CASE STUDY 1 National Centre for the Performing Arts

ASPECT Design
LOCATION Mumbai, India

HISTORY PROFILE
Inaugurated in 1969, the National Centre for the Performing Arts (NCPA), Mumbai, is Indias
premier cultural institution. The first multi-venue, multi-purpose cultural centre to be built in
South Asia, it has been committed since its inception to preserving and promoting the
countrys rich and vibrant heritage of Indian and international music, dance, theatre, film,
literature and photography as well as presenting new and innovative work in the field of the
performing arts.
Playing host to over 600 performances annually, the NCPA has the distinction of being
Indias largest, most holistic performing arts centre. Boasting the best-resourced auditoriums
in India in terms of equipment and expertise, the NCPA is capable of handling large-scale and
highly complex cultural productions, ranging from the epic theatre to grand opera, ballet and
musical spectacles. The theatres also offer a forum for conferences and high-profile corporate
events, which have included the Annual Conference of Indian Cardiology Society, the ET
Awards, and the World Conference on Tobacco or Health.
It also embodies Mumbais soft power. The NCPA was the brainchild of JRD Tata and Dr
Jamshed Bhabha, two visionaries who saw Indias need for an all-encompassing world class
performing arts centre. Built on land reclaimed from the sea, the NCPA today, approaching
the fiftieth year of its existence, is one of Mumbais best-known landmarks.

SITE LOCATION
Co-ordinates: 185531N_72 4910E

Connectivity major Nodes :

Bus Stop - Churchgate Bus Stop 1.6 km
Railway Station - Churchgate Station 2.2 km
Airport - International Airport 28.3 km
Surrounding land use:
Residential utility apartment buildings (20 storied), Hotel, Nariman Point-Marine Drive-
Coastal tip.

SITE CLIMATLOGY [Tropical Wet and Dry Climate]

Its coastal nature and tropical location ensures temperatures wont fluctuate much throughout
the year, the mean average of 27.2 C and average precipitation of 242.2 cm (93.35 inches).
The mean maximum average temperature is about 32 C (90 F) in summer and 30 C (86
F) in winter, while the average minimums are 25 C (77 F) in summer and 20.5 C (68.9
F) in winter. Mumbai experiences four distinct seasons: Winter (December-Feb); Summer
(March-May); Monsoon (June-Sep); and Post-Monsoon (Oct-Dec).

Source: India Meterological Department / NOAA

SITE PLAN
THEATRES CAPACITY

JAMSHED BHABHA THEATRE 1109

TATA THEATRE 1010
EXPERIMENTAL THEATRE 300
GODREJ DANCE THEATRE 200
LITTLE THEATRE 114

GARDENS

OPEN AIR PLAZA 1000-1250

TATA GARDEN 75-100
EXPERIMENTAL 50-75
SUNKEN 75-100

FOYERS

JAMSHED BHABHA THEATRE 300-500

TATA THEATRE 500-600
EXPERIMENTAL THEATRE 40-50
LITTLE THEATRE 50-75

SITE PLAN (NCPA)

The NCPA complex occupies an area of about 32,000 sq.m. at Nariman Point, on land
reclaimed from sea. The NCPA complex is accessible via 6 gates, among which on
observation gate 6 is generally kept closed. The space along the gate 6 is been used as
parking for official purpose. The main entrance to the NCPA complex is through gate 1. The
main entrance has a parking capacity of 52 four0wheeler and 20 two-wheeler parking. Gate 2
leads to only public entrance at the time of functions inside Tata theatre, which also has an
attached restaurant to it. Gate 3 invites public from the Nariman Point, which is mainly used
by the administrative people. Gate 4 leads towards the booking cell for various performances
inside the NCPA Complex., i.e. Jamshed Bhabha Theatre having a capacity of 1109. Gate 5
mainly is utilized as the exit route and at same time service entry for loading and unloading
luggage or materials to be used inside the theatre for performances by the artists.
NCPA apartments adjacent to the complex is a private property and the management does not
have the ownership of the building. For special guests, there are 5-6 guest rooms along with
the Teaching and Research Block in front of Gate 6. Around every theatre 2 parking spaces
have been reserved for the physically disabled people and one parking space is reserved for
ambulance in case of emergency.
Temporary Staff Quarters are installed on the west side of the Gate 1 along with the boundary
separation between the NCPA complex and the residential apartment.
Basement Parking has been provided with a capacity of 80-100 for four wheelers. Public
parking is filled on the basis of first come first serve basis.

