CHALCHITRA KALA BHAWAN Permanent venue for the International Film Festival of India in Goa Submitted by:~ Rishabh Wadhwa Guided by- ‘Ar Raunak Prasad & Ar. Bineet Chhajer SCHOOL OF ARCHITECTURE & DESIGN Faculty of Design Manipal University Jaipur December, 2017CERTIFICATE, We hereby certify that the Thesis Report entitled “Chalchitra Kala Bhawan’, prepared by Rishabh Wadhwa under our guidance, be accepted as a requirement for the partial fulfillment of the Degree of Bachelor of Architecture Dated: 14% Dec. 2017 Ar. Bineet Chajjar Ar, Raunak Prasad Guide Co- Guide Prof, Sunanda Kapoor Prof. (Dr.) Madhura Yaday Thesis Coordinator Director External Examiner“What ever good things we build, end up building us” -Jim Rohn. When I started this project, I thought I knew it all, I thought I had learned everything, I truly believed that the my dissertation would just be a stage for showcasing my talents The journey from then to now has been nothing short of humbling. At each point while designing, I made mistakes, I learned to ask for help & I learned to accept it. The project has developed in me the virtue of patience and the courage to be wrong and to accept it, and for that I am forever gratefulACKNOWLEDGMENT First and foremost, I have to thank my thesis guides, Ar. Raunak Prasad & Ar. Bineet Chajjar. Without their assistance and dedicated involvement in every step throughout the process, this project and the report would have never been accomplished, I would like to thank you very much for your support and understanding over these past four years. 1 would also like to show gratitude to all the professors who have guided me throught the process, including Prof. Madhura Yadav, Prof: Sunanda Kapoor, Ar. Shamini Shankar & Ar. Anil Baraya. I would also grab this opportunity to express my sincerest gratitude to the institution of Manipal University Jaipur, that gave me the platform to successfully complete this project. Getting through my dissertation required more than academic support, and I have many, many people to thank for listening to and, at times, having to tolerate me over the past five years, I cannot begin to express my gratitude and appreciation for their friendship. 1 will take this opportunity to thank all my classmates, my seniors and my juniors for constantly believing in me and for being honest in their reviews to help me become a better designer and a person. Most importantly, none of this could have happened without my family. To my parents and my sister— it would be an understatement to say that, as a family, we have experienced some ups and downs in the past five years. Every time I was ready to quit, you did not let me and I am forever grateful. This dissertation stands as a testament to your unconditional love and encouragement.Table Of Contents Chapter 1 : Synopsis 1.1 Introduction 1.2 Reasons for proposing this project. 1.3 Reasons for choosing this project 1.4 Aim & Objectives 1.5 Scope of the work 1.6 Methodology. 1.8 Possible Case Studies 1.7 Proposed Site Chapter 2 : Library Study 2.1 International Film Festival of India 2.1.1 IFFI Venues 2.1.2 The Ticketing system at the [FFI 2.1.3 Masterclasses & Workshops 2.1.4 Laser projections. 2.1.5 Other events at IFFI 2.1.6 IFFI & Goa. 2.2 Entertainment Society of Goa Chapter 3 : Case Studies 3.1 Nandan Complex 3.1.1 Reasons for selection of this ease study. 3.1.2 The Site 3.1.3 History 3.1.4 Site Planning 3.1.5 Site Zoning, 3.1.6 User behavior & site sections 3.1.7 Buildings on site 3.2 Palais de Festivals, 3.2.1 Reasons for selecting this case study 3.23 History 3.2.4 Reasons for selecting this case study 3.2.2 The Site 3.2.4 Zoning & floor plans. 12 12 12 13 13 4 15 16 16 7 7 18 21 21 21 22 23 24 29 29 30 30 30 30 32 34 36 38 39 39) 39 39 423.2.5 Various areas within the building, 3.2.6 Building Circulation. 3.2.7 Axillary funetions within the building 3.3 Comparative Analysis, Chapter 4 : Site Analysis & Program Formulation 4.1 The context of Goa 4.1.1 Goa. 4.1.2 Site Connectivity 4.1.3 Geography & Climate 4.1.4 Subdivisions. 4.1.5 Flora & Fauna 4.1.6 Demographies & population. 4.1.7 Religion. 4.1.8 Culture. 4.1.9 Architecture 4.2 Site Analysis 4.2.1 Location & Size 4.2.2 Site Surroundings 4.2.3 IFFI venues & the proposed site. 4.3 Program Formulation ‘Chapter 5 : Design Concept & Evolution 5.1 Understanding the Site 5.2 Beginning of the Design : Setting the parameters 5.3 Zoning of Individual Function. 5.4 Final Zoning of Proposed Project 5.5 Concept - The Pedestrian Boulevard 5.6 Layout development 5.6 The Design Chapter 6: References 43 44 45 52 52 52 52 53 33 S4 55 355 56 59 62 62 63 65 7 7 7 78 80 85 85 85List of Figures Figure 1.1 : Logo for the [FFI 12 + Figure 1.2 : Logo for the Entertainment Society of Goa 12 + Figure 1.3 : Logo for tourism department of Goa. 12 + Figure 1.4 : Picture collage for IFFI 13 + Figure 1.5: Inox in Goa during the IFFI. 14 + The Inox in Goa was specially constructed for the IFFI in goa, in 2004. With a total of 4 screens, the multiplex has a capacity of 1272 screens, 14 + Figure 1.6 : Methodology Map for the project 15 + Figure 1.7 ; Google earth images with the site Marked. 16 + Figure 2.1 : Opening ceremony for the 46th IFFI 7 + Figure 2.2 : Old GMC building during IFFI 7 + Figure 2.3 : Inox plaza decorated and prepared for an outdoor event 7 + Figure 2.4 : Old GMC building decorated during the IFFI, with beautiful hanging lights. 17 + Figure 2.6 : View of the Kala Academy 18 + Figure 2.6 : View of the Kala Academy 19 + Figure 2.7 : View of the Inox, Goa 19 + Figure 2.6 : Corniche stretch during IFFI 20 + Figure 2.8 : Miramar beach, Goa. 20 + Figure 2.7 ; SPM stadium during IFFI. 20 + Figure 2.9 : Old GMC building, Goa 20 © Figure 2.11 : Ticketing at IFFI 21 + Figure 2.10: Laser projection on the Old GMC building, Goa 21 + Figure 2.12: Various installations at the IFFI 2 + Figure 2.13 - IFFI venues on the Google earth satellite image of Goa 23 + Figure 2.14: ESG offices during IFFT 24 + Figure 3.1 : Nandan logo by Satyajit Ray 29 + Figure 3.6 : Google earth image of the site. 29 + Figure 3.6 : Site Plan of Nandan complex 29 + Figure 3.2 : Paschimbanga Bangla Akademi 29 + Figure 3.3 : Nandan theater 29 + Figure 3.4 : Rabindra Sadan 29 + Figure 3.7: Pie chart showing the built to unbuilt relationship. 30 + Figure 3.8 : Pie chart of open spaces 30Figure 3.9: Vehicular movement pattern within the site 3 Figure 3.10. Pedestrian movement pattern within the site. 31 Figure 3.11: Site plan showing different zones according to use 32 Figure 3.12 : Site plan with buildings demarcated 34 Figure 3.13 | Nandan cinema 34 Figure 3.14: Nandan cinema 34 Figure 3.14: Paschimbanga Bangla Akademi (night) 35 Figure 3.16: A view of the Sisir Mancha (night) 35 Figure 3.17 A view of the exhibition gallery (night) 35 Figure 3.19 - A view of the bookstore at Nandan complex. 35 Figure 3.15: Paschimbanga Bangla Akademi (day), 35 Figure 3.18» A view of the exhibition gallery (day) 35 Figure 3.20 - A view of the natural lake on the site 35 Figure 3.21: Site plan showing user gathering areas 36 Figure 3.22: Views from various view-points marked in figure 3.21 36 Figure 3.30: Statue of Rabindra Nath Tagore in front of the Rabindra Sadan. 36 Figure 3.23: Overlaying of user gatherings on pedestrian movement pattern. ....37 Figure 3.27: Bookstore at the rear entrance of the complex. 37 Figure 3.26; Ticket counter for Rabindra Sadan. 37 Figure 3.24: Section at GG" 37 Figure 3.24: Section at GG? 37 Figure 3.29: Statue made out of a tree trunk, hence creating public art and an informal seating space 37 Figure 3.25: Informal seating around trees created on site. 37 Figure 3.28: People sitting outside the Nandan Theatre (Informal Seating) 37 Figure 3.31 : Logo of Cannes Film Festival 38 Figure 3.35 : Google earth image of the site. 38 Figure 3.36 : Site Plan of Nandan complex 38 Figure 3.32 : Palais de festivals during Cannes Film Festival 38 Figure 3.33 : Red carpet entrance 38 Figure 3.34 - Theater at the Cannes Film Festival 38 Figure 3.37 : Palais de Festivals during Cannes Film Festival 40 Figure 3.38 : Pie chart showing the built to unbuilt relationship. 40 Figure 3.39: Vehicular movement pattern within the site 41Figure 3.40 > Pedestrian movement pattern within the site 41 Figure 3.42; Pie chart showing the breakdown of various functions and the vertical zoning within the building 42 Figure 3.41 : Floor plans of Palais de festivals, showing the zoning and the various functions spread out vertically 42 Figure 3.46 : A schematic section of Theater Claude Debussy B Figure 3.48 : A schematic section of the Room Estere 4B Figure 3.45 : A view of Theater Claude Debussy 43 Figure 3.47 : Room Estere 43 Figure 3.43 : A view of Auditorium Louis Lumiere 43 Figure 3.44 : A schematic section of the Auditorium Louis Lumiere. 43 Figure 3.49 - Auditorium A 44 Figure 3.51 : Building circulation in Palais 44 Figure 3.52 : Casino at Palais de Festivals 44 Figure 3,53 : Tourism Office Cannes. 44 Figure 3.50 - Auditorium K. 44 Figure 4.1 : Climatic data for Goa 3 Figure 4.2 : District map of Goa 34 Figure 4.3 ; Coconut trees of Goa. 35 Figure 4.7 : Languages spoken in Goa. 35 Figure 44 : Baur, Goa’s state animal 38 Figure 4.8 ; Hindu Christianity memorial at Miramar beach. 35 Figure 4.5 : Ruby throated yellow bulbul 55 Figure 46 : Population of Goa through the years 35 Figure 4.9 : Goa Konkani dance 56 Figure 4.10 : Jagor, dance-drama in Goa. 37 Figure 4.12 - Modern theater in Goa. 57 Figure 4.11: Tiatr, Goa 37 Figure 4.13 : Kala academy theater, Goa. 37 Figure 4.11 ; Natak, Goa 57 Figure 4.14: Goan fish curry 58 Figure 4.15 - Goan pork vindalho 58 Figure 4.16 : Goan feni 58 Figure 4.17 » Architecture in and around the city of Panjim, 61Figure 4.18 » Google earth location of the site 3} Figure 4.19 : Google map location showing the surrounding context of Goa 63 Figure 4.20 : Buildings near the proposed site 63 Figure 4.21 : Cad drafted plan of the site showing the building uses nearby the site. 64 Figure 4.22 : Google earth image showing the proposed site with the current IFFI venues 65 Figure 5.2 : Schematic plan of site showing the various zoning parameters considered 7 Figure 5.1 : Google maps showing the site. 7 Figure 5.3 : Schematic plan showing the site divided into a grid 78 Figure 5.4: Schematic plan showing the zoning for large auditorium 78 Figure 5.5 : Schematic plan showing the zoning for small auditoriums. 78 Figure 5.6 : Schematic plan showing the zoning for the multiplex 9 Figure 5.6 : Schematic plan showing the zoning for the multiplex 79 Figure 5.7 : Schematic plan showing the zoning for large VR & 3D simulation .....79 Figure 5.9 : Schematic plan showing the zoning for the offices. 9 Figure 5.10 : Schematic plan showing the zoning of the hotel. 80 Figure 5.11 ; Schematic plan showing the zoning for motel + market. 80 Figure 5.12: Schematic plan showing the zoning for drive in theater 80 Figure 5.13 : Zoning option 1 82 Figure 5.15: Zoning option 3 82 Figure 5.17 : Zoning option 5 82 Figure 5.14: Zoning option 2 82 Figure 5.16 : Zoning option 4 82 Figure 5.18 : Zoning option 6 82 Figure 5.19: Final Zoning Output 84 Figure 5.20 : Concept sketch 85 Figure 5.21 : Concept sketch, Setbacks 85 Figure 5.22 : Concept sketch, Pathway. 