city museum that will showcase the history of Bhuj and its rich architectural past.

The insQtute would just not serve a plaUorm for a large group of arQsans, but also will act as a tourist center.

Kutch district (also spelled as Kutch or Kachchh) is a formerly-independent district of Gujarat state in western India. Khamir is a plaUorm for the craZs, heritage and cultural ecology of the Kachchh region of Gujarat. InsQtuted aZer the earthquake of 2001, it is a space for engagement and development of Kachchh's rich creaQve industries.

Khamir works to strengthen and promote the rich arQsanal tradiQons of Kachchh district. Khamir stands for Kachchh Heritage, Art, Music, InformaQon and Resources. Khamir means ‘intrinsic pride’ in Kachchhi, the local language. In Hindi it means ‘to ferment,’ an equally apt name given the constant fermentaQon of ideas and acQvity on going both within the organizaQon, and in Kachchh at large.

K H A M I R View of Khamir from Entrance

Designed

Ar. Neelkanth

26

KHAMIR CRAFTS PARK – KUTCH, GUJARAT by Chhaya

27 OBJECTIVES: It serves as a pla`orm for the promo5on of tradiQonal handicraZs and allied cultural pracQces, the processes involved in their creaQon, and the preserva5on of culture, community and local environments. To create a democra5c and empowering space - a common roof under which a range of stakeholders can exchange ideas and collaborate. To shic consumer perspec5ves and raise the cultural value placed on craZs. The vision is of a vibrant, sustainable Indian craZ sector in which craZs and arQsans alike are highly valued by people worldwide. To address the complex issues surrounding cultural livelihoods sustainability in a holisQc manner. Located in dry and Arid region of Kutch. Summers: 42-45°c Winters go around 0-2°c BHUJ BHACHAU HIGHWAY KUKMA ROAD 123rf.com en.m.wikipedia.org LOCATION: KHAMIR CRAFTS PARK Near B.M.C.B Campus, Kukma road Kutch – Gujarat N In the straQfied ‘Cluster’, administraQve offices and spaces for craZ acQviQes staggered along various levels compose the plan. Though internal, the complex resonates with a sense of openness The path weaves through a series of progressions and pauses- narrow lane ways chase the light into the courtyards and chowks. The materiality is contextualized within the discourse of this thought. It is a manifestaQon of idea of local availability and sustainability as both, a curatorial strategy and sustainable model. Google Maps Google Maps Main Entry to Khamir

28 Khamir works to strengthen and promote the rich ar5sanal tradi5ons of Kachchh district. Khamir means ‘intrinsic pride’ in Kachchhi, the local language. In Hindi it means ‘to ferment,’ an equally apt name given the constant fermentaQon of ideas and acQvity on going both within the organizaQon, and in Kutch at large. It is a small aGempt to provide a common roof where the arQsans and the experts with a commitment to Kutchi craZs can exchange knowledge, build capaciQes, and ensure the best manifestaQon of regional art and craZ. Stair connecQng floors above TerracoGa Mural The buildings of Khamir, thus emulate the structure of the Indian Village, Workshop units cluster to form the narrow streets and shadowed spaces, and the streets divide and meet in courtyards and chowks. -Prof. Neelkanth Chaaya Dining space /pavillion RelaQon between courtyards and masses Training areas ExhibiQon Spaces RelaQon between courtyards and masses SecQon AA SecQon BB SecQon DD Training Area

29 PUBLIC SPACES SEMI - PUBLIC SPACES PRIVATE SPACES BUILT UP SEMI - OPEN SPACES OPEN SPACES N N Public – private spaces Open – built raQo

30 SPACES AREAS ExhibiQon Spaces (2 nos) 150 sq.mt Storages 40 sq.mt AdministraQon 300-350 sq.mt AccomodaQon (4nos.) 300-320 sq.mt Training Areas (5 clusters) 600 sq.mt Tie and die 150-180 sq.mt Toilet blocks (4 nos.) 80-90 sq.mt canteen 40 sq.mt dining 100 sq.mt HARD LANDSCAPE SOFT LANDSCAPE Pedestrian circulaQon N Street paGern between the masses Play of light and shadow The vista created

31 ExhibiQon Lobby Lobby Office Store Room Seminar Room Each Module is arranged in a way, where they get their own individual space for workshop. The training area is a club of 3 blocks, which are repeated and placed on the site contours forming an informal and interacQve space. The training area is play of such modules, where blocks are mirrored and placed. Room Room Room Room ACCOMODATION AccommodaQons are mirror of one block, connected with a staircase and courtyards. Lobby TRAINING AREA EXHIBITION SPACES The exhibiQon halls are aGached with four offices and trial rooms. Each mod

32 The Making and materiality involve local building pracQces and a paleGe of rammed earth, ruble stone, waGle and daub, light weight metal lath plaster and paneling. Large Gables underneath the roofs filter in soZ light through small openings planned in P.O.P sculptural walls without leyng in sand or dusty wind. Waste generated while key making, used as Molding. Wooden logs are used as columns Each building block is designed separately, and connected at the upper levels. Frames connecQng the adjacent spaces visually, giving a sense of conQnuity. Sloping roofs are provided which keeps the space cool in the dry region, also local recycled materials are used, as an approach towards sustainability. For weaving workshops, a pit is made in ground, which let the arQsan to sit and weave comfortably., by puyng the legs in the pit.

