Thesis _report_1: 14/02/12 Jyotsna Mishra | Msap | Xth sem | 070901162 4Nehru center for performing arts, aims to provide the planned city of Chandigarh a traditional outlook. As this Indian city lacks the local street culture , this performing art center aims to make people aware about the Indian tradition and culture, and conserve it to educate the up-coming generation. It will also help promote tourism of Chandigarh.‘The_movement arts is vibrant, evolving, ‘Though the years, the art has evolved taking new shapes every time, converting and integrating. through the passage of time. This gives to many new forms of art. Art has survived many criticism as well appreciation inthe test of time ‘Today at is understood and appreciated by larger section of society. The Nehru center for performing arts at Chandigarh, attempts to be the ccomterging point and a national level platform for people who are interested in performing arts ‘The site in Chandigarh is year marked at sector 34b by the Chandigath development authority, this will be developed to cater to the surrounding population and beyond. ‘The project focus on developing into a center that caters primarily wo the performing ars, providing with space, infrastructure, knowledge recourse land acting as a magne! to those practicing or interested in ait. A potential attempt will be made to promote learning and interest (owards the ars through observation, interaction and practice. Mr Rakeshwar Katoch, a theatre bufl, said: “Tho city has a potential to emerge as a major cukural centre in the North, All art forms need the support of the state and neighbouring state governments need t© get together with the UT Administration to form a common action plan for the promotion of art and culture. Sanjeev Singh Bariana ‘Tribune News Service ‘The future of performing ans will be shaped by many factors, bat perhaps none is more important than the future structure of demand, The size and shape of the market for performing arts has changed over me, reflecting shifts in demand that ate stimulated by technological change as well as social, demographics and economi: tens in societyJustification Justification of support for both capital and revenue funding has included one or more of the following reasons 1 Culmrat: to safeguard an aspect of cultural heritage; continuity of art forms, display of performing skills and sustaining national, local oF ‘ethnic traditions; to retain and improve an existing stock of facilities and established companies for the performing arts, oF to provide now facilities 10 ensure cultural opportunites 1 Economie: dizcct employment of staff and performers; henefis to secondary businesses such as poster and programme printing and material supply: a widening of the tourist and conference market which, in turn brings money into the town or city: an atiaction to encourage relocation, and location of organizations, institutions, industry and commerce in an area with subsequent employment benefits Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational programme for schoolchildren, students and those in adult education, 1 Prestige: international, national, regional, ‘mesropolitan focus, for town comparison; re-enforcement of regiomil identity emphasizing dispersal from O Quatity of ie: performing arts as acceptable complementary activities to work and domestic obligations as a positive we of leisure time Which enriches life culturally and also socially 1 Regeneration: past of a wider programme to revitalize an existing city oF town centre or to assist in the formation of a new community, to altract industry, commerce, imtitutions, housing, and so on, F Cutarat Democracy: t0 stimulate and foster participation in the performing arts by all sections of a community, defined locally, as a creative activityAin Developing « performing art center at Chandigarh, Punjab, which fa ates, practice, teaching, research, display and apprecis ‘of various art forms. Objective: To provide leadership om a national level as India's premicr performing arts, research and training centre through the presentation of Indian and international art forms, the promotion of excellence andthe preservation of India’s rich cultural heritage. Development of a performing ars center providing the required areas and infrastructure to be able to display and promote the art, Designing a self integrated and flexible space, and also ensure constant activ atthe center, involving the community and public Project Outline: Performing art center at Chandigarh, Punjab shall bea center for research, understanding and promotion of the performing. arts. It shall cater t all forms of performing ans stressing upon dance, theater and music also including the contemporary artform. It will also have a research center for music an dance form, Provision for accommodation fora limited number of people will also be included in design, {A Focus on multiple use of one space, convertinle spaces mostly for community and public imeraction. Landscape plays an important role in making the planning and resolving the circulation, soit will be designed accordingly. The project envisages the creation of an environment for the arts, meant ‘exclusively forthe arts and not for any one exclusive ar, [tis therefore meant to encourage in a Eroad sense all kinds of artistic pursuits From an architectural point of view the building will be planned in onder to ereate an environment befitting the nature of the activities related to the ats and their promotion, Apart from the functional spaces, therefore the creation of an ample amount of space for the imerpretation of art by the semstive art- lover and the interaction between the people interested in the arts i envisaged. The mood and the ambiance of the built space will be ‘conductive forthe reflecting over subjects and missing over art of the solitary thinker's mind. The architecture will he sensitive to art and yearn to be an extension of |From the functional point of view the buikling will be designed to house the facilities required for the staging and preseutation of various disciplines of performing ants CO Through the years, the art has evolved taking new shapes every time converting and branching out (0 give birth 1o new forms. The aft has survived all test of time, and today itis appreciated and understood in all ts forms by a larger section of people. Today people recognise the value land scope of performing arts and more than a type of means. of entertainment people are