ON-SITE OBSERVATION
The boundary wall has been extended Handicap parking provided in front of
and layout of service pipelines has been Experimental theatre, is located
done in these gaps. strategically with a ramp.
 Road leading towards the basement parking in between
Tata Theatre JBT Theatre. The basement is located
alongside the open cafe
Sunken garden in front of the Godrej Dance Theatre. The
garden gives an informal congregation space and
segregates the view of the parking arena, which is justified
by using trees hence providing a vista towards the open
sky.

JAMSHED BHABHA THEATRE

From large format orchestras to full-scale operas, the most technically complex performances
can be staged at this Proscenium theatre with a seating capacity of 1,109. Named after the
founder, and operational since 1999, its technical facilities allow for the International
productions of opera, ballet and major musicals.
This well-equipped, elegant theatre also boasts of a historic marble staircase and a dazzling
double-level foyer. It is, undoubtedly, the cornerstone for theatrical extravaganzas staged in
South Asia.
Suitable for:
Operas
Ballet
Musicals
Orchestras
Large-scale corporate shows
 JBT Theatre Interior

THEATRE SEAT LAYOUT

Seat layout (JBT Theatre)

SEATING CAPACITY
Total Capacity 1109 seats
Capacity reduced in the following cases:
Use of orchestra pit Reduced by 91 seats
Use of in-house sound
Mixer/Monitor Reduced by 15 seats (variable)
STAGE
Stage entry
From east & west foyer
Left)
Floor
MS framing (No traps, No revolve)
Size
(Behind house-curtain)
Top-of-stage from
auditorium level
Space in front of house-curtain
Wing space
Stage-left, concrete-flooring
Cross-over space (up stage)
(concrete flooring)
Stage-to-grid height
Architectural
proscenium opening
False proscenium
opening (variable)
Stage edge-to-auditorium
Mobile towers on stage
acts as wings 2.4m (w) x 9.3m (h)
sound reflectors for orchestra shell
2 Nos. (Stage Right &
Hardwood timber flooring on
23.7m (w) x 14.6m(d)
1m
+1m (d)
Variable
4m (w) x 16m (d)
clear height 3.85m (min.)
1m (d) x 23.7m (w)
21m
16.7m (w) x 9.3m (h)
16.7m (w) x 9.3m (h) maximum
11.6m (w) x 6.3m (h) minimum
30m rear wall (Row X)
10 (5 each on stage-left & right ):
(black) and lighting-towers
for drama/dance; or as side-wall
(natural wood finish).
5 towers can be lined-up
upstage, if not required. It cant
be moved out of stage.
 Interior view of Back
stage

CASE STUDY 2 Bharat Bhavan

ASPECT Design
LOCATION Bhopal, India

HISTORY PROFILE
Bharat Bhavan is an autonomous multi-arts complex and museum in the state of capital
Bhopal, established and founded by the Government of Madhya Pradesh. Opened in 1982,
facing the Upper Lake, Bhopal, it houses an art gallery, a fine art workshop, an open-air
amphitheatre, a studio theatre, an auditorium, a museum tribal and folk art, libraries of Indian
poetry, classical music as well as folk music.
The complex was aimed to create a space for interaction between people involved in the
literary field, visual arts and theatre artists, thus complex by noted architect Charles Correa
was devised like a campus, and incorporated structures on cascading levels around terraced
gardens leading down to the Upper Lake, Bhopal (now renamed Bhojtal). The building was
highlighted by concrete domes and exposed brickwork, and was designed to merge into the
surrounding landscape pf sloping rocks. The building is today seen as an important example
of modern Indian architecture.
The institution was finally inaugurated on February 13, 1982 by then Prime Minister, Indira
Gandhi. It was established and funded by the department of Culture, Government of Madhya
Pradesh. In the following decade, the institution grew to become an important cultural
institution of India as it started attracting artists, scholars and students from Indore; Jabalpur;
Mumbai; Kolkata and even foreign visitor.