33 NATIONAL SCHOOL OF DRAMA, NEW DELHI Na5onal School of Drama (NSD) is a theatre training insQtute situated at New Delhi, India, established . It is an autonomous organizaQon under Ministry of Culture, Government of India. It was set up in 1959 by the Sangeet Natak Akademi, and became an independent school in 1975. In 2005 it was granted deemed university status, but in 2011 it was revoked on the insQtute's request. Training in the School is highly intensive and is based on a thorough, comprehensive, carefully planned syllabus which covers every aspect of theatre and in which theory is related to pracQce. The systemaQc study and pracQcal performing experience of Sanskrit drama, modern Indian drama, tradiQonal Indian theatre forms, Asian drama and western dramaQc protocols give the students a solid grounding and a wide perspecQve in the art of theatre. The central aim of the insQtute is to prepare students to prac5ce the art of theatre. To this end a variety of pracQcal skills must be developed and a corpus of knowledge acquired. While all areas of study are assessed separately and an acceptable standard of work demanded in each, most important intenQon of the school is development of essenQally intangible concept of creaQve imaginaQon and its expression within collecQve framework of group. Main entrance to NSD Entrance to building Corridor For Reference : www.naQonalschoolofdrama.org

The professional performing wing of NSD, the 'NaQonal School of Drama' Repertory Company was set up in 1964, with an aim to promote professional theatre in India. Today, the Repertory Company, has staged over 120 plays based on the works of about 70 playwrights and featuring around 50 directors in several countries, and various ciQes across the naQon, and has its own fesQval every year, called Annual Repertory Company Summer FesQval, in which it performs new and past plays.

The NaQonal School of Drama has a audio-video library in which more than 3000 videos and 700 CDs have been archived. This documentaQon includes all the performing wings of NSD i.e. NSD Repertory Company, TIE Company, School ProducQons etc. Apart from this it has all the documentaQon of plays produced in all the fesQvals since 1999 (i.e. Bharat Rang Mahotsav, Jashn-e-Bachpan, Bal Sangam etc) It also has video documentaQon of plays, which are performed by NSD with or without collaboraQon in abroad, including seminars, workshops etc.

In 1989 NSD established the ‘Theatre-in-EducaQon Company’ (T.I.E), called 'Sanskaar Rang Toli' , today it has become India's premier educaQonal resource centres, and coaches children aged 8 to 16 years. The company regularly performs plays for school and adults audiences alike, and has its own yearly theatre fesQvals.

For Reference : www.naQonalschoolofdrama.org

The origins of the school can be traced back to a seminar in 1954, where the idea of a Central insQtuQon for theatre was rooted, which had Jawaharlal Nehru as its president, started drawing plans for the insQtuQon. NSD was established in April 1959 under the auspices of Sangeet Natak Akademi.

Video / Audio Library

PERFORMING WINGS Repertory Company

Library The School’s Library is one of the country’s most specialized libraries in the field of theatre and drama. By the end of June 2006 the library owned an enormous collecQon of 29,450 books covering areas ranging from the technical to the genera,; text books and scripts, about 4000 volumes of periodicals, 1064 gramophone records, 616 slides, 889 photographs and about 200 journals related to theatre and the Allied and Performing Arts.

Sanskaar Rang Toli

34 HISTORY

35 LOCATION: NATIONAL SCHOOL OF DRAMA Bahawalpur House 1, Bhagwandas Road New Delhi Summers: 47c Winters: 0.6c Rainfall: 714mm APPROACH : The approach to NaQonal School of dramas through a big gate, where on one side is the Himachal bhavan, and on opposite road is the LTG Auditorium. The main gate of NaQonal School of Drama is highlighted by the hoardings and colorful posters, of events and performances, which helps to idenQfy NaQonal School of Drama. N Mandi house metro Main gate to NSD Main gate to NSD Climate and orientaQon 1. PARKING 2. RECEPTION 3. ADMIN/OFFICE 4. STORE ROOM 5. STUDIO 6. HALL/STUDIO THEATRE 7. TOILET 8. CANTEEN 9. HOSTEL 10. AUDIO/ VIDEO ROOM 11. GENERATOR ROOM/ A.C. PLANT/ ELECTRICAL ROOM 12. COSTUME SECTION 13. PUBLICATION 14. GYM 15. ABHIKALP 16. ABHIMANCH 17. KATHAK/ LALIT KENDRA 18. SAMMUKH 19. CENTRAL SECRETARIAT LIBRARY 20. WORKSHOP/ BOOK SHOP Google Maps Google Maps

36 LEGENDUnbuiltBuilt 1. PARKING 2. RECEPTION 3. ADMIN/OFFICE 4. STORE ROOM 5. STUDIO 6. HALL/STUDIO THEATRE 7. TOILET 8. CANTEEN 9. HOSTEL 10. AUDIO/ VIDEO ROOM 11. GENERATOR ROOM/ A.C. PLANT/ ELECTRICAL ROOM 12. COSTUME SECTION 13. PUBLICATION 14. GYM 15. ABHIKALP 16. ABHIMANCH 17. KATHAK/ LALIT KENDRA 18. SAMMUKH 19. CENTRAL SECRETARIAT LIBRARY 20. WORKSHOP/ BOOK SHOP LEGENDHard Landscape Soft Landscape Open and Built –up Spaces Landscape N N

37 1. PARKING 2. RECEPTION 3. ADMIN/OFFICE 4. STORE ROOM 5. STUDIO 6. HALL/STUDIO THEATRE 7. TOILET 8. CANTEEN 9. HOSTEL 10. AUDIO/ VIDEO ROOM 11. GENERATOR ROOM/ A.C. PLANT/ ELECTRICAL ROOM 12. COSTUME SECTION 13. PUBLICATION 14. GYM 15. ABHIKALP 16. ABHIMANCH 17. KATHAK/ LALIT KENDRA 18. SAMMUKH 19. CENTRAL SECRETARIAT LIBRARY 20. WORKSHOP/ BOOK SHOP Zoning of Spaces LEGENDSemi-PublicOpenServicesCirculationSemi-PrivateAreaAreaPublicAreaSpace LEGENDSemi-PublicServicesPublicSemi-PrivateAreaAreaArea Visitor’s CirculaQon N N

38 1. PARKING 2. RECEPTION 3. ADMIN/OFFICE 4. STORE ROOM 5. STUDIO 6. HALL/STUDIO THEATRE 7. TOILET 8. CANTEEN 9. HOSTEL 10. AUDIO/ VIDEO ROOM 11. GENERATOR ROOM/ A.C. PLANT/ ELECTRICAL ROOM 12. COSTUME SECTION 13. PUBLICATION 14. GYM 15. ABHIKALP 16. ABHIMANCH 17. KATHAK/ LALIT KENDRA 18. SAMMUKH 19. CENTRAL SECRETARIAT LIBRARY 20. WORKSHOP/ BOOK SHOP Staff CirculaQon LEGEND LEGENDSemi-PublicServicesSemi-PrivateAreaAreaPublicArea Student”s CirculaQon Semi-Public ServicesSemi-PrivateAreaAreaPublicArea N N