85 Figure 5.23 Concept sketch, Focal Points, 85Table 3.1 ‘Table 3.2 Table 3.3 Table 3.4 Table 3.5 Table 3.6 ‘Table 3.7 ‘Table 4.1 Table 4.2 Table 4.3 Table 4.4 Table 4.5 Table 4.6 Table 4.7 Table 4.8 ‘Table 4.9 Table 4.10 Table 4.11 Table 5.1 Table 5.2 of Tables Area statements and percentage uses of different functions on the site. ‘Comparative analysis and Inferences Table 1 ‘Comparative analysis and Inferences Table 2 Area analysis and Inferences Table 1 Area analysis and Inferences Table 1 Area analysis and Inferences Table 3 Area analysis and Inferences Table 4 Program Formulation 1 Program Formulation 2 Program Formulation 3 Program Formulation 4 Program Formulation 5 Program Formulation 6 Program Formulation 7. Program Formulation 8 Program Formulation 9 Program Formulation 10 Program Formulation 11 Zoning Table Zoning comparison table. 33 45 47 48 49 50 51 66 67 68 69 70 7 2 3B 74 75 76 81 83Chapter 1: Synopsis tn 1.1 Intreduction i The Ist edition of International Film Festival (IFF1) of 47th India was organized by the Films Division, Government Internationa! oF india, with the patrona Finke (Os, wi he pee of India,Goa of India, Held in Mumbai from 24 January to 1 February Figure 11: Logo forthe FL 1952, the Festival was subsequently taken to Madras, Delhi and Calcutta. Since its beginnings in 1952 the IFFI has been the biggest event of its type in India. ‘Subsequent IFFI’s were held in New Delhi. In 2004 the IFFI was moved to Goa, Since then the IFFI has been TEMANNENTSOEIEWOFGOX) 27 annual event and competitive. In 2013, Goa was announced as the permanent lo yan me emeromert then the team of IFFI along with the Entertainment Society of Goa (ESG) have been planning to create a permanent facility for the IFFI in Goa. ‘The project is proposed by the Entertainment Society of Goa. To be COX designed in Dona Paula, Goa, the government allotted a site of62 acres for the construction of the whole facility A permanent facility for such an event will not just Figur 13:Logotor tourism department be a project to create some mere “convention halls” e of the first Prime Minister tion for IF. Since a Tourism Department Recruitment 2016] or ‘theaters’, the design needs to be a celebration of the arts, specially film making, and needs to be an identity of the journey that has been taken, both by the film industries and the festival itself. Moreover IFFI brings in heaps of Intemational tourists each year and hence the design will be the image of India they take back. Henceforth the opportunity to design this facility comes with an immense responsibility, to design it in a way that functions beautifully and is captivating to look at ‘A design that can become the identi to India for the festival, an identity of India of the festival, and for those tourists who just come ‘1.2 Reasons for proposing this project The IFFI will hold its 48th edition in 2017. Started in 1952, the festival has grown by leaps and bounds to become one of the most significant festivals of its kind in Asia. The festival brings in more than 8000 delegates, and each year this number keeps on increasing. (CHALCHITRA KALA BHAWAN nFigure 1.4: Picture colage for FFL The festival is currently held at multiple locations namely + Kala Academy (capacity ~ 925) + Inox Screens (capacity 1517 in 5 screens) + Maquinez Auditorium (capacity 80 people) ‘The venues are not completely able to handle the amount of visitors that come in, Furthermore, as the festival grows more and more each year, the number of visitors is only going to increase and a new facility is needed that can completely accommodate the same. Also the various venues listed above are all located at different regions, hence to watch their favorite films, the delegates sometimes spend a lot of time in commuting from one place to another. A single facility will facilitate the movement between different venues and make handling of people within the facility a little easier. 1.3 Reasons for choosing this project The International Film Festival in Goa has risen to new heights and brought a lot of international fame not just to India as a country but to the film fraternity in general, Hence this project not only invites the designer to build an Entertainment complex, but it demands an architecture that in become an identity of creativity and technology in India, Set within the 4 Aim & Objectives picturesque location of Goa, the project demands to be a showcase of not just what Goa has to offer, but it has to become a monument to the film fraternity, to the film festival of India and a brilliant piece of sculpture to catch the attention of all the international delegates who visit India just for the festival. Aim — To design a permanent facility for the IFFI in Dona Paula Goa that is visually as captivating as it will be functionally fluent. Objectives: + Understanding the format of the festival and creating a detailed prog am that would be B [MANIPAL UNIVERSITY JAIPURrequired in the functioning of the festival Understanding the inflow of traffic into the festival and designing theaters, auditoriums and convention halls to house the amount of people Creative auxiliary facilities that would help run the festival smoothly (food joints, ete) Studying the surrounding context and immediate surroundings to deal with issues of culture, socie Figure 15 :Inox in Goa during the IF and ‘The Inox in Goa was specially constuct- for the IFFin goa, in 2004, With 3 total of 4 screens the multiplex has a capacity of 1272 screens site considerations, if any are to arise 15 Scone of the work The total fa envisaged would require the design of the following:- Convention Hall Auditoriums (varying capacities) Multiplex with 4 Hotel (300 keys) Institution with screening rooms screens Exhibition Areas Offices (IFFI& ESG) Food Plaza Retail Areas Open air sereening areas Creating an activated urban environment to house the various functions Scope of the project: To develop a site plan understanding all programs individually & the relationship between the various programs listed To design layouts for all the various programs up to a conceptual stage, ie, not detailed drawings To select a function or multiple functions to detail out the various building services, structural details & any other details of the building(s). Finding forms that are distinet yet speak to each other, ereating an outdoor environment that is distinct, varied and interactive (CHALCHITRA KALA BHAWAN "1.6 Methodol Figure 16 : Methodology Map for the projectFigure 1.7: Google earth images withthe site Marked 18 Possible Case Studies 1.7 Proposed Site ‘The proposed site is situated in Dona Paula, Goa. The site is located next to Goa University, right in front of the International Center. The total area of the site is approximately 62 acres, ‘The site was initially given for the development of the Rajiv Gandhi IT Park, but in 2013, due to some issues with the development of the scheme, the land was taken back. In 2014, the talks for a permanent venue were already underway and so the land was given to the ‘Entertainment Society of Goa’, for the development of the permanent facility for the IFFI. The site was already developed for the IT park and some roads were constructed within the site. Some of these roads are connected further, becoming a part of the transportation grid. ‘The following are the literature case studies that need to be read and analyzed:~ + Cannes Film Festival, Cannes, France. To analyze the permanent facility built for the festival. To critically analyze the various functions within the building and to form a program for the project understanding the international standard, + Kolkata Film Festival, Kolkata, India. To understand the film festival complex at Kolkata, To understand the various funetions and the outdoor experience provided by the built environment to understand user behavior in the space. (CHALCHITRA KALA BHAWANChapter 2 : Library Study 2.1 International Film Festival of India Figure 23: nox plaza decorated and prepared for an ‘outdoor event Figure 24: Old GMC building decorated during the FFL ‘with beautiful hanging lights, The ‘International Film Festival of India’, which is Asia’s oldest film festival, started way back in 1952. The Ist edition of IFFI was organized by the ‘Films Division’ Government of India’, with the patronage of the first Prime Minister of India. Held in Mumbai from 24 January to 1 February 1952, the Festival was subsequently taken to Madras, Delhi and Calcutta. Inall ithad about 40 features and 100 short films. In Delhi, the IFFI was inaugurated by Prime Minister Pt Jawaharlal Nehru on 21 February 1952. TheIFFlaimsatprovidingacommon platform for the cinemas of the world to project the excellence of the film art, contributing to the understanding and appreciation of film cultures of different nations in the context of their social and cultural ethos, and promotin friendship and cooperation among people of the world. Today IFFI is the biggest film festival of the country, inviting hundreds of entries from all around the world. IFFI is one of the fifteen FIAPF (Federation international des Associations de Producteurs de Films) accredited film festivals around the world in the competitive category, and the only Indian film festival in this elite group. The festival traveled to different parts of the country till 2003 when it was decided to give it an identity of its own. This was decided looking at all the major festivals of the world. 1 [MANIPAL UNIVERSITY JAIPURWith the exception of Sun Dance, festivals around the world are identified with the city where they are held, be it Cannes, Toronto, Venice or Karlovy Goa was chosen to host the festival, as very few places in India have the kind of established brand name that Goa does. The splendid locales and the melange of culture in this tiny state create the perfect ambiance for delegates to enjoy films and exchange ideas, Back in 2004, the then Chief minister of Goa, took the initi e to move IFFI to a en though Goa provided splendid and picturesque views and a vibrant culture that would perfectly match with the format of IFFI, there were a few problems that stood in the way. Goa did not have the infrastructure to host a festival of this magnitude, and furthermore Goa did not have a film culture. To counter the problem for the infrastructure, an Inox multiplex and other infrastructure projects like the new Patto Bridge were built in just a period of six months, a record time Figure 26: View ofthe Kala Academy (CHALCHITRA KALA BHAWAN ® As for the film film clubs flourishing in Goa and even the weekly releases at the multiplex are met with tremendous enthusiasm. Moreover, the ture in Goa, there are now number of Konkani films made is going up every year and the scenario is brighter than ever before. IFFI has changed and developed Goa into a thriving cinematic industry, with enthusiast traveling from all over India ‘The IFFI team along with the “Entertainment Society of Goa’ or ESG make arrangements, to hold the festival every year since 2004. In 2014, the ESG decided to have a permanent venue to host the IFFI, Around the same time the land given for the development of the Rajiv Gandhi IT Park was taken back by the government and given to the ESG for the development of a complex for the IFFI, There hasn't been much activity on the project since, but the ESG had initially planned to have a facility ready for hosting IFFI 2019, + Maquinez Palace The Palace of Maquinez or Palacio dos Maquinez was built in 1702 and originally belonged to two brothers, Diago da Costa de Ataide e Tieve and Cristovam da Cost de Ataide e Tieve, known as the Maquinezes. In 1842, the Portuguese used the nearly 150-year old Palace to house a medical institution ~ GoaMedical College that was later occupied by the Dept. of Food and Drugs Administration, Govt. of