SITE LOCATION
Co-ordinates: 231448N_772330E

Connectivity to Major Nodes:

Bus Stop - Nadira Bus Stand 6 km
Railway Station - Bhopal Railway Station 8 km
Airport - Raja Bhoj Airport -12 km
Surrounding land use:
Park area, Residential Blocks, College Campus, North facing towards the Upper Lake.

SITE-CLIMATOLOGY [Humid Subtropical]

Bhopal has a humid subtropical climate with mild, dry winters, a hot summer and a humid
monsoon season. Summers start in late March and go on till mid-June, the average
temperature being around 30 C, with the peak of summer in May, when the highs regularly
exceed 40 C. The monsoon starts in late June and ends in late September. These months see
about 1020 mm of precipitation, frequent thunderstorms and flooding. The average
temperature is around 25 C and the humidity is quite high.
Temperatures rise again up to late October when winter starts, which lasts upto Early March.
Winters in Bhopal are mild, sunny and dry, with average temperatures around 18 C and little
or no rain. The winter peaks in January when temperatures may drop close to freezing on
some heights.
 Source: India Meterological Department / NOAA

GROUND FLOOR PLAN

The site for this centre is on gently sloping hill overlooking the lake in Bhopal. The natural
contours of the site have been used to create a series of terraced gardens and sunken
courtyards off which are located a number of cultural facilities, including a museum of
Tribal Arts, a library of Indian poetry (in all the 17 major languages), galleries for
Contemporary Art, workshops for lithography and sculpture, and a studio for an artist-in-
residence.
In addition, the 8000 sq.m. of Bharat Bhavan houses a full-fledged theatrical repertoire
company and facilities for the performing arts, including the Antrang (indoor auditorium),
and the Bhairang (open air amphitheatre), overlooking the lake. Lighting and ventilation
within the building are provided by top lights (from the concrete shells and from slots along
the terrace have two sets of shutters: the inner ones consisting of a combination of fixed glass
and operable panels for light and ventilation; the outer ones consisting of large wooden doors,
closed at night for security.

ON-SITE OBSERVATION [Horizontal Plane]

DEPRESSING THE BASE PLANE, CREATING FIELD OF SPACE WITHIN LARGER SPATIAL CONTEXT

STEPS PROVIDING SEATING AROUND THE COURTYARD

DESIGN APPROACH
 The horizontal plane in the court is break up into various levels by depressing the
larger portion of the court, to break the scale of the space.
Thus one perceives court as a square depressed plane though it is rectangular with
steps leading down.
Elevating or Depressing the portion of base plain, creates a field of space within a
larger spatial context.
Two flight of steps descending down from the level of ground to be entrance court
gives the feeling of into ward nature of the built form.
The steps in Antarng Court and Roopankar court resembles the Bathing Ghats made
out of stone. Thus central space becomes the performance area and the steps for
seating.

ON-SITE OBSERVATION [Vertical Plane]