39 Entrance to rangmandal ExhibiQon space Hall Corridor Music composing room Recording studio Hierarchy of spaces 1. RECEPTION 15 sq.mt 2. ADMIN/OFFICE 200-250 sq.mt 3. STORE ROOM 80 sq.mt 4. STUDIO 50 sq.mt 5. HALL/STUDIO THEATRE 90 sq.mt 6. TOILET 30 sq.mt 7. CANTEEN 150 sq.mt 8. HOSTEL 400 sq.mt 9. AUDIO/ VIDEO ROOM 60 sq.mt 10. GENERATOR ROOM/ A.C. PLANT/ ELECTRICAL ROOM 80 sq.mt 11. COSTUME SECTION 120 sq.mt 12. PUBLICATION 90 sq.mt 13. GYM 40 sq.mt 14. ABHIKALP 250 sq.mt 15. ABHIMANCH 1600 sq.mt 16. KATHAK/ LALIT KENDRA 1500-1600 sq.mt 17. SAMMUKH 150 sq.mt 18. CENTRAL SECRETARIAT LIBRARY 19. WORKSHOP/ BOOK SHOP 20 sq.mt

40 NATIONAL CRAFTS MUSEUM, NEW DELHI Designed by Ar. Charles Correa The Na5onal Handicracs and Handlooms Museum (NHHM) in New Delhi is one of the largest craZ museum in country. This CraZs Museum, casual and accepQng of the arQsan’s vernacular, is organized around a central pathway, going from village to temple to palace, a metaphor of Indian streets . While walking along spine, one can witness glimpses of principal exhibits that lie on either side. The museum holds rare and disQncQve pieces reflecQng conQnuing tradiQons of Indian craZsmen through painQng, embroidery, texQles, various craZs of clay, stone and wood, The project is aimed to provide with a Pla`orm for the village ar5st to display and sale the crac produce it. Display tradi5onal value of India. LOCATION: NATIONAL HANDICRAFTS MUSEUM Bhairon Marg, Bapa Nagar, PragaQ Maidan, New Delhi Delhi comes under region which suffers high variaQon in temperature during summers and winters Summers: 47c Winters: 0.6c Rainfall: 714mm NaQonal CraZs Museum is a museum in itself. It is an aGempt to create a building with ar5s5c expressions, reflecQng art and architecture, also reflecQng the works it will be exhibiQng. It is aimed to revive the arts and cracs of India and also give a pla`orm and promote them. It also give a chance to the arQsans from different regions of country, to display their art, also to market their work. Also provide them a plaUorm and free environment for working. PragaQ maidan Google Maps Google Maps Google Maps TradiQonal internal courtyards Exteernal courtyards Corridors Spaces Wikipedia

41 PROGRAM AND FUNCTIONS: NaQonal craZs museum is a museum in itself. It is not a museum of dead or past , it is rather a museum of living arts, the art, the objects and craZ that is sQll in common use in country. It was aimed to put together all the arts and craZs around the country , as a reference for the arQsans , who tend to loose their art due to urbanizaQon and industrializaQon. Climate and OrientaQon N Ground floor plan Spaces Areas Cafeteria 150 sq.mt Folk tribal craZ gallery 260 sq.mt Darbar CraZs 290 sq.mt Rituals craZs gallery 370 sq.mt CulQc objects gallery 130 sq.mt Temporary ExhibiQon 220 sq.mt Visual Gallery 1150 sq.mt TexQle gallery HandicraZ gallery CraZ DemonstraQon area 800 sq.mt Work Display area 10 sq.mt Amphitheatre 300 sq.mt Reasearch and doccumentaQon library 270 sq.mt CraZ shop 300 sq.mt N

42 BUILDING:

The low lying building designed, with tradiQonal and vernacular , rural architecture, with courtyards, passages, play of open and semi-open spaces, proporQon and scale, Qled sloping roofs, other elements such as aches, carved doors, perforated iron screens. Its spaces massed together to recreate an Indian village , the museum incorporates extensive use of vernacular materials – stone, bamboo, mud, brick, thatch - and uses craZ work as both interior and exterior ornamentaQon. A very impressive series of space holds together as a unit, and display funcQonal efficiency.

N Ground floor plan

43 Public Spaces Semi - Public Spaces Private Spaces Open Spaces Semi - Open Spaces Built up N N Semi – Open spaces Internal Courtyards Semi – open Cafeteria AdministraQon Open – Built RaQo Zoning of Spaces

44 Circula5on Walking along the spine, one catches glimpses of the principle exhibits, that lie on either side – the village court, Darbar court. One can visit any parQcular exhibit or alternately progress through all the sec5ons in a con5nuous sequence. Towards the end of the sequence , the exhibits get larger and include fragments of actual buildings Finally one exits via roof terraces forming an amphitheatre for dances as well as an open air display A defined circula5on pahern is seen in craZs museum, while it is not same in the village museum. Courtyards act as guiding elements and also connect two spaces. A walk through the museum is thoroughly like a journey made simultaneously through the “ pols ” of Ahmadabad, the villages of banni, streets of Jaiselmer, as if it was a part of an ancient archeological site displaying all objects of an enQre civilizaQon frozen at a single level in space and Qme. Hierarchy of spaces Village displaying the vernacular architecture Village displaying the vernacular architecture ConnecQng Courtyards