Goa. Today, in its new refurbished avatar, the Palacio dos Maquinez houses the offices of the Entertainment Society of Goa. During the festival, the Maquinez Palace not only functions as the administrative base of the ESG, but also hosts master classes, workshops, film sereeni + Kala Academy Figure 26: View ofthe Kala Academy The cultural hub of Goa, the Kala Academy was established in 1969, and functions as the principal institution for the promotion of art and culture in the State of Goa Designed by Charles Correa, itis situated on the banks of the River Mandovi along the Panaji-Dona Paula road. The Kala Academy has become a cultural attraction for tourist and locales alike since its opening, With shows planned every other week, the black box theatre within Kala Academy draws a multitude of people During the festival, one can find at Kala Academy: the delegate registration desk, the delegate kit Desk, ticket counters, film black box screenings auditoriums, the theatre + Inox Multiplex Figure 27: View ofthe Inox, Goa Built in a record time of 100 days to host the 35th Intemational Film Festival of India, Goa, 2004; the multiplex theatre is situated behind the Old GMC complex ~ a perfect blend of modern technology using Goan architectural sensibilities. On par with international standard movie equipment in a state-of-the-art setting, the Multiplex hosts four auditoriums with a total seating capacity of 1,272 seats. The introduction of the hall has transformed the cinema culture in Goa. as it not only attracts the Goan population to watch Bollywood releases, it also projects various Konkani films. During the festival, Inox has the ticket counters, film screenit red carpet events & food village+ Comiche Figure 26: Comiche swetch during IF Set against the riverfront of Campal along the River Mandovi is a one kilometer stretch of tiled footpath built under the canopy of verdant green rain trees. The path is ideally suited for morning joggers or evening walkers. During the festival a walk along the Corniche leads to, the food village, one fest Goa, Cll events + Miramar Beach Bee = srr See ag Fiore 28: Miramar beach Goa The Miramar beach is one of the most beaches of Goa, and widely visited the only beach in Panaji. Along the Miramar beach, the IFFI organizes open air screenings, where popular films are screened for the general public to watch. These screenings are usually of popular Bollywood movies that drag a lot of ‘general public towards them (CHALCHITRA KALA BHAWAN + Dr Shyama Prasad Mukherjee Indoor Stadium Figure 27: SPM stadium during IFA The Dr Shyama Prasad Mukherjee Indoor Stadium or Multipurpose Indoor Stadium is an indoor stadium located in the campus of Goa University at Taleigao. The stadium was constructed for the 2014 Lusophonia Games. The stadium has of 4000. Dur seating capacity the festival, the stadium hosts the opening & the closing ceremony + Old Goa Building Medical College (GMC) Figure 29; O44 GMC bung, Goa The GMC, built in 1927, isthe oldest modern medical institution in Asia, The period look of this building is evident from its Roman ular arched & Neo-classical, semi+ windows, wooden ceilings, Gothic style window panes, porches & pillars resembling the Doric Order. During the festival, the old GMC building is used as the administrative base of the Directorate of Film Festivals2.1.2 The Ticketing system at the IFFI IFFI uses a number of DataKal softwares, including Ticketing and Datakal Starbase which is used at the Cannes Film Festival as well. The whole system works like a regular box office, Whenever someone books a ticket from any of the counter, it gets blocked from Figure 231 Ticketing 3t IF the system and it gets updated everywhere. "™ - The use of a software helps keep track of a lot of data, The rush hours for ts comes between 9AM to I1AM. Since everything is digitalized and fast, this means a shorter waiting line at the ticket booth A shorter line at the ticketing booth, means the traffic and the queue can be controlled easily. That being said, the ticketing counters still do get a rush, hence their positions need to be strategic, and they should be plenty in number for ease of traffic during the festival. 2.13 Masterclasses a Workshops During the festival, there are various masterclasses and workshops organized by eminent people in the cinema industries open to all film enthusiasts, students, directors, actors, cameramen, costume de: ners, ete, These informative workshops and classes are a way to better advance the field of cinema in India and help others get better through experience of various people in the industry. The classes currently take place at the Maquinez Palace, in Goa. The proposed project will require spaces for conducting these ck as well. ses and workshops 2.14 Laser projections In the 47th edition of the IFFI, the festival organizers partnered Barco to project map the old GMC building Using laser technology, the facade of the building was used as a projector screen and brought to life. It was a new technique which is not used in any of the festivals Figure 2.10: Laser projection on the Old » GMC building Goa in India, The massive crowd that the projection brought in also helped realize that is was a crowd pleaser and the next step in moving forward with cinematic entertainment. Hence introduction of similar elements in the project will make it a crowd-pleaser. n [MANIPAL UNIVERSITY JAIPURIn Conversation- During in-conversation sessions, directors, actors and other eminent sw film personalities of cinema world will converse on a various topics, including making techniques, scope for youngsters who seek to enter the field, skill-set required cinema. Co-production: Opportunities and Challeng, - In this segment, co-production seminars are organized, where Indian film producers in collaboration with foreign delegates will discuss the nuances of co-production techniques and scope in the world cine including country specific and global co production case studies, overall discussion and questions & answer sessions Technol I presentations - Cinema technique experts from several promine enterprises in the fields discuss various aspects of new cinema techniques being ir fashion in this age of constantly evolving information technology sector around the world, The session includes latest trends in digital cinema and virtual reality, among othe ficant topics. Open Air Screenings - Open air screenings take place that showcase popular films to draw the general public into the festival foldFigure 213 FF venues on the Google earth sa 2.1.6 [FFI &.Goa The IFFI has changed the culture of Goa since 2004, & at the same time, it has also acquired anew identity from Goa. The IFFlis aten day event but the planning for the same starts off a month before. All preparations start from the start of November itself, and the whole city of Goa starts transforming. A new theme each year is given to the various venues of IFFI & each year one can start the whole city start to change. The city does not just become aesthetically appealing, it becomes vibrant and most importantly, it gets busy. C brities, film fraternities & film ite mage of Goa enthusiasts flood the streets of Goa during the festival, which boosts the local market and restaurants. The city at this time is filled with tourists as not only the IFFI, but musie festivals, the arts festivals & the literature festival, all take place one after another, thus for 3-4 months the city bustles with tourists Furthermore, during winter months, Goa is a much more pleasant sites which already attracts loads of domestic tourists. B [MANIPAL UNIVERSITY JAIPURFigure 2.14: ESG offices during IFFL 2.2 Entertainment Society of Goa In 2004, when IFFI was shifted to Goa the government of Goa, formed the Entertainment Society of Goa nize and ensure the smooth functioning of the festival. ESG aims to frame policies related to entertainment, to help cultivate Goa as a world — class entertainment nerve center of the country. Hosting the festival from its 35th edition, Goa is now the permanent home for the festival with ESG ensuring its functioning ESG works each year to make the festival more and more visible and works to build the brand of the festival. The ers ofthe festival, along withthe ESG, have a vision to bring the IFFI at par with the film festivals of the world (eg, Cannes), goal ensures that the State earns revenue on a long term basis from ventures in film entertainment and leisure projects. The ESG does not just organize the IFFI, but it also works year round to encourage the spread of cinematic entertainment in Goa. ESG works to encourage joint co-productions with international brands in the field of cinema, &branding that focus on entertainment and its allied marketing through ventures activities, Mooted by the Govt of Goa and the Ministry of Information and Broadcasting. Delhi based on Goa’s world reputation as a tourist destination, with its unique flavor of European lifestyle co-existing with multi- cultural ethnic sensibilities, Goa is now thepermanent venue host for the Film Festival. This has invited consensus from internationally recognized organizations, film bodies and elsewhere in India as the ideal venue for IFFI. Building on its mandate to create public consciousness about films and film festivals, the Entertainment Society of Goa endeavors to inculcate a cinematic sense of appreciation and infrastructure to attract international standard film studios, film institutes and build comprehensive facilities and provide services for telecommunications, entertainment and its allied products, through a self-sustaining pattern of revenue generation 2.2. Objectives of the ESG Some of the objectives with which the society is being formed are mentioned below:- + TomaketheStateofGoathe International Entertainment Hub, + To give global visibility and recognition to the State of Goa + To car revenue on a long term basis from ventures in film entertainment and leisure projects + To increase revenue through direct and indirect taxes, levies and foreign exchange inflow and to bring about worldwide recognition to the State of Goa as an ultimate tourism and entertainment destination and maximize the state of Goa’s potential in this regard, * To hold world class entertainment events, exhibitions and expositions, + To indulge in networking and relation building in the interest of entertainment industry in the state of Goa + To conceptualize and develop properties for the Government of Goa for the purpose of entertainment industry To integrate international support. To organize and host International Film Festival in the State of Goa, both competitive and non-competitive To leverage the International Film Festival as an anchor point to create permanent facilities that will enable the State of Goa to create a niche for itself in the realm of world Film Festivals and become known for its uniqueness and distinet character. To develop infrastructure to meet the needs of International Film Festival and bring in global investment. To build up ultra-modern infrastructure to hold International Film Festival, To set up international standards film studios, auditoriums with suitable capacities and training centers and a film institute. To build up comprehensive facilities and provide services fortelecommunications, transportation, parking, —_ banking, MANIPAL UNIVERSITY JAIPURInternet connectivity, power supply, water, sewerage, sanitation ete. + To build up multiplex cinema halls, media centers, screening rooms, auditoriums