ENTRANCE STEPS FLANKED BY VERTICAL WALLS

BREAK IN HORIZONTAL PLANE OF THE COURTYARD TO BREAK THE SCALE

DESIGN APPROACH
One climbs down the court, to discover the play of court through its arrangement,
framed by the huge width of openings in the vertical planes.
 Huge size of openings on the vertical plane reduces the sense of enclosure and ensures
the visual connection to the other courts.
Also the openings framing another openings ensure the visual connectivity of the
closed functions around the court from the court. It also guarantees the easy flow and
movement of the people as this is a museum and the place for the people.
Large size of openings are largely used in museums and public buildings, when there
is a large flow of movement taking place at the same time. This idea of large openings
gives character to the built form and are outcome of the architects conscious decision
giving building to the language of the architect. Also large opening gives institutional
character to the building.
As one enters the building, the absence of any vertical planes, makes one think about
the existence of the building.
Approaching the sky and the view of the river framing the view, one starts getting
glimpses of the existence of the building through the depression in the floor plan with
steps leading down to the enclosed open to sky courtyard flanked by vertical planes
on the three sides.
The long entrance steps flanked by 2 parallel walls, give an expression of monumental
entrance to the building, highlighting, the sense of entering into the building.
In this building it appears, the Vertical planes are formed due to the excavation into a
solid mass to form the three interconnected courtyards and the surface of these 3
courtyards with the openings leading into the mass gives a sense of passing through
the vertical planes.
This is quite a different experience compared to the architecture of the other
buildings, where vertical planes are due to the presence of screens and the walls
guiding the movement and organisation.

PLACEMENT OF OPENINGS ENSURES EASY FLOW OF MOVEMENT

LITERATURE STUDY SQUAMISH LILWAT CULTURAL CENTRE
ASPECT DESIGN AND STRUCTURAL SYSTEM
LOCATION CALLAGHAN VALLEY, BRITISH COLUMBIA

PROJECT BACKGROUND
The Squamish and Lilwat nations have coexisted respectfully as neighbours since time
immemorial. They have thrived on the bounty of the ocean, the rivers and the land, living in
close relationship with the world around them. Their cultures are grounded in rich, ancient
traditions and continue to grow and evolve in a modern world.
The Squamish Lilwat Cultural Centre was created to preserve their cultures and share them
with others. The building is designed to evoke the longhouse of the Squamish people and the
Istkens (traditional earthen pit houses) of the Lilwat people, with a modern architectural
interpretation.
The Squamish Lilwat Cultural Centre is a showcase for the cultures of the two First nations
whose traditional territories overlap in the Callaghan Valley, where the resort municipality of
Whistler now stands. The cooperation between the Squamish and Lilwat Nations which
dates to ancient times, has now been entrenched in a protocol agreement that enabled them to
become joint clients for this building

SITE PLAN
KEY FEATURES
4.35 acre site are
120 sq.m. (approx. 100 capacity) theatre
150 sq.m. approx. exhibition arena
720 sq.m. approx. great hall
Secondary gallery space, workshop area, gift shops, cafeteria, curational and
administration spaces.
400 sq.m. south front car parking
Design implemented following the Leadership in Energy and Environmental Design
(LEED) program.

DESIGN INFERENCES:
1.The building is three storeys in height and radial in plan.
2.On the exterior, local ledge stone forms a plinth beneath a window wall along the north
side, while prefabricated, western redcedar-sliding panels, clad the other elevations.
 GROUND FLOOR PLAN (NOT TO SCALE)

3.The main entrance, with its intricately carved western red cedar doors, is located to the east,
and leads visitors directly into the light-filled Great Hall.
4.This dramatic, double-height space features dugout canoes and massive, western red cedar
spindle wheels suspended from the ceiling beams.
5.The suspended glazing system for the north wall also posed technical challenges. Because
of the shrinkage across the grain, the suspension system could not be hung from the beams,
but rather had to be bracketed off the columns.
6.The stainless steel rods needed to be pre-tensioned to 680 kg between the bracket and the
concrete slab, so that they would not stretch when the weight of the glass panels was added.
Bow trusses were introduced where the glazing system could not be fastened to double
columns.
7.The bow of the truss resists horizontal loads, while the elliptical steel section resists torsion
forces. A slip joint at the top allows for vertical movement of the assembly.
8.The prefabricated roof panels consist of 12 (300 mm) wood I-joists and plywood top and
bottom skins with the internal voids filled with foam insulation.
9.Although the spans vary from 9 to 12 ft (2.8 to 6m), all the panels are the same depth. This
was achieved by varying the gauge and spacing of the I-joist structure.
10.A 6 (150 mm) void was left along the edges of the panels to facilitate access for direct
nailing to the supporting beams.
11.The voids were then filled with spray insulation. The upturned eave disguise the parapet
that is used to retain snow on the roof of the building.