45 The Na5onal Centre for the Performing Arts (NCPA), in Mumbai, India was registered as a society on June 8, 1966, and was later established as a public trust, whose principal objecQve is to serve the cause of the performing and allied arts. The center promotes the regular programmes on dance, music, drama and various other visual arts through Qe-ups with a number of NGOs and embassies. PRINCIPAL AIMS AND OBJECTIVES: To establish a naQonal centre for the preserva5on and promo5on of classical, tradiQonal and contemporary performing and visual arts. To establish, equip and maintain schools, auditoria, libraries, archives, museums, studios, workshops and other facili5es necessary to fulfil the above objec5ves. To disseminate knowledge, promote apprecia5on, provide training and sponsor or undertake scien5fic research in these fields with the objecQve of further development by encouragement of innovaQon within India and by interacQon with the arts of other countries. Excellence in the performing arts is a moving target. LOCATION : NATIONAL CENTRE FOR PORFORMING ARTS NCPA Marg, Nariman Point, Mumbai, Maharashtra The Climate of Mumbai is tropical wet and dry climate. Summers: 32 °C Winters : 20.5 °C Average precipitaQon of 242.2 cm N Google Maps Google Maps Google Maps Dripbook.com en.wikipedia.com Visualphotos.com The building is located in one of the very acQve area of Nariman point. The site is sea facing. NATIONAL CENTRE FOR PERFORMING ARTS, BOMBAY, MAHARASTRA Climate and OrientaQon

46 OPEN PLAZA FOR EVENTS The open air plaza with an area covering 78000 sq.Z is used for various cultural events. It can accommodate 500-1250 persons. The dinner and award ceremony takes place in auditorium. TATA THEATRE GARDEN There is a very finely integrated rela5on of each and every built mass to the open space every major built mass in the center has been allowed one open space. Masses share the laGer act as spill over spaces as well as have their own independent acQviQes. PUBLIC SEMI-PRIVATE PRIVATE MAIN ROAD SECODARY ROAD N Inmarco-innovaQon.com N Inmarco-innovaQon.com www.luxpresso.com www.tedxgateway.com IrishfilmfesQval.com dorabjitatrust.org Zoning of Spaces Primary – Secondary circulaQon

BUILT UP AND OPEN SPACES.:

While entering from Gate 2, it creates a vista and ramp emphasizes it.

CirculaQon through Gates 3,5

47

Entrance gate for Tata theatre Main Entry

There are two major axis, The narrow passages that penetrates and takes the visitors to the center of the campus, passing through the campus

The entry opens up like a vista that guides visitors towards the gardens.

CirculaQon through Gates 1,2,6

TWO MAJOR AXIS FOR CIRCULATION:

Every major built up masses is alloGed with one open space. Masses share a dierct elaQon with their individual gardens and then spill out to their own acQviQes.

The relaQon between open spaces and built up spaces has a finely integrated relaQon.

48 Architect:- Philip Johnson and John Burgee ,with Indian architects J. Patel, Rustam Batliwala and partners. Acous5c consultant:- Prof.Cyril M.Harries and Burjar A. Mistry Services and construc5on :- Tata consulQng Engineers The design of the Tata theatre is unique. It is suitable for chamber music concert, dance, drama and film screening. Grand Staircase Entrance Foyer Entrance Foyer View Towards Garden Total Built-up:2791.975sq mt House area:50.15 sq mt CirculaQon:973.5 sq mt Stage:143 sq mt Green Rooms:218.7 sq mt AdministraQon:413.1 sq mt Services:65 sq mt THEATRES This complex have main five theater. 1.The Tata theater 2.J.B.Theater 3.Experimental theater 4.Godrej dance academy 5.LiGel theater TATA THEATRE ENTRANCE: The main entrance to the auditorium is through the foyer door on the west side. A grand staircase leads to the upper foyer from which there are five entrances into the auditorium. There is an entry for VIP’s to the lower level of the auditorium through the subsidiary foyer on the south side at the ground level. There is one service entry to the back stage from the south side of the building. Service entry is creaQng the dual purpose of loading-unloading the drama sets and instruments for the concerts and acQng as the separate entry for the arQsts. It is also an advantage that it is on the secondary road and do not disturb primary flow of the traffic. Main Entry Secondary Entry Back Entry Service Entry

The Visual aspect of the auditorium was clearly seen de the steepness of the seaQng arrangement to avoid the visual discomfort.

Grand Staircase Inside of theatre Tata theatre

Before designing Philip Johnson saw some of Indian drama performances,, and had noted how audience sit in half circle around the musicians, while their disciples behind them. Also in music performances the eye and facial expressions of singer should be clear. This made him conceive the theatre similar to Greco roman style

49 BACK ENTRIES SIX FRONT ENTRIES THE FOYER:- The foyer is accessible from two sides, one from Tata road (Nariman point) and other from the secondary road. The foyer is along a northwest-southwest axis 120mt long. 5mt wide angular steps lead to the recessed entrance of the main foyer (G+1 ht). On the leZ of the foyer is a brass Nataraja symbolizing the performing arts and their ancient tradiQon. Next to this office is a decoraQve doorway leading to the Rangoli restaurant (below the grand staircase). The roof of the foyer is sloping with glass panels serving as skylights. Yellow mild stone has been used in the foyer up to 4mts height. The grand staircase leads to the first floor foyer at 3mt height and about 4.5 mt wide. The upper foyer is also glazed along its side wall and a door here leads to a terrace which overlooks the landscaped area next to the car park.

The height of the ceiling was so well designed with and is uniform from the first row Qll end to enhance the audio quality of the auditorium.

WaiQng Area Upper Foyer

SeaQng capacity : 1040 persons

Sound proof devices were placed up over the stage was set up which were kept open for checking the sound during rehearsals. LighQng were also kept open up over the stage. A stair case was provided on the back stage for the arQst as their rooms were above floor of the theatre so for the ease n convince of the arQst who were going to perform.

A service staircase was provided on the sides of the theatre so as to go and check the lighQng. The stairs were made aZerwards of wood on requirement of all the performers for their convince so as to keep lighQng and sounds in check.

EXPERIMENTAL THEATER/AUDITORIUM Service staircase

Above view of lighQng and sound devices. View of whole experimental theatre.