store room, library ete + To renovate the existing buildings, houses and residential accommodations to meet the requirements of the film festival, other entertainment events, + To conserve and improve the heritage buildings, to develop the water front, pedestrians plaza. + To provide fast media of transport including speed boats, motor boats, steamers, hovercrafis if necessary. + To provide proper sound lighting, video and digital technology, + Toset up food court, shopping mail, arena, + Tomake arrangements for utilization ofall the infrastructure facilities of the International Film Festival by organizing shows, concerts and other events, throughout the year, + To host the film market in a fixed location and invite participation. + To ensure proper attendance of film personalities and draw influential audience and dignitaries from all over the world, + To set up stalls and ensure participation in other film festivals, * To adopt innovative ideas for improving the organizations of film festival every year + To go into co-production and joint collaboration for film production, + To develop year long list of activities suited to maximize revenue for the State of Goa and utilization of infrastructure created + To conduct publicity campaigns through print media, Internet, videos and films and other new medium of communications that integrates information and marketing on a global level. + To form committees, sub-committees for specific purpose tasks + To give awards, prizes and certificates to selected films, concerts ete. in various categories like directors, producers, photographers, lyrics, musicians, acting, + To bring in best companies for facilitation of investment and land development programmes and leisure development projects + In general to do such things or undertake to do such other things from time to time as shall be deemed necessary for the promotion of the ideas and the attainments of the objects of the society subject to approval of the state government. (CHALCHITRA KALA BHAWAN 62.2.1 General’ OTESG Understanding the general body governing the ESG is crucial in forming the program requirements for the offices of ESG, which are a part of the proposed project. The ESG follows the following hierarchy of administrative positions:~ 2.2.2 Goa film archive a film book library Entertainment Society of Goa has set up a Digital Film Archive in Goa which is novel initiative in Asia, with a view to promote a healthy Film Culture in Goa, encourage research on various aspects of cinema and also. preserve cinema + Chief Executive Officer + General Manager + Accounts Manager + Two Officers on Special Duty + Accountant for posterity, The film archive contains Classics, Short Films, Documentaries and Feature Films with currently a collection ofaround 150 Films, films from the1930°s and also films that have won accolades at + Hospitality Administrator International Film Festivals and we are * Accounts Manager + HR + Technical Manager + Transport Manager + Marketing Manager + IT Manager 2.23 Other Spaces of the ESG ‘The following spaces within the offices of ESG are used and maintained to be rented out hence the following spaces need to be accommodated for within the proposed continually acquiring more films for the archive. Understanding this service given by the ESG allows the proposed design to have spaces to accommodate the same, this making the design better equipped to handle all the functions of the ESG design * Media Center - The ESG Media Center is capable of catering to all the needs of the media, including private cubicles and separate internet connection stations. The media center is also equipped with Video Conferencing facility * Conference Room - Located in the maquinez Palace annexe, the air conditioned press conference room offers state of the art facilities for conducting press conferences with a seating capacity of 47 with a compact sound system, cordless mikes, sound console and comfortable fixed seating arrangements with glass holder seats, and space for backdrops. The venue has served as the official press briefing area for the International Film Festival of India. + Film Theaters - The two Film theaters are equipped with state of the art projection a MANIPAL UNIVERSITY JAIPURfacilities (Film projection, Digital projection with Dolby DTS Surround sound). The projection facility is equipped to handle all screen ratios and formats. The seating capacity of the theaters is 232 and 80 seats respectively. The theaters are ideal venues to carry out film premieres, screenings, presentations, film festivals, shows, launches and musical shows. These theaters have served as the official venues of the International Film Festival of India + Art Gallery- The ESG art gallery serves as an ideal place to exhibit art works. This fully air conditioned art gallery is highly accessible but peaceful. Equipped with different lighting options, the gallery is part of the Maquinez Palace in the ESG campus (CHALCHITRA KALA BHAWAN 28Chapter 3 : Case Studies 3.1 Nandan Complex Figure 34 :Nandan logo Figure 32: Paschimbanga Bangla Figure 33:Nan- Figure 34: Rabindra Sadan by Satyajit Ray Akademi ddan theater Nandan is a government-sponsored film & cultural center in Kolkata, India. The primary aim of the cultural hub is to encourage & facilitate cinematic awareness in society. The complex, besides being a modern cinema and cultural complex, is a popular destination for the young and the aged alike Figure 26: Ste Pian of Nandan complex3.1.1 Reasons for selection of this case study ‘The Nandan Complex was specifically modified with the addition of Nandan Cinema, to cater to the Bengali Film Festival. The complex is designed such that it holds a variety of functions, From Cinema hall, to theater, from offices, to institutions, the complex eaters to a variety of users of varied taste and age groups. Further, the complex incorporates natural features existing on site to create plazas, scenic views and informal seating spaces that are enjoyed by people in massive numbers during the evenings. Hence this study is not only a perfect model to study from, because of its functions, but it also gives an opportunity to study user behavior and preferences in such a built environment and how to plan the spaces to further enhance the user experience ‘3.12 The Site The site is located in South Kolkata, next to the Vietoria Memorial Complex. The placement of the site encourages the flow of tourists to visit the site, but the various activities & the spaces in the complex invite the locales to its gates all year long, The site is next to a natural water body that provides a scenic view from within the site, Located next to the Arts Center, the site because of the nature of its building use, invites a lot of people involved in fields of art, Within the Complex there are Cinemas, theaters, offices, exhibition spaces, food retail outlets, bookstore and an institutional building, 3.13 History ‘The Rabindra Sadan, built in 1967, was the first building in this complex. Further there ‘was the addition of the Sisir Mancha and other buildings. The Nandan Cinema, which was specifically built to meet the needs of the Kolkata Film Festival, was constructed in 1985. The Cinema and the complex asa whole went through additions and changes. The complex was used as a venue for the Kolkata Film Festival till 2010, but since 2011 the festival has been shifted to Netaji Indoor Stadium. 3.14 Site Planning | ~Y Since the complex was not constructed at once 71% but in different stages, a clear site Planning concept does not seem to emerge. All the mrs Must eras ma) various buildings in the complex have different pigire 37: Be architecture styles and elements and it becomes fYitrounbue MMIC. pi chart of open clear on the site that the Nandan cinema is the ‘orship. spaces (CHALCHITRA KALA BHAWAN 30_ newest construction. Nandan The nema in some ways dominates the complex and has become the identity of the site. Even though the site was not planned at once, the spaces left are beautifully used to draw crowds of people into the complex. The clubbing of trees with local vendors on site sets an inviting environment, specially during the day time, with ample of shade available About 30% of the site is left for green spaces which are di rributed all along the site Total site Area - 5.2 Actes Total Ground Cover - 29 % Total Parkit Units on Site - 50 HHITRA KALA BHAWAN Figure 3:11: Site plan showing diferent zones according to use 3.15 Site Zoning Figure 3.11 shows the different functions on the site & their locations on the site. Table 3.1 shows the different areas is meter square & per ntage with respect to site of various functions, From these figures one can understand the site zoning. understanding the division of various functions on site and their placement with respect to each other and the environmental context, Also the percentage area covered by each function can be understood on site. Hence one can deduce the following:- + Total GC - 29.35% + Total Circulation - 40.30% + Total Green Areas - 20.63%Green Areas 20.63 Table 31: Area statements and percentage uses of dit ferent functions on the site Parking 731 03.16 Retail 136.54 00.59 Food Outlets 166.87 00.72 Toilets 120 00.52 Office 1184) 05.12 Water 14ai3 06.23 ‘Auditoriums 3483.5) 15.06 Cinema Theater 1413 06.10 Exhibition Space 2775 01.20 Institutional Space 318 01.38 Roads & Circulation 40.30 MANIPAL UNIVERSITY JAIPUR1-Rabindra Sadan 2- Nandan 3 Paschimbanga Bangla Akademi 4- Food Outlets Ticket Booth 6 Bookstore 7- Park (Landscaped Area) {8- Plaza with Informal Seating 9- Office 10-Sisir Mancha, 11- Tots 12- PWD Office 18 Gagenendra Shilpa Py 114- Kokata Information, Figure 312: Site plan wth buildings demarcated 3.1.6 User hehavior a site sections + Nandan Nandan is a government-sponsored film and cultural center in Kolkata, India. The primary aim of the cultural hub is, to encourage and facilitate cinematic awareness in society It includes a few comparatively large screens housed in an impressively designed building Building Use — Cinema Total Capacity ~ 940 Figure 313: Nandan cinema + Rabindra Sadan Rabindra Sadan is a cultural center and theatre in Kolkata, located near the Nandan cinema and cultural complex and the Academy of Fine Arts on AJC Bose Road in South Figure 314: Nandan cinema (CHALCHITRA KALA BHAWAN uKolkata Building Use — Theatre Building Capacity — 1101 seats Size — 11.6m x 14.6m + Paschimbanga Bangla Akademi - Paschimb: nga Bangla Akademi s the official regulatory body Figure 314: Paschimbanga Ban- of the Ben; la Akademi (night) in West Bengal. The entry to the stitution is restricted by an internal gate within the complex Building Use — Institutional + Sisir Mancha Sisir Mancha is an auditorium located in AJC, Bose Road Kolkata, West Bengal, India This auditorium is regularly used for Bengali theaters. Building Use — Theatre Building Capacity ~ 412 seats 5 Figure 217: view of the exhiti- + Gaganendra Shilpa ion galery right) Pradarshashala The interesting exhibits. presented by this gallery make it a favorite haunt of the art-loving public. This gallery is a hub of Figure 319: A view ofthe book: store at Nandan complex a a \ 8 Figure 3.15: Paschimbanga Ban- gf Akader (ay) Figure 3.18: Aview ofthe exhib tion galery (day) Figure 320: Aview ofthe natural lake on the steFigure 3.21: Site plan showing user gathering areas 3.1.1 Buildings on site Figure 3.21 shows the user gathering areas & the intensity of gatherings. Cross examining this with the pedestrian