50 CAPACITY:285 SEAT AIM: Experimental theater is an innovaQve space that enables full flexibility for produc5on design and presenta5on. A ceiling grid-frame and a catwalk system provide total flexibility for modularized lighQng and prop faciliQes. On three sides addiQonal balconies with 50 seats situated at a height of 13 feet, offer an interesQng view of the area below. Modular studio theater with 3 galleries, configurable staging and seaQng suitable for modern experimental producQons Floor plan

51 Timber flooring on stage The control room is placed on the rear of the auditorium behind the glass observaQon window. 2 loudspeakers permanently installed on the leZ and right side of the proscenium opening The arrangement of rows of seats is staggered to prevent visual obstrucQon to the viewers behind. Sea5ng Capacity 185 seats Dressing Rooms 2 on ground floor 13.8 m2 and 17.8m2 with a common lobby of 19.6m2 The Godrej Dance Academy Theatre is primarily meant for the centre’s master classes conducted by eminent dance gurus. However, it is also used for smaller scale music and dance performances. GODREJ DANCE ACADEMY THEATRE Bookmyshow.com Bookmyshow.com Zoherandco.com Zoherandco.com

52 The inQmate ambience of the 114 seat liGle theatre is designed to offer a plaUorm for young and upcoming arQsts to display their talent. Proscenium theatre suitable for music, dance, video projec5on. AcousQcally designed as Recording Studio. Centrally air condiQoned. LITTLE THEATRE Sea5ng Capacity : 114 seats Stage: Floor – Timber flooring on concrete slab; 0.8m(h) from auditorium level. Size with side wings and – 6.66m(w) x 5.47m(d) x back concerQna flat 3.96m(h) downstage 3.08m(h) upstage Wing space Stage-right – 1.1m(w) x 6m(l) x 3.08m(h) Stage-leZ – 1.0m(w) x 6m(l) x 3.08m(h) Cross-over space – 8.7m(l) x 0.6m(w) x 3.08m(h) Proscenium Opening – 5.85m(w) x 3.96m(h) House Curtain- Maroon velour; motorized travel Width, wall to wall – 8.68m Space in front of House-curtain – 0.53m Control Room: Rear of the auditorium behind observaQon port-hole in projecQon room, first floor ncpamumbai.com ncpamumbai.com

53 AMERICAN INSTITUTE OF INDIAN STUDIES, AIIS, NEW DELHI Designed by : Space Design Consultants The American Ins5tute of Indian Studies , New Delhi, is a consorQum do American universiQes that provides an internaQonal scholars with research faciliQes in India. The InsQtute maintains a library and archives for Indian music. The new building is to house these archives and the administraQve offices of the InsQtute. LOCATION: AMERICAN INSTITUTE OF INDIAN STUDIES, InsQtuQonal Area, Sector 32, Gurgaon, Haryana Haryana comes under region which suffers high variaQon in temperature during summers and winters Summers: 47c Winters: 0.6c Rainfall: 714mm The American InsQtute of Indian Studies provides scholars with faciliQes for research in Indian art, architecture and music. The building houses the administraQve offices, research faciliQes, archives and libraries. It has one of naQon’s largest music archives and library. Climate and OrientaQon N Google Maps Google Maps Wikipedia Google Maps Spaces Areas Library Ethno music 150 sq.mt Office 25 sq.mt Storage 30 sq.mt Tapes Archives 80 sq.mt A.V. Lab 50 sq.mt Listening Room 40 sq.mt Copies Store 30 sq.mt Ethnomusicology 110 sq.mt

54 AdministraQve control Music Lib. And Archives for users Since AIIS was set up to conserve Indian art, architecture and music, the building design follows the tradiQonal Indian design principles. From outside, the building appears to be a small singlestoried structure while actually it is a basement and ground floor organized around two sunken courtyards. The passage around the courtyards forms a thermal transiQon zone between the uncontrolled outdoors and the controlled indoors. The building form emulates the peaceful internal environment of a tradi5onal courtyard building while maintaining the modern standards for lighQng and venQlaQon. The sunken courtyards provide an element of surprise to the visitor and bring adequate daylight into all areas of the building including the basement. N

The passage around the courtyards forms a thermal transiQon zone between the uncontrolled outdoors and the controlled indoors. The building form emulates the peaceful internal environment of a tradiQonal courtyard building while maintaining the modern standards for lighQng and venQlaQon.

Internal courts are not feasible for composite climate. During monsoons, the corridors may be rain swept, and also might be cold and wet for circulaQon.

The scale of courtyard is appropriate to bring

Drawbacks

The architect has tried an aGempt to restore the courtyard, its original funcQon of being an internal microclimate modifier and has not used it simply as a light well. The scale of courts is excellent in secQon as compared with the built form. The intense vegetaQon in the courtyards decreases temperature and glare, but also reduces he usability of the court as an external acQvity zone.

55

Circula5on

in natural light for 8 hrs in day.

Courtyard

The circulaQon is mostly linear. But the user keeps moving in a circle of radius of 30m. The courtyards act as a connecQng element , which becomes radial in nature. All the important elements are connected to the courtyard.

56 ARCHIVES LISTENING ROOM A.V. LABORATORY The archives (tapes and negaQves) have to be maintained at a temperature of 18 deg C and need to be aircondiQoned, with 35-40% humidity. To reduce the cooling load, these areas are located in the earth sheltered basement. The work areas located at the ground floor are protected by specially insulated external walls and cooled by a terrace garden. North-south orientaQon of the building and the external sunshades over windows reduce heat gain. Light shelves and glass brick panels improve quality of day lighQng and minimize the need for arQficial lighQng during dayQme. AREA: 40sq.mt Listening room is a room next to Archives, which is used to record, transfer, copy the original to second copy to preserve. They convert the analogue to digital in this room. There are all the recording instruments from reels, casseGes, vhs, d.v.d, L.P . It is acousQcally treated. AREA : 30 sq.mt A.V laboratory is a room where all the records are seen and than digiQzed, including the video recordings. AREA: 20-25 sq.mt