circulation pattem as (Figure 3.23) , we can see that the major gatherings happen at nodes where different pedestrian paths cross. These areas further have various informal seats & food joints to further enhance user experience & retain the users in these areas for longer. Figure 322: Views from various view-points marked in igure 3.21Figure 323: Overaying of = user gatherings on pedes Figure 3.25: Informal seat tran movement pattern ing around tres created Figure 326. Ticket ‘counter for Rabindra The two section views Flour 2s Sectlen at Ge provide an insight on Figure 229 Statue made out of tee turk hence creating puble art and an informal and the : seating space the arrangem environment created on Figure 324: Section at 66FESTIVAL DE CANNES| Figure 31: Logo of ‘Figure 232: Palais de festivals ‘Figure 233: Red Figure 224: Theater atthe Cannes Fl Festival during Cannes Fra Festival carpet entrance Carnes Film Festival The Cannes Festival , named until 2002 as the International Film Festival (Festival international du film) and known in English as the Cannes Film Festival, is an annual film fe previews new films of all genres, including tival held in Cannes, France, which documentaries, fom all around the world. Founded in 1946, the invitation-only festival is held annually (usually in May) at the Palais des Festivals et des Congrés Figure 336: She Plan of Nandan complex3.2.1 Reasons for selecting this 3.2.2 The Site study The site is located in Cannes, located at Cannesfilm festival isoneoftheoldestand the top of blvd. de la Croisette, east of the one of the most prestigious film festivals pot, Being near a port, the building offers in the world. The study of this complex spiendid views of the sea, & also provides provides an insight into the program of film festival of an international standard. The IFFI aims to be at par with the top film festivals in the world and follows an access from the sea so the users can come to visit the festival with boats. The various buildings around the Palais de Festival, since its construction and success, have a format similar to that followed by the been converted into Hotels, Inns, cafes, Cannes Film Festival. restauran,lix 3.2.3 History ‘The first Palais des Festivals et des Congrés was built in 1949 to host the Cannes Film Festival. The original building was located on the boulevard of Promenade de la Croisette on the present site of the JW Marriott Cannes. That building hosted the 4th and 6th Eurovision Song Contests in 1959 and 1961. In response to the growing success of the Film Festival and the advent of the first business conventions, such as the MIPTV Media Market since 1965, the City of Cannes decided to build a new Palais in 1979, The new building, a six-storey building designed in the Modernist style by the architects Sir Hubert Bennett and Francois Druet, was constructed on the site of the municipal Casino, It opened in December 1982 and was expanded in 1999 with the construction of the Espace Riviera, a new space of 10,000 square meters. In January 1992, the Society of Mixed Economy for the Events of the city of Cannes (SEMEC), was created to manage the Palais. SEMEC resulted from the merger of three non-profit organizations: Cannes ‘Tourism, the OMACC and the association Cannes Palais des Festivals et des Congrés 3.2.4 Reasons for selecting this case study ‘The Palais de Festivals is one solid building. The various functions are housed in one solid mass itself. The rest of the area is filled with roads, pedestrian pathways and a park. The park is used for setting up tents when the festivals is hosted. Unlike the Nandan ‘Complex which was spread all over the site, the Palais de Festivals isa concentrated mass in the middle of the site. The required spaces are efficiently packed into the building, making the site as economically viable as possible, 39 MANIPAL UNIVERSITY JAIPURHEB cit aca Unbuilt Area Figure 338: Pie chart showing the built Figure 337: Palais de Festivals during Cannes Flim Festival to unbuilt relationship, Location - 1 Boulevard de la Croisette, 06400 Cannes, France Building institution, food retail, casino) Si Ground Cover- 51.4% ‘se - Multi-functional (theaters, cinemas, auditoriums, galleries, offices, rea - 12,07 Actes (CHALCHITRA KALA BHAWAN 03.24 Zoning & floor plans 1 - Auditorium Louis Lumiere (2309) 2.- Theater Claude Debussy (1068) 3- Room Estérel (452) = 4- Auditorium A (280) = 5 - Auditorium K (147) 6 - Auditorium B (40) 7- Auditorium C (40) 8 - Auditorium D (40) 9 - Auditorium E (40) 10 - Auditorium F (40) 11 - Auditorium G (40) 12 - Auditorium H (50) 13 - Auditorium I (80) 14 - Auditorium J (80) 15 - Press Room 1 16 - Press Room 2 17- Press Room 3 18 - Press Room 4 19 - Canopy California (100) 20 - The Amb 21 - Rotonde Lérins dors 22 - Terrace Lérins 1% Figure 342: Pie chart showing the breakdown of varius functions and the vertical zoning within the bulging. (CHALCHITRA KALA BHAWAN Figure 241: Floor plans of Palais de festivals, showing the zoning ‘and the various functions spread ‘out verticallyFigure 3.41 shows the different functions within the building and their proximity to one another. Table 3.42 shows the percentage weight-age with respect to site of various functions within the building, Henee one can understand that the maximum areas are used as exhibition and gathering spaces. Next the maximum space is occupied by the large auditoriums. 3.2.5 Various areas within the building + Auditorium Louis Lumiere Auditorium Louis Lumiere is the largest auditorium in Palais de festivals. Spread on the second and the third floor, this auditorium is the one where the main red carpet is laid. 2309 seats 758 seats in the orchestra 1428 seats on the balcony Depth of st Fixed cinema screen: 19 x 8 m from nose to age: 15,50 m + Theater Claude Debussy ‘Theater Claude Debussy is the second largest theater in the Palais de Festivals, 1068 seat 612 seats in the orchestra 383 seats on the balcony Depth of stage from nose to stage: 13.70 m Fixed cinema screen: 15 X 6.55 m + Room Estére 2 Room Estere is the auditorium at the roof top. and the EE third largest capacity in the building, almost half less TewduaSiey than the previous) —— Maximum capacity (Plenary): 447 people 452 in conference 291 in projection Depth of stage from nose to stage: 4m fete tte te a [MANIPAL UNIVERSITY JAIPUR+ Auditorium A Capacity : 280 seats Stage depth: 3.80 m Fixed screen: 9 m X 3.60 m The auditori whose dit Figure 349: Audtoriom A Figure 351 : Bulking circulation in Palais Figure 253: Tourism Office Cannes 2.38 width; 7.35 depth; 3.16 height + Auditorium K Capacity 147 places m A is serviced by a hoist Stage depth: 3.86 m ensions are the following (cab): Fixed screen: 5.50 m X 2.50 m Figure 380: Aulitorivm K 3.2.6 Building Circulation There are two separate blocks within the Palais de festivals. For the general public, the building is connected as shown in figure 3.51. The connection of the building thus shows the connection of spaces. ‘3.2.7 Axillary functions within the building * Casino Barriére Le Croisette There is a casino within the Palais de festivals, Every Saturday, it turns into an entertainment space for dance and theatre performane + Tourism Office Cannes Within the Palais de Festivals, is the tourism office of Cannes. 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Ze 0 (osc | 00 esr | ves| ect ‘woo WORPSUeAT, zal WooY WORaTOIE - STON : ~ | wooy w22i5 zr [-s FOND PIPEL -¢ LYot 9 LEO OT BEI SOHO, & Pron ie OT AEA SPLOL, , woe Buea TIA at ww sadog aouenug, oF | 16 sz] so [IT 08 os | 08 [MANIPAL UNIVERSITY JAIPURChapter 4 : Site Analysis & Program Formulation 4.1.2 Site Connectivity 4.1 The context of Gea 411G0a FP Goa is a state in India within the coastal region the pabolim Airport lies just 26 known as the Konkan in India. It is bounded by Maharashtra to the north and Karnataka to the cast and south, with the Arabian Sea forming its Western coast. It is India’s smallest state by area and the fourth smallest by population. Goa has the highest GDP per capita among all Indian states, that is two and a half times that of the country. It The two major railway’ stations was ranked the best placed state by the “Eleventh in Goa are Madgaon (36km) and Finance Commission” for its infrastructure and Thivim (SOkm). ranked on top for the best quality of life in India by the National Commission on Population based ae on the 12 Indicators. Panaji is the state’s capital, while Vasco da Gama is its largest city. The historic city of Margao still exhibits the cultural influence of the Portuguese, who first landed in the early kilometers from Dona Paula. It is well connected by daily flights from major airports in India Phere are a number of publi as well as private bus operators in Goa, which offer options 16th century as merchants and conquered it soon for intra-city and _inter-city thereafter. Goa is a former Portuguese province; the conveyance. Portuguese overseas territory of Portuguese India existed for about 450 years until it was annexed by Ge India in 1961. Goa is visited by large numbers of 6. i Synmected to Mumbai international and domes € touri each year for 2 via road as well, which offers a beautiful ride. The two cities are connected by NH48 and are 600 KMs apart. its beaches, places of worship and world heritage architecture. It has rich flora and fauna, owing to its location on the Western Ghats range, a biodiversity hot spot (CHALCHITRA KALA BHAWAN 524.13 Geography a Climate Goa is connected to Mumbai via road as well, which offers a beautiful ride. The two cities are connected by NH48 and are 600 KMs apart, Goa is a part of the coastal country known as the Konkan, which is an escarpment rising up to the Western Ghats range of ‘mountains, which separate it from the Deccan Plateau. The highest point is the Sonsogor, with an altitude of 1,167 metres (3,829 ft), Goa has a coastline of 101 km (63 mi). Most of Goa’s soil cover is made up of laterites rich in ferric-aluminium oxides and reddish in colour. Further inland and along the riverbanks, the soil is mostly alluvial and loamy. The soil is rich in minerals and humus, thus conducive to agriculture, Some of the oldest rocks in the Indian subcontinent are found in Goa between Molem and Anmod on Goa’s border with Kamataka. The rocks are classified as Trondjemeitic Gneiss estimated to be 3,600 million years old, dated by rubidium isotope dating. A specimen of the rock is exhibited at Goa University so Fa ep ‘eng nh-CH) yao rH) otert ‘rane ripant nly arm pocenaon ye Figure 42 : Climatic data for Goa Goa features a tropical monsoon climate under the Koppen climate classification. Goa, being in the tropical zone and near the Arabian Sea, has a hot and humid climate for most of the year. The month of May is usually the hottest, seeing daytime temperatures of over 35 °C (95 °F) coupled with high humidity. The state’s three seasons are: Southwest monsoon period (June ~ September), post monsoon period (October — January) and fair ‘weather period (February — May). Over 90% of the average annual rainfall (120 inches) is received during the monsoon season 4.14 Subdivisions The state is divided into two districts: North Goa & South Goa. Each district is administered by a district collector, appointed by the Indian government, Panaji is the headquarters of North Goa district and is also the capital of Goa. North Goa is further divided into three subdivisions — Panaji, Mapusa, and Bicholim; and five taluks — Ilhas de Goa (Tiswadi), Bardez (Mapusa), Pernem, Bicholim, & Sattari (Valpoi). 