57 GANDHARVA MAHA VIDHYALAYA, NEW DELHI DESIGNED BY : RAKA CHAKRAVARTHY Gandharva mahavidhyalaya was established by its founder Pt. Vinaya Chandra Maudgalya in 1939. I is located in New delhi. OBJECTIVES : To commemorate the great musician and resuscitator of Hindustani music of Hindustani music, Pt.Vishnu Digambar Paluskar. To keep up the ideals set down by him in order to popularize Indian Classical music amongst masses through:: Modernized methods of instrucQon, Training of qualified teachers, Restoring music its righUul place as an integral part of our culture. LOCATION: GANDHARVA MAHA VIDHYALAYA, Vishnu Daigamabar Marg, Near Mandi house metro, New Delhi Delhi comes under region which suffers high variaQon in temperature during summers and winters Summers: 47c Winters: 0.6c Rainfall: 714mm Vishnu Daigambar Marg COURSES OF STUDY: Theoritical and Practical training is 1)imparted-Hindustani Music a. Vocal b. Instrumental (sitar, flute, tabla, violin, harmonium) 2) Indian classical dances ( Odissi , Kathak, Bharatnatyam) Climate and OrientaQon N Google Maps Wikipedia Google Maps Google Maps

58 BUILDING: The building was designed by keeping in mind the Indian classical Music and its history. The architect herself was a music student. The classrooms reflect the understanding of sound and space required for music training. The form of building is geometricaly resolved, and is simple. N AdministraQve control Classsrooms Services Green spaces N Built -up Open Green spaces Open - spaces Horizontality followed View while entering the landscape Open –Built raQo The open spaces in the builing are majorly green spaces. Pergolas, lobbies are used to create a sense of semi- openess. Spaces Area AdministraQon 80 sq.mt Classroom 150 sq.mt WaiQng 120 sq.mt Dormitory 30 sq.mt Care taker’s room 15 sq.mt

59 N CirculaQon Semi – Public spaces Semi- Private Public spaces Private spaces Zoning of Spaces N The zoning of building is such that, the main entrance leads to public areas. These public areas are lobbies, foyers, and waiQng. All the semipublic spaces are connected to a public space. On entering, one heads to the recepQon and administraQon areas, passing through a major foyer. There are three music rooms on ground floor. A liZ and staircases are provided for access to upper floor. Corridors connecQng old and new building Lobbies given for light, venQlaQon

60 The building mass follows horizontality with surrounding. Also exposed Brick is used as material which compliments the built mass. A music hall where, Jugalbandhi is performed. A plaUorm given as an honor for the teacher. Room for vocal training, which is kept away from sunlight, to avoid damage to instruments Storage for Sitar. Sitar are placed on the stands in honor. They they cannot be exposed to sunlight, they are kept in dark room. A small theatre of capacity 50 is given, which is used for dance rehearsals and recordings. Landscape is itself a part of the built mass. Lobbies are the spill outs of the classrooms The courtyards are used as spill over spaces fro studios. PlantaQons are doen on walls. Large openings are provided in the foyer areas , to bring in natural light and air. Steps are provided in green space, which acts as amphitheatre.

61 INFERENCE NATIONAL CRAFT MUSEUM DELHI KHAMIR CRAFFTS PARK KUTCH NATIONAl SCHOOL OF DRAMA DELHI AIM OF THE STUDY ProgrammaQc understanding Space providing TradiQonal spaces and concept Idea behind design To understand the vernacular and tradiQonal architecture of Kutch region, with respect to materials, culture of working and spaces. To understand the program and requirements for the project. AIM OF THE PROJECT Plat form for the village arQst to display and sale the craZ produce it. Display tradiQonal value of India. To provide a common roof where the local arQsans and experts can exchange knowledge and market their products .The central aim of the insQtute is to prepare students to pracQce the art of theatre. To this end a variety of pracQcal skills must be developed and a corpus of knowledge acquired. LOCATION AND CONTEXT OF THE SITE Flat land, two side of site is surrounded by 40m wide main road . Traffic level is average at the main road. Surrounded by major public building It is an isolated campus on a contoured site. It is approx. 1km inside from Bhacchau highway. Traffic level is least for the secondary road. It is located on a flat land. The area is surrounded by many number of insQtutes around it. Traffic level around NSD is high due to insQtuQonal area. SITE DEVELOPMENT AND CONTEXTUAL RESPONSE FORM AND ORIENTATION Structural grid system Squre court are use for climaQc consideraQon and light Height is less The buildings of Khamir, thus emulate the structure of the Indian Village, Workshop units cluster to form the narrow streets and shadowed spaces, and the streets divide and meet in courtyards and chowks. Dynamic form that divides acQviQes, with a central courtyard. N N N BHAIRON MARG ROADMATHURA MANDI HOUSE METRO

62 NATIONAL CENTRE FOR PERFORMING ARTS MUMBAI AMERICAN INSTITUTE OF INDIAN STUDIES NEW DELHI GANDHARVA MAHAVIDHYALAYA GURGAON ProgrammaQc understanding Understanding of areas. It is one of insQtutes which nurture different arts. To understand the program and requirements, for project. It has one of biggest archives, to keep records of music. To understand the program of the case. It is one of oldest insQtutes which nurtures indian classical music. To establish a naQonal center for classical , tradiQonal and contemporary arts, and science for performances and communicaQons Since AIIS was set up to conserve Indian art, architecture and music, the building design follows the tradiQonal Indian design principles. To Restore music in its righUul place as an integral part of culture.

It has old and new building. The form is a very simple geometric derivaQon, with a play of rectangles.

The form is derived from play of geometrical masses. The building form emulates the peaceful internal environment of a tradiQonal courtyard building while maintaining the modern standards for lighQng and venQlaQon.

It is located next to mandi house metro staQon.

Vishnu Daigambar Marg N N N

The building form is divided in two parts, with two major axis. The two major axis on site divides the Tata theatre from other blocks. Geometrical form is used as built masses.

It is located in the insQtuQonal area of Gurgaon, Haryana. Traffic level is high because of insQtuQonal area.

It is sea facing building at nariman point. Traffic level is high because of the locaQon in public space.

The form of building is L- shaped, because the insQtute was extended.

Traffic level is high as it is in an insQtuQonal area.

63 INFERENCE NATIONAL CRAFT MUSEUM DELHI KHAMIR CRAFFTS PARK KUTCH NATIONA SCHOOL OF DRAMA DELHI ZONING CIRCULATION Major circulation around courtyards, and are linear.A defined pattern of circulation is seen inside the museum complex, giving access to different exhibits opening off a meandering pathway in an informal manner. The path weaves through a series of progressions and pauses- narrow lane ways chase the light into the courtyards and chowks, The whole campus is pedestrian . There is a main street which branches out into different spaces according to the organizational structure. ORGANIZATION All block are connected by Andcourtyard.courtyard connect all activities. Block are connected small courtyard and landscaping Zoning according major activities. All activities are connected by courtyard. Activities also connected to each other. Public Private Semi - Public Public Semi - Public Private Public Semi - Public Semi - Private

64 NATIONAL CENTRE FOR PERFORMING ARTS MUMBAI AMERICAN INSTITUTE OF INDIAN STUDIES NEW DELHI GANDHARVA MAHAVISHYALAYA GURGAON

All the activities are connected with a common foyer . The also they lead further to central open space. Semi – private Public Private Semi – private Public AdministraQve control Classsrooms Services Green spaces

There are two major axis for circulaQon, which leads to garden spaces, and further spill out to acQviQes.

All the acQviQes are connected to the courtyard. All the acQviQes follow a radial paGern.

The circulaQon is mostly in linear paGern, where the acQviQes spill out from central courtyard.

OrganizaQon is based on hierarchy of spaces and masses.

The circulaQon is mostly in linear paGern, where the acQviQes spill out from the main foyer and lad to different spaces.

65 INFERENCE NATIONAL CRAFT MUSEUM NEW DELHI KHAMIR CRAFFTS PARK KUTCH NATIONA SCHOOL OF DRAMA NEW DELHI ARCHITECTURAL DETAISL MATERIAL Walls made by mud. Wood is used majorly for columns and also other elements like roof. Thatch is also used as roofing material It strives to revive all art tradiQons of India and give them a boost. Vernacular look. The Making and materiality involve local building pracQces and a paleGe of rammed earth, ruble stone, waGle and daub, light weight metal lath plaster and paneling. Country Qles and are used for roofing. It is an Indian contemporary style of building campus ARCHITECTURAL LANGUAGE Vernacular and tradiQonal. extraordinary sense of changing vistas we experience as we move along a path through a sequence of such space. A walk through the museum is thoroughly like a journey made simultaneously through the different state with in Indian architecture. Vernacular and tradiQonal. insQtute has interesQng modern architecture with varied levels, heights and spaces. Open to sky spaces and natural landscape provides a creaQve atmosphere for arQsts. Contemporary building complex Courtyards are important part of insQtute, which acts as an interacQve space. AcQviQes like exhibiQons, drama pracQces takes place. LIGHT AND VENTILATION Courtyard serves area for light and venQlaQon. Passages around courts. Large Gables underneath the roofs filter in soZ light through small openings planned in P.O.P sculptural walls without leyng in sand or dusty wind. The court also serve as a source of natural light to internal spaces. Well venQlated with convenQonal style. AREA ANALYSIS

The material used is mostly exposed brick. Brick jali and other elements also made.

Courtyards are provided to bring in natural light. Because of basement, and courtyards, the areas in the basement remains cool. Natural light comes in courtyards through small rectangular windows and punctures. Brick jali is used around the courtyards.

Courtyards are major source of natural light and venQlaQon in AIIS. bring the natural light in , 8 hours a day. in air circulaQon. Lobbies also act

The scale of courtyard is appropriate

spaces. ArQficial lighQng is also provided.

The material used is majorly brick, with R.C.C frame structure. The A.V rooms are AcousQcally treated. The architect has tried to keep the Indian tradiQonal architecture, arts and music in mind , and thus provided with courtyards.

open space. The masses share a direct

66 NATIONAL CENTRE FOR PERFORMING ARTS MUMBAI AMERICAN INSTITUTE OF INDIAN STUDIES NEW DELHI GANDHARVA MAHAVIDHYALAYA GURGAON

All the open spaces fall under shadow of masses, which keep them cool through out the day.

Every major masses is alloGed its own relaQon with its own open spaces.

Basic zoning is done in terms of

Horizontality is followed in the whole building, balancing the built mass. Large and horizontal openings are given. Sunken court is provided. Brick jali is also provided in building elements like parapet walls. SeaQng are also made out of bricks. Customed bricks are used in let light in, into the foyer and other

construcQon. Large glass openings are provided to

as a source of natural light.

Large openings play important role

Modern technologies are used for acousQcs. Steel and R.C.C is the material used.

IdenQfiable design elements.

massing.

The building should be orienQng keeping North, sun path and wind path in consideraQon.

67 CONCLUSION FORM

ORIENTATION

The form should be a compilaQon of the contextual design elements. It should be a derivaQon of tradiQonal elements maintaining the modern standards.

The circulaQon should be a like a guided tour, leaded by a street paGern, which will be effortless for a visitor to approach the desQnaQon.

The organizaQon should be followed by program and funcQons of the project, which makes it easy for the visitor to reach the desQnaQon.

ORGANIZATION

ZONING

Zoning should be done by disQnguishing the funcQons according to their purposes. It should be done keeping the public access in mind.

MATERIAL

LIGHT AND VENTILATION

The language must follow the context. It must be an expression reflecQng context and surroundings. Materials that are locally available should be preferably used, as they would be climaQcally responsive.

ARCHITECTURAL LANGUAGE

CIRCULATION

Design elements like courtyards can be used for intake of natural light. Openings can be designed for maximum intake of light.