53 MANIPAL UNIVERSITY JAIPURMargao is the headquarters of South Goa district. South Karnataka Goa is further divided into five subdivisions — Ponda, Mormugao (Vasco. da Gama), Margao, Quepem, and Dharbandora; and seven taluks — Ponda, Mormugao, Saleete (Margao), Quepem, and Canacona —_(Chaudi), Sanguem, and Dharbandora, Goa’s major cities include Vasco. da Gama, Margao, Panaji, Mapusa and Ponda. Panaji is the only Municipal Corporation in Goa. There are thirteen Municipal Councils: Margao, Mormugao (including Vasco da Gama), Maharashtra Pernem, Mapusa, Bicholim, Sanquelim, Valpoi, Ponda, Cuncolim, Quepem, Curehorem, Sanguem, and Canacona. Equatorial forest cover in Goa stands at 1,424 km2 (549.81 sq mi), most of which is ‘owned by the government. Government owned forest is estimated at 1,224.38 km2 whilst private is given as 200 km2. Most of the forests in the state are located in the interior easter regions of the state. Goa’s wildlife sanctuaries boast of more than 1512 documented species of plants, over 275 species of birds, over 48 kinds of animals and over 60 genera of reptiles. Goa is also known for its coconut cultivation, The coconut tree has been reclassified by the government as a palm (like a grass), enabling farmers and real estate developers to (CHALCHITRA KALA BHAWAN aFigure 43 : Coconut trees of Goa Figure 44: Gaur, Goa's state animal Figure 45: Ruby throated yellow bulbul 4.1.6 Demographics e population A native of Goa is called a Goan in English. The local Indian ‘Population growin [ride] Christians were called “indiacatos” and the mixed population, Semsus_Pon_% 1951 647,000 — 1961 590000 7.9% residents, making it India’s fourth smallest. The population has 1974 795000 34756 . a 1981 1,000,000 262% gn rate of 8.23% c y is 3 a growth rate of 8.23% per decade. The density is 394 people 195) fvag00 16.1% for each square km of land which is higher than national average 2001 1,347,668 1525 zon 1450545 8.2% mestigos by the Portuguese. Goa has a population of 1.459 million 382 per km2. Goa is the state with highest proportion of urban Figure 46 : Population of population with 62.17% of the population living in urban areas. "646 :Papuation ‘The sex ratio is 973 females to 1000 males, [emery | 1 oe Dorman & Diu Oficial Language Act onbied BES cis, | 1987 makes Konkan in the Devanagari seriptthe Marat 19% | sole official language of Goa, Portuguese is now Kannada 7% | mostly spoken by only the elderly Portuguese- Hee % | educated populations. Konkani is spoken as poe! 4% | 4 native language by about 61% of the people ad i je | a native language by about 61% people fem bonne in the state but almost all Goans can speak & igure 47 :Languages spoken in Goa 2 ae understand Konkani, Other linguistic minorities ), Kannada (7%), Hindi nt-based la in the state as per the 2001 census are speakers of Marathi (19% (5%), & Urdu (4%). Kannada, Hindi & Urdu are primarily mi 4.1.7 Religior According to the 2011 census, in a population of 145 545 people, 66.1% were Hindu, 25.1% were Christian, and 8.3% were Muslim. Smaller minorities of about 0.1% each followed Sikhism, Buddhism, or Jainism. Due to the economic decline of the Estado da India from the eighteenth century, there was a large Fgwe 48: Hindu Chistanity memorial at 55 [MANIPAL UNIVERSITY JAIPURscale migration of Goan Catholies. The population moved from 64.5% Christians and 35% Hindus in 1851 to 50% Christians and 50% Hindus in 1900, with a steady increase in the Hindu proportion from then onwards 418 Culture Having been a Portuguese territory for over 450 years, Goa’s culture is an interesting umation of both Eastem and Western styles, with the latter having a more ama dominant role. The tableau of Goa showeases religious harmony by focusing on the Deep: of kings is as much part of Goa’s cultural heritage as are regional dances performed stambha, the Cross and Ghode Modni followed by a chariot, Western royal attire depicting a unique blend of different religions and cultures of this State, Prominent local a | festivals are Christmas, Easter, Carnival, ;, Diwali, Shigmo, Chavoth, Samvatsar Padvo, Dasara etc. The Goan Carnival and Christmas-new year celebrations are well known to attract a large number of tourists. The Gomant Vibhushan Award, the highest civilian honour of the State of Goa, is given annually by Government of Goa since 2010, Traditional Goan art forms are Dekhnni, Fug Fado.Goan Catholies are fond of social gatherings and Tiatr (Teatro). As part of its Figure 49: Goa Konkani dance Ji, Corridinho, Mando, Dulpod and Portuguese history, music is an integral part of Goan homes, It is often said that “Goans are bom with music and sport”. Western musical instruments like the Piano, guitars and violins are widely used in most religious and social functions of the Catholics. Goan Hindus are very fond of Natak, Bhajan and Kirtan, Many famous Indian classica hail from Goa, including singe Mogubai Kurdikar, Kishori Amonkar, Kesarbai Kerkar, Jitendra Abhisheki and Pandit Prabhakar Karekar. Goa is also known for the origin of Goa trance. Natak, Tiatr (most popular) and Jagor are the chief forms of Goa’s traditional performance arts, Other forms are Ranmale, Dashavatari, Kalo, Goulankala, Lalit, Kala and Rathkala [citation needed] Stories from the Ramayana and the Mahabharata along with more modern social subjects are narrated with song and dane. “Jagor”, the traditional folk cna HHITRA KALA BHAWAN 56Figure 410: Jagor, dance-drama in Goa Figure421: Tat, Goa Figure 411: Natak, Goa dance-drama, is performed bs e Hindu Kunbi and Christian Gauda community of Goa, to seek the Devine Grace for protection J nd prosperity of the crop. Literal meaning of or is “jagran” or wakeful nig! awakens the deities once a year and they continue to remain awake throughout the year guarding the villag .¢. Perni Jagor is the ancient mask dance — drama of Goa, performed by Perni families, using well crafted and painted wooden masks, depicting various animals, birds, super natural power, deities, demons and social characters. Gauda Jagor s an impression of social life, that displays all the existing moods and modes of humar characters. It is predominantly based on three main characters, Gharasher, Nikhandar Figure 412: Modem theater in Goa Figure 413 Kala academy theater, Goa and Parpati wearing shining dress and headgears. The perform: nee is accompanied by vibrant tunes of Goan folk instruments like Nagara/Dobe, Ghumat, Madale and Kansale. In some places, Jagor performances are held with participation of both Hindus and Christian community, whereby, characters are played by Hindus and musical support is provided by Christian artistes. Tiatr (Teatro) and its artists play a major role in keeping the Konkani lang & music alive. Tiatr’s are conducted solely in the Roman script of Konkani as it is primarily a Christian community based act y are played in scenes with music at regular intervals, the scenes are portrayals of daily life and are known to depi social and cultural scenarios. Tiatrs are regularly held especially on weekends mainly at Kala Academy, Panaji, Pai Tiatrist Hall a Ravindra Bhavan, Margao andmost recent shows have also started at the new Ravindra Bhavan, Baina, Vasco. Western Musical Instruments such as Drums, bass, Keyboards, Trumpets ete, are part of the show and most of them are played acoustically. It is one of Goa’s few art forms that is renowned across the world with performances popular among Goans in the Middle- E and Europe , America Konkani cinema isan Indian film industry, where films are made inthe Konkani language, which is spoken mainly in the Indian states of Goa, Maharashtra and Karnataka and to a smaller extent in Kerala, Konkani films have been produced in Goa, Karnataka, Maharashtra and Kerala,The first full length Konkani film was Mogacho Anvddo, released on 24 April 1950, and was produced and directed by A. LJerry Braganza, a native of Mapusa, under the banner of ETICA Pictures. Hence, 24 April is celebrated as Konkani Film Day, Konkani film Paltadcho manis has been included in the world’s best films of 2009 list. Konkani films are eligible for the National Film Award for Best Feature Film in Konkani. The most commercially successful Konkani film (as of June 2011) is O Maria directed by Rajendra Talak. In 2012, the whole new change adopted in Konkani Cinema by introducing Digital Theatrical Film “The Victim” directed by Milroy Goes. Some old Konkani films are Sukhachem Sopon, Amchem Noxib, Nirmonn, Mhoji Ghorkam, Kortubancho Sonysar, Jivit Amchem Oxem, Mog ani Moipas, Bhuierantlo Munis, Suzanne, Boglantt, Padri and Bhogsonne. Ujwadu is a 2011 Konkani film directed by Kasargod China and produced by KJ Dhananja ‘Anuradha Padiyar. Figure 414: Goan fish curry Figure 415: Goan porkvindalho Figure 416: Goan fen Rice with fish curry (xit koddi in Konkani) is the staple diet in Goa. Goan cuisine is famous for its rich variety of fish dishes cooked with elaborate recipes. Coconut and coconut oil are widely used in Goan cooking along with chili peppers, spices, and vinegar is used in the Catholic cuisine, giving the food a unique flavour. The Goan cuisine is heavily influenced by Portuguese cuisine. Goan food may be divided into Goan Catholic (CHALCHITRA KALA BHAWAN 58and Goan Hindu cuisine with each showing very distinet tastes, characteristies, and cooking styles. Pork dishes such as Vindalho, Xacuti, chourigo, and Sorpotel are cooked for major occasions among the Goan Catholics. An exotic Goan vegetable stew, known as Khatkhate, is a very popular dish during the celebrations of festivals, Hindu and Christian alike, Khatkhate contains at least five vegetables, fresh coconut, and special Goan spices that add to the aroma. Sannas, Hitt, are variants of idli and Polle, Amboli, and Kailoleo are variants of dosa; all are native to Goa. A rich egg-based, multi-layered ‘sweet dish known as bebinca is a favourite at Christmas. ‘The most popular alcoholic beverage in Goa is feni; cashew feni is made from the fermentation of the fruit of the cashew tree, while coconut feni is made from the sap of toddy palms. Goa also has a rich wine culture 4.1.9 Architecture The architecture of Goa is a combination of Indian, Islamic(citation needed] and Portuguese styles. Since the Portuguese ruled for four centuries, many churches and houses bear a striking element of the Portuguese style of architecture. Goan Hindu houses do not show any Portuguese influence, though the modern temple architecture is an amalgam of original Goan temple style with Dravidian, Hemadpanthi, Islamic, and Portuguese architecture. The original Goan temple architecture fell into disuse as the temples were demolished by the Portuguese and the Sthapati known as Thavayi in Konkani were converted to Christianity though the wooden work and the Kavi murals can still be seen. ‘The traditional pre-Portuguese homes were inward-looking with small windows; this reflected the secluded role of women. The houses opened into courtyards, and rarely opened onto streets. The Catholic houses built or refurbished between the idle of the 18th and the 20th centuries were more outward-looking and ornamental, with baledes, (covered porches) and verandas facing the street. ‘The large baledes had built-in seating, open to the street, where men and women could sit together and ‘see and be seen’, chat with their neighbours, or just enjoy the evening breeze. These baledes are bordered by ornamental columns that sometimes continued along the steps and added to the stature of the house. This, together with the plinth, which usually indicated the status of the owners, The houses of rich landlords had high plinths with grand staircases leading to the front door or baledo.A typical red Mangalore tile used for the roofing of traditional built Goan Catholic houses. 