68 SPACE CAPACITY AREA RECEPTION 1 10 WAITING AREA 15 80 DIRECTORS OFFICE 1 30 ADMINISTRATION 2-3 40 PROGRAM CO-ORDINATOR’S OFFICE 1 25 PROJECT CO-ORDINATOR 2-3 40 ACCOUNTANT OFICE 1 30 BOARD ROOM 10-12 60 TECHNICAL WORKSHOPDEPARTMENT+AREA 3 80 STAFF ROOM 8 40 PANTRY 15 TOILET 30 TRAINING CENTRE INSTRUMENTAL ( 4 STUDIOS) 10 200 VOACL (1 STUDIO) 10 40 RECORDING+COMPOSITION ROOM 90 PRODUCTION ROOM 3 40 ARCHIVES 40 LIBRARY 200 AUDIO-VISUAL ROOM 20 40 HOSTEL BUILDING 250 ROOMS FOR ARTISANS 10 250 KITCHEN + DINING 120 AUDITORIUM AND ENTERTAINMENT MAIN AUDITORIUM 300 900 OPEN AIR THEATRE 300 500 DISPLAY AREA+EXHIBITION 200 FOOD PLACE 120 SHOP+STORE 100 MISCELLANEOUS TOILET 30 GENERATOR ROOM 30 ELECTRIC ROOM 25 WATCHMAN CABIN 10 TOTAL BUILT UP 3660 CIRCULATION(15%) 549 TOTAL AREA 4209 ≈ 4210 PARKING (25 cars, 70 two wheelers) 450

: Site is located on a flat land on the base of Bhujia Hill

State level District level BHUJ

Bhujio Hill RTO relocaQon Jubilee road Vijaynagar societyv Jestha nagar Dr. Rajaram campus Google Maps

DR. RAJARAM CAMPUS

69 NaQonal level

SITE:

Bhuj has an average elevaQon of 110 metres (360 feet). On the eastern side of the town is a hill known as Bhujiyo Dungar, on which there is Bhujia Fort , that seperates Bhuj City and Madhapar Town. It has one big lake named Hamirsar and several small lakes.

Bhuj is a dry and Arid region in Kutch.

The site is located in the city of Bhuj in Kutch district. Since Bhuj is main center in Kutch, in terms of tourism, urbanizaQon. Bhuj is important place in terms of administraQve, culture, economy and educaQon of the region. Bhuj has inhabited many historic buildings and social insQtutes in its urban fabric.

Minimum temperature in Winters go around 0-2°c Average rainfall id 114 cm

Maximum temperature in Summers: 42-45°c

The site is owned by Dr. Rajaram. The site is usually used on lease and handed to organizaQons for public welfare.

Site Area :11660 sq.mts TOPOGRAPHY

70 IMMIDIATE CONTEXT SAINT XAVIERS SCHOOL GENERAL HOSPITAL JESTHA NAGAR PARTY PLOT SAINT XAVIERS SCHOOL ROAD GOING TOWARDS JESHTHA NAGAR VIJAYNAGAR ROAD JESHTHA CAMP AREA NAGAR MENTAL HOSPITAL ROAD INSTITUTIONAL RESIDENTIAL OPEN SUN PATH AND WIND PATH ON SITE ACCESS TO SITE MentalHospitalRoad Site is accessible from the WEST direcQon. It has only ONE access. Site can be reach from 3 different roads, VIJAYNAGAR ROAD, CAMP AREA ROAD, MENTAL HOSPITAL ROAD. BHUJIO HILL The site is accessible from only one main gate.

71 CONCEPT : SUGGESTIVE SIMPLICITY Building and context as a region - Reinforcing the visual dimension of culture via scale and proporQon order and composiQon through building modules.

72

If elaborated the building blocks of The ‘Soor Shala’ emulates/imitates the structure of Kutchi village: classroom

It is about bringing people together through informal exchanges and encounters through a parQcular group of built blocks, and creaQng human interacQve spaces for learning and performing the tradiQonal music.

The concepts to create a culturally relevant architecture.

units lustrates gets together to form narrow streets and shaded spaces. And the interconnecQons.

73 AdministraQon and Offices Training Areas

The clusters forces various administraQve offices and spaces for learning music which are staggered along various levels composes the overall layout. Through internal courtyards resembles a sense of openness

75

The idea was to create a ‘culturally relevant architecture’. If elaborated the building blocks of ‘Soor Shala’ immitates the structure of tradiQonal Kutchi village.

The planning is simple , modest and strongly clustered formaQon, which comes together through fragmented noQons in accordance with pre-exisQng architecture in the region.

N

The transiQonal path moves through a series of progressions and pause

points, narrow lanes into courtyards.

The circulaQon as interconnecQons

76

77 The formaQon principles have been derived from the understanding of the landscape, vegetaQon, geology of the regixaon and oriented in direcQon to cut harsh sunlight by aligning th blocks and their porosity to give beGer shaded spaces inside

78 The materials used include, thached roof, C.S.E.B blocks, mud rolls, waste wood floor boards. The materials used are locally available. The materials are made on site.

5.

INSTITUTE OF INTERNATIONAL

Seth

6. GANDHARVA MAHAVIDHYALAYA, NEW DELHI: Ar.Raka Gandharvawww.indcareer.comchakravarthyMahavishyalaya,

Thesiswww.burrp.in.comwww.indianetzone.comwww.luxpresso.comwww.irishfilmfestivalodindia.comwww.bookmyshow.comwww.tedxgateway.inwww.ncpamumbai.comCaseStudy,2008-Rutvan CaseWikepedia.orgStudies, VI, 2012 4. NATIONAL DELHI: CaseThesiswww.charlescorrea.netWikepedia.orgwww.nationalcraftsmuseum.nic.incasestudy,2010-KrutiBhavsarStudies,SemesterVI,2012 AMERICAN STUDY, NEW DELHI: ThesisWikepedia.orgcasestudy ,2008-Rutvan Seth www.space-design.comwww.aiis.org

CRAFTS MUSEUM,NEW

79 www.hunnar.orgwww.khamir.orgwww.mandiza.net1.CASEwww.dekulture.comWikipedia.orgwww.panjokutch.comwww.kmvs.comREFERENCESTUDY:KHAMIR,Kutch,GUJARAT: Thesis Case study,2009-Naisargi dave 2. NATIONAL SCHOOL OF DRAMA,NEW DELHI: Wikipedia.orgwww.nsd.gov.in Case studies, Semester VI, 2012 3.NATIONAL CENTRE FOR PERFORMING ARTS,NEW DELHI:

New delhi

semester