59 MANIPAL UNIVERSITY JAIPURLarge ornamental windows with stucco moldings open onto verandas. These may appear purely decorative, but have their origins in similar moldings in the windows Portuguese houses. There these elements of style were devices to help sailors identify their homes at a distance as they sailed in, The design is therefore of an import but serves a similar purpose in Goa: to help construct the identity of the home. Windows gradually became more decorative, omate, and expressive. Front doors were flanked by columns or pilasters. Railings were the most intricate embellishment in a Goan house. Pillars, piers, and colours do not seem to be influenced by any style in particular; rather they conform to a rather mixed bag of architectural styles. Country tiles used as a corbel are a feature peculiar to Goa. The effect achieved is aesthetically pleasing, giving the roof projection a solid, moulded appearance. Gateways consisted of elaborately carved compound walls on either side of the gate posts. Dramatic and startling colour—initially achieved with vegetable and natural dyes—plays an important role in Goan architecture. Colour was decorative and used purely to create a sensation. With a colour wash, the house looked “dressed” and therefore displayed the economic well-being of the family that lived in (CHALCHITRA KALA BHAWAN it, Here art in architecture performed a social function. However, this was not completely a matter of individual choice, since during Portuguese rule the owner of the house could be fined if his house was not painted. The walls were made of mud and then later of laterite stone; they were usually plastered then painted. Very few buildings are coloured exactly alike and solid colours are used for front facades; interiors are usually in paler colours/white with solid color highlights, This rendering or piping in white is the result of the unwritten rule during the Portuguese occupation of Goa that no private house or building could be painted in white. Only churches and chapels enjoyed this privilege. It is understandable that Goan Christians followed this rule, as white was associated with the Virgin Mary and therefore the virtues of purity and chastity (both desirable in Goa), but, surprisingly, Goan Hindus also respected this practice. As a result of this code, an interesting and aesthetically pleasing trend developed, as competition among. neighbours gave impetus to variety.Figure 4.17 Architecture in and ‘around the city of Panjim 1 - House in Goa 2- Art gallery, cafe house 3 - Fontainhas Ho! 4 - Church of Mae de Deus at Si ja Academy 6 - Early Settlement: = Contemporary hou: 8- ies of Goa 9 = Contemporary house 10 - Portuguese House 11 - Portuguese House e Houseona Paula View Pout Figure 4.18- Google earth location ofthe site (CHALCHITRA KALA BHAWAN 42.1 Location ¢ Size The site as shown in figure 4.17. is located in the Dona Paula region of Goa, India. Located to the west of the University Of Goa’, is the proposed site of 60 acres. The site was previously allocated by the government of Goa for the construction and development of the Rajiv Gandhi IT € Park. Due to certain circumstances, the IT Park project was canceled & the land was allocated to the ‘Entertainment Society of Goa’ aka ESG. The ESG is a government body that looks after the promotion of film & art culture SG wants to use the in Goa. The provided land to design & construct a permanent venue for the IFFI4.2.2 Site Surroundings As shown in Figure 4.18, the site is located in Dona Paula, Dona Paula is next to the capital city ‘ of Panaji. The previous venues of the IFFI are in Panaja, not farther than a 20 minutes drive . % from the new proposed. site. The site is also next to the Goa 00 M University, With a mere from the shore line, the site is S i surrounded by various buildin gure 429: Google map loan showing the suroundng context of With Manipal Hospitals on the west , housing to the north and the east, and the international center on the south. Top left - Government building to the east of the site, top middle - residential towers to the north of the site, top right - Goa University building to the east of the site, bottom - International Center to left - Manipal Hospitals to the west of the site, bottom middl the south of the site, bottom left - residential buildings to the east of the site Figure 420 Bulléngs near the proposed siteWwW {¢- snows saMoy + Ww GF - noWwOD IsoyTIH + W S'p- (samoueU) YIpIM peoy SuIUIOIpy WOZ~ QSepEN) PI peoy SuMolpy - aun faeau W 00S ~ QsaLOYs) a1OYs vas Woy douRISIG © ssn Gapyng au Burns as "ued payer pep Tz any Sa1DY 09 - ZW O6O9PT- PIV AIS . 3 s@, SL UCN Sr WS oa e ~ 2 = \ : | Or. WF ¢ AFigure 422 : Google earth image showing the proposed site wth the current IF venves 4.23 IFFl venues & the proposed site The current IFFI venues, are spread across the city of Panjim. The proposed site for the new design is present near the Dr. Shyama Prasad Mukherjee Indoor Stadium, which is currently used for the opening and the closing ceremonies of the IFFI. The new design will be easier to maneuver through for the visitors of the festival as they will not have to go from one part of the city to another to attend the various events of the festival, Further. the current IFFI venues can also be used to hold the various events that take place in parallel to the IFFI like the “Film Bazaar’, and the “Children’s Film Festival’. The new site will become the new identity of the festival, making it more unique and giving the brand of IFFI a permanent and beautiful home that is designed and customized to be used as the required by a festival of such a scale.4.3 Program Formulation ‘Auditoriu 1050 1050 1500 Entry Foyer with Eat- [300 [1 300 ing Area Toilets - Entry Foyer [375 [2 5 Stage 300 [1 300 Back Stage 80 fi 80 Green Room 150 [2 300 120 ‘Toilets - Green Room [18.75 [2 37.5 Projection Room 23 ft 25 ‘Scenery Store 3 fi 8 Workshop 500 fi 500 Practice Room, 350 [1 350 Loading / Unloading [70 [1 70 Dock Storage Area 200 fi 200 Circulation’ 840.63 Total 4203.13 800 Entry Foyer with Eat- 1 ing Area Toilets-Entry Foyer [40 [2 80 Stage 200 fi 200 Back Stage 4 fl 54 Green Room 90 [2 180 ‘Toilets - Green Room [13.5 [2 27 Projection Room 25 25 Practice Room, iso [1 180 Circulation’ 366.5, Total 1832.5 Table 4: Program Formulation 2[Pregrand|—[Acxitary Spaces [Ares] [Quantity] [Total Area | Auditorium 3 350 [1 [capacity] 500 350 Entry Foyer with Eat- [100 [1 100 ing Area Toilets-Entry Foyer [25 [2 50 Stage 100 [1 100 Back Stage 7 it 7 Green Room 7 [2 140 Toilets -Green Room [10 [2 20 Projection Room, 2 ft 25 Circulation 203 1015 Ba | 134 93 [3 279 67 [4 268 4 4 16 5 ft 15 4 2 8 3 ft 15 189 [1 189 4 1 4 3 ft 15 Circulation’ 40 200 Cinema Hall1 250 [1 250 250 Cinema Hall 2 250 [1 250 250 Cinema Hall 3 100 [1 100 100 Table £2: Progra Fomndlavon 2[Program | Soxitiary spaces] [Area] [Quanity] [total Ares [Capacity] Hall 4 so fl 80 80 Entry Foyer with eat- [105 [1 105 ing Area Toilets 26 [2 52 Ticket Counter 0 [1 10 ProjectionRoom [25 [1 25 Multiplex Ba fl 134 Director Multiplex 93 |1 93 Manager Multiplex Ba [2 268 Technical Manager Multiplex 45 |1 45 10 Office Staff SecretaryRooms [67 [3 20.1 Personal Toilets 4 3 12 Entry Foyer 6B it 15 Reception 6B Lt 15 Waiting Area is fi 15 Toilets - waiting Area [4 2 8 Toilet - Staff 4 1 4 Selling Space i ft 15 Preparation Space [20 [1 20 ‘Storage Space 4 1 4 Loading/ Unloading [15 [1 15 Circulation + Services 267.28 Total 1336.38 Table 43: Program Formulation 3ESG OFFICE GEO OFFICE 2 ft 28 GM Office 93 ft 93 93 ft 93 93 ft 93 93 ft 93 Ba [i 134 93 [1 93 93 ft 93 93 ft 93 Ba fi 134 Vice Manager 28 1 28 Employees 45 x 40.5 Assistant Vice 185 [1 185 Chairman Personal Toilets 4 12 48 Secretary Rooms 67 [2 804 Entry Foyer 6 ft 15 Reception 6B [tL 15 Waiting Area ft 15 Toilets - Waiting Area [4 2 8 Toilets - Staff 4 2 8 Table 44: Program Formulation 4|Circulation + Services | 99.08 Total 495.38 == aE eS aes Hotel Plot 45976 Ground Cover AI- 15172 lowed No. of Keys 300 No. of storeys 4 “Total Builtup 15000 Ground Cover 3750 ( Institutior Plot 50489 Ground Cover Al- 16661 lowed ScreeningRooms [40 [5 200 40 RecordingRooms [60 [3 180 Filming Studios 10 [3 300 Storage 50 (3 150 Lecture Halls 200 «(4 800 Library 300 [1 300 ‘Training Center 300 300 Workshop Spaces [200 [5 1000 100 ‘Seminar Halls 100 [2 200 200 ConferenceRooms [50 [2 100 100 Press Rooms EE) 150 100 Circulation + Services 1840 Total 5520 No. of Storeys 3 G Cover 1840 ‘Table 45: Program Formulation 5IFFI Offices Festival Di- 28 1 4% rector Deputy Direc- iss [1 18.5 tor film selec- tion Deputy Direc- 135 [1 18.5 tor Admin Deputy Direc- 135 [1 18.5 tor, Cultural Exchange 18.5 1 18.5 18.5 1 18.5 Deputy Direc- 13.5 [1 18.5 tor {Accounts} Programming 6 % Team ‘Asst. Film Pro- 5 |t 135 grammers Festival Coot 93 ]1 93 93 1 3 93 1 93 93 ft 93 Table 46: Program Formulation 6 1 MANIPAL UNIVERSITY JAIPUR[Program | oxiary spaces] [Area] [Quanity] [totsl Ares [Capacity] a im Print Collector & Dispatcher Personal Toilet 4 7 28 SecretaryRooms [67 [10 7 Entry Foyer Bt 15 Reception 6B it 15 Waiting Area i fi 15 ‘Toilets - Waiting Area [4 2 8 Toilets - Staff 4 Z 8 Other Staff 45 [10 5 ‘Area Circulati 106.75 Services Total 533.75 Fl Drive In Cine- 6500 1 6500 200 ma ProjectionBooth [30 [1 30 Ticketing Booth 6 1 6 Food Counters 0 [2 10 Seating Area 50 [i 50 24 Total 6620 lulaton CCHALCHITRA KALABHAWAN nEntry Foyer 1 - Public 100 Entry Foyer 2- Public [200 [1 200 Toilets 1 15 2 30 ‘Toilets 2 24 2 48, Exhibition 2% [t 28 Director Exhibition 185) [1 18.5 Manager 45 3 13.5 Assistants Exhibition 45 a 13.5 Technitions Personal Toilets 4 2 8 Secretary Rooms. 67 [2 134 Entry Foyer 15 1 15 Reception 15 1 15 ‘Waiting Area 15 1 15 ‘Toilets - Waiting Area | 4 2 8 ‘Toilets - Staff 4 2 8 Circulation + 358.48, Services Total a Food Court 400 Food Outlets 20 8 160 Preparation Area 25 8 200 Storage Area 10 8 80 Seating, Area 600 1 600 ‘Toilets 40 2 80 Toilets Staff 7 2 14 Table 48: Program Formulation &Circulati 283.5 Services Total 1417.5 ‘VR &.30 Si lations ‘VR Rooms 20 [5 100 1 Control Rooms 5 5 25 3D Cinemas 50 [3 150 40 ProjectionRoom [25 [3 75 70 Cinemas so [2 100 ProjectionRoom [25 [2 50 ‘VR Gallery wo [1 140 70 AVExhibition wo ft 140 70 maces Toilets mu 2 28 Entry Foyer 5B [i 15 Reception iB [ft 15 238 «[t 28 185 [1 185) Gallery Man- 18.5 |1 18.5 Exhibition 185 |1 18.5 Manager Technicians 45 [10 45 45 [10 5 Personal Toilets 4 4 16 ‘Table 49: Program Formulation §Secretary Rooms Entry Foyer is ft 15 Reception Bt 15 Waiting Area i [t 15 Toilets - Waiting Area [4 2 8 Toilets - Staff 4 4 16 Circualtion + 280.83, Services Total 1404.13 4 10 40 Reception 5 ft 15 Waiting Area i [i 15 302 60, 325 162.5 Seating Area 5850 [1 5850 6000) + Stage Entry Foyer with Seat-/1800 [1 1800) ing Area Toilets - Entry Foyer 400 Storage 150 [1 150 Back Stage 300 ft 300 Projection Room, 100 ft 100 Table 410 Program Formulation 10|Green Rooms Convention 28 28 Director Convention 135 [2 37 Manager Convention 185 |4 74 Tech Manag- 45 10 45 45 [10 5 45 [40 180 Personal Toilets 4 7 28 Secretary Rooms 67 4 26.8 Entry Foyer 15 1 15 Reception 15 1 15 Waiting Area 15 1 15 Toilets - Waiting Area | 4 2 8 Toilets - Staff 4 4 16 2383.2 11916 ‘Table 421; Program Formation 11Chanter 5 : Design Concept & Evolution 5.1 Understanding the Site As shown in Figure 5.1, the site is located in Dona Paula, Dona Paula is next to the capital city of Panaji ‘The previous venues of the IFFI are in Panaja, not farther than a 20 minutes drive from the new proposed site. The site is also next to the Goa University. With a mere 500 M from the shore line, the site is surrounded by various buildings. With Manipal Hospitals on the west , housing to the north and the east, and the international center on the south As there is no strong context that is prevalent on the site, and furthermore there are no views available from the site (even thought there is a close proximity to the sea), there are no external strong parameters that define the site. Hence the following points were taken into consideration, to evolve the design from the site itself SLR Figure 52: Schematic plan of ste showing the various zoning parameters considered There is a hospital near ‘The main road is of prime ‘There are two internal roads. the site owned by Manipal importance in this project as that are already developed group. Due to its presence, this is not only a means of on the site, The site was any event that makes a lot of access but also a means of previously given to Rajiv noise should not be placed attracting people to the site. Gandi IT park scheme, and near it in its development, these roads were laid 1 MANIPAL UNIVERSITY JAIPUR‘The program for the proposed project is too much to start zoning while keeping all other in mind, The exercise initially started with random zoning options but there were just too many. Hence a different method is adopted. The site is divided into a grid so that each of the functions could be easily zoned and graphed. The grid is randomly divided, but with the help of this grid each function can be individually zoned giving an overall position for each function. It is just like in mathematics, we make one assumption and then solve everything according to the assumption. Below are all the functions individually zoned, Figure £4: Schematic plan showing the zoning forlage ‘Figure 55: Schematie plan showing the zoning for small auditorium aucitoriums + Large Auditorium (6000 capacity) + Auditoriums ‘The large auditorium needs to be away from The auditoriums needs to be away from the hospital as in its full capacity, it will make the hospital. Due to the noise they make, alot of noise. At the same time, it needs to be keeping them towards the east portion of accessible. Hence the auditorium needs to be the site could help in smoother functioning towards the east of the site, and at the same of the auditoriums and the whole urban time, needs to be near the roads. field in general. (CHALCHITRA KALA BHAWAN 1"Figure 56: Schematic plan showing the zoning forthe multiplex * Multiplex The multiplex needs to be near the roads for easy access and visibility. A multiplex is usually well insulated and hence does not pose much discomfort to the hospital. Multiplexes need to function regardless of the festival and hence need to maintain easily visibility and access all year round. Figure $6: Schematic plan showing the zoning forthe mltiplex + Institution The institution is a private space. Moreover it is a space that will be used everyday and has fixed users and hence it does not need to be near the roads as they would just waste a space that might be needed by a building that demands visibility. Hence the building needs to be away from the main road and the internal roads. Figure $7: Schematic plan showing the zoning for large VR. 3D simulation + VR & 3D Building With the laser projection uses being a big hit for the festival, a building dedicated to VR and 3D will attract a lot of users. The main of this building is to attract in more users and hence it needs to be near the main roads, so it is easily visible from the main driving road. Figure $9: Schematic plan showing the zoning forthe offices + Offices ‘The offices needs to be near roads for they demand easy accessibility, but at the same time, the offices do not need to be near the main roads, as they will just waste a space that might be needed by a building that demands visibility MANIPAL UNIVERSITY JAIPUR+ Hotel A hotel is private space and hence demands privacy, but at the same time the hotel needs to have easy access, hence it needs to be near roads. Figure 510: Schematic plan showing the zoning ofthe hotel + Motel + Market A motel demands easy accessibility and hence needs to be near the roads, to attract as many users as possible, Figure $11 : Schematic plan showing the zoning for motel se market + Drive In Theater ‘The drive in theatre needs to be away from the hospital and near the main road. The drive In theater has no insulation as it is in the open, hence it needs to be as away fiom the hospital as possible, Furthermore, it Figuce 5.12: Schematic plan showing the zoning for dive in theater needs to be easily accessible, specially from the main road 54 Final Zoning of Proposed Project After the functions are individually zoned, the next step is to iterate the different zonal layouts that hold all the functions together. To begin the process, all the above diagrams are first studied in a tabular format as shown in Table 5.1. Afterall these functions are studied and analyzed, they are paired together, to see what functions can work with each other. Different functions are then grouped together & based on all these combinations, different zonal layouts are tried that hold all the functions together. These layouts are then studied and analyzed to bring out their strengths and weaknesses and weather they satisly each of the functions. After going through all the analysis, the strong zonal layouts are combined to form one final layout that will give way to preparing a site layout for the site. In the following pages we will see the above explained process, in detail, explained with more clarity and bringing forward the methodology followed to establish different zones and functions on the site. (CHALCHITRA KALA BHAWAN 80‘aygen Buauoz 21s ae Cetera ee menos ek bere kb MANIPAL UNIVERSITY JAIPURThe above table shows a tabular arrangement of information shown in figure 5.3 to figure 5.12. The numbers written at the top depict the cells of the grid shown in figure 5.3. The various functions are then plotted in the table. The denotation of “y’ represents that a function can be placed in that particular position. After the whole table it plotted, we get an overview of the various functions that can come into each cell, As this table can still lead to a lot of possibilities and combining them and assessing them will waste a lot of time. Therefore different functions are clubbed together, so that we can have a truly mixed used development in the proposed project. For each cell when two or more colors are placed one after another, it means that those functions can be clubbed together. A white space between two such groups denotes the presence of an ‘or’, ie either one group of functions can exist or another. After these are plotted, the zoning options begin to emerge :- ae MRE Figure $13: Zoning option 1 Figure 8.14 : Zoning option 2 Figure $15: Zoning option 3 Figure 5.16: Zoning option + Figure £17 Zoning option § Figure $28: Zoning option 6 (CHALCHITRA KALA BHAWAN 82suey seme igen fess peestos(¢ BOUIN 2ets et suowt0 woo voto ‘woo ato Table 52 Zoning comparison table MANIPAL UNIVERSITY JAIPURAfter the conception of six different zoning option: each of the functions are analyzed one by one. The above table show the comparison of the various zoning options based on individual functions. It is seen whether the zoning option satisfies the requirements of all the functions individually, and then based on the analysis, option 2, 3 & 5 are chosen. Option 5 is the clear winner, but it still lacks. Therefore, these three options are combined to give rise to the final zoning for the proposed project as shown below. Figure £19: Final Zoning Output The above diagram shows the final zoning for the proposed project. The features of this proposal are as follows:~ + The hotel gets its privacy + The motel + market gets ace: bility and it works to bind the two plots together and are sufficiently away from the hospital + The multiplex and the VR & 3D buildings are near the main road to make them prominent and easily accessible + The auditoriums gets accessibili + The offices get road access and are pushed to the back. + The institution gets enough privacy + The large auditorium is so placed such that its architecture can be iconic, set amidst open grounds and buildings that won’t overpower its architecture. + The drive in theatre gets easy accessibility and is away from the hospital (CHALCHITRA KALA BHAWAN 845.5 Concent - The Figure 520: Concept sketch 5.6 Layout development Figure 521 : Concept sketch, Setbacks + Setbacks according to local guidelines The development authority of Goa, prescribes certain norms for setbacks within the vicinity. Hence before any layout could be drawn the first things identified were the setbacks. The setbacks spell out 12 m for road facing sides and 7 m for the front, sides and rear. 5.6 The Design ay Figure 522 Concept sketch, Pathway + The pedestrian boulevard The pedestrian boulevard that crosses the whole site will be major feature on the site and the functions that will be arranged will have to respond to it. The various functions will not only give way to, but also define the boundaries of this boulevard. ‘There are two roads that cross the site and divide it into three parts. Hence the concept of a pedestrian boulevard proposed walkway that goes straight across the three parts, hence becoming the binding agent for all the three sites, to make a pedestrian Figure 523 Concept sketch Focal Points + The pedestrian boulevard ‘The pedestrian boulevard that crosses the whole site will be major feature on the site and the functions that will be arranged will have to respond to it. The various functions will not only give way to, but also define the boundaries of this boulevard ‘The following pages show the sheets of the design development. MANIPAL UNIVERSITY JAIPURa=)LB 4: > Be ‘a a 5 Pesan on Le BB eg ley | al —* Bel SEEES a CE:Chapter 5: References + M, Mohan Mathews (2001). India, Facts & Figures. Sterling Publishers Pvt. Ltd. pp. 134, ISBN 978-81-207-2285-9, Retrieved 31 October 2012. * Gulzar, Govind Nihalani, Saibal Chatterjee (2003). Encyclopaedia of Hindi Cinema. Popular Prakashan. pp. 98-. ISBN 978-81-7991-066-5. Retrieved 31 October 2012. + “Key highlights of the 46th International Film Festival of India”. PIB. Retrieved 30 November 2015, + “A Festival Showeasing Talent of Lights, Camera and Action! — International Film Festival of India — 2011”. Retrieved 31 October 2012. + Saverio Giovacchini, Robert Sklar (1 December 2011). Global Neorealism: The ‘Transnational History ofa Film Style. Univ, Press of Mississippi. pp. 179-. 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Retrieved 13 November 2007. + “Goa Population Sex Ratio in Goa Literacy rate data” + “Scheduled Casts & Scheduled Tribes Population”. Census Department of India Retrieved 5 January 2009, + Commissioner Linguistic Minorities. “42nd report: July 2003 — June 2004”. p, para 11.3, Archived from the original on 8 October 2007. Retrieved 6 June 2007. + “Solving the Language Imbroglio”, Navhind Times. Retrieved 15 October 2008 + “Census of India - DISTRIBUTION OF 10,000 PERSONS BY LANGUAGE” censusindia gov.in. (CHALCHITRA KALA BHAWAN 92MANIPAL UNIVERSITY JAIPUR