taking it up asa subjcet to study and research O The performing arts center at chundigharh, punjab attempts to be the converging point for all interested in the performance aris and a source for information, G The site i in tho heart of chandigharh, a planned city by architect le Corbusier, anit isa fat tari ities in sector 34 B,Performing Art ‘The performing arts are those forms art which differ from the plastic ats insofar as the former uses the atbt's own body, face, and presence as a medium, and the latter uses materials such as clay, metal or paint which can be molded or transformed to create some physical at object . The term "perlor farts" fist appeared in the English language in the year 1711 Major forms. i ‘Theater contemporary, folk ‘Music & an an form whose medium is sound and silence, Is Dance ~ classical, J common elements ae pitch ( which governs melody and harmony), folk, somemporary ‘hythm (and ts associated concepts; tempo, meter and articulation) Music classical, [Ik ymmics, and the sonic qualities of timbre and texure. The word Nestenpseary derives from Greck jonariy (miu: "art ofthe Muses") Opera + Greus : ‘The creaion, performane, significance, and even the definition of riusic vary according to cuban and socal conte. Musi ranges from atitly rgmized compositions (and their creation in performance), ‘through improvisational music to aleatoric forms. Music can be divided imo genes and subgenre, although the dividing lines nd ‘elatinshipe between mmc genres ae oflen subtle, somtimes open to individual interpretation, anc ccasinally controversial. Within “the ans’, music may be clssifed as «performing art afin a, and auditory a CENTER FOR PERFORMING ARTS rorsn ena PERFORMING ART ir MANIPALTheatre ‘Theatre is the branch of the performing arts concerned with acting out stories in front ofan audience using combinations of specch, gesture music. dance, sound and spectacle indeed any one of move elements of the other performing arts. In addition to the standard narrative dinlogue style of plays, theatre such phys, musicals, opera bullet, illusion, mime, ckssical Indian dance, Kabuki, mummers! plays, improvisational theatte, stand-up comedy, pantomime, and non-conventional or at house theatre. rs = - CENTER takes forms FOR Jrorsws Misia ‘070901162 | Xi Sex PSAP PERFORMING Dance Dance (from Old French dancier, perhaps from Frankish) generally refers to human movement either used as a form of expression or presented in a social, spiritual or performance sorting Dance is also used to describe methods of non-verbal ‘communication (see body language) between humans or animals (bee dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain music genres (Choreography isthe art of making called choreographer. Definitions of what_—_constitutes dance are dependent ‘on social cultural, aesthetés artistic and moral constraints and range from Functional movement (such as folk dance) to codified, virtuoso techniques such as ballet. In sports, gymnastics, figure skating, and synchronized swimming are dance disciplines while martial ans "kata" are often compared t dances. lances, and the person who does this is ARTS PERFORMING ARTPerforming Arts in India: i ical D In its truest sense, Indian classical dance is an expression of life, involving the hody as well as the emotions. Indian Dance is based on texts from Sanskrit, an ancient Indian language ~ also thought wo be the ‘mother of not only Indian languages but also modem European languages. Indian classical dance is one of the oldest dance traditions sssociated with any of the world’s major religions. It has evolved with the concepts of self and world. According to Hindu mythology, the Taanday (the frenzied dance performed by Lord Shiva. in grief after his conson Satis tragic demise) symbolises the cosmic cycles of creation ‘and destruction, birth and death. His dance is therefore the dance of the Universe, the throb of eternal lie, An interesting parallel may be seen in ‘modern physics, which depicts that the eycle of ercation and destruction isnot only reflected in the turn of seasons and in the birth and death of living creatures but also in the life eycle of inorganic mater Nataraja (literally the king of dancers) or Lord Shiva in a graceful dancing pose is worshipped all aver India, by classical dancers, and also collector's item for conmobseurs of at. ‘Nataraja - the divine dancer "The origin of Indian dance can be traced back (o Bharata Muni (a learned saint) who lived between the Ist and 2nd century and ‘composed a magnum opus on dance, which is known to the workl as Natya Shastra. In ancient times, dance was not merely a form of featertainment. On the contrary it was comidered a medium of instruction of morality, good values, and scriptures and the expression of realty. ‘Natya Shasira serves as a common text forall the varieties of Indian classical dance forms. It contains elaborate details on various types ‘of postures, mudras or hand movements depicting different ‘meanings, besides the construction of a stage, the att of make-up and lastly the orchestra. Al dance forms make ample use of the nine basis rasas of emotions ~ hasya (joy and happiness), kmdha (anger), bibhaisa (disgust), bya (fear), vira (courage), karuna (compassion), adbhuza (wonder) and shanta (serenity)[Natya Shasvra further divides classical dance into nrtya- the faythmic elements, via. the combination of rhythm and expression, and Finally, natja ~ comprising the dramatic elements embedded in the dance recital, To appreciate nya or ance drama, an individual necds to possess sound knowledge, understanding and appreciation of Indian legends and mythology and folklore. Hindu deities like Vishnu, Krishna, Shiva and Lakshmi, Rama and Sita are commonly depicted in these dances. Bach dince form also draws inspiration from stories depicting the life and waditional beliefs ofthe Indians. ‘Ancient Indian history reveals that several centuries before Christ, India's art forms of dance, music and theatre were fairly well advanced. The performing arts, ie. dance and music reached the aeme of thelr glory, during the reign of the Chola dynasty in Southern India Dance forms were nurtured with @ purpose in the sacred premises of temples. Temple dancing was imbued with the idea of taking art to the people, and conveying a message to the masses. The temple rituals recessitated the physical presence of mortal women (instead of the ‘omate, carved figures of heavenly damsels, apsaras) to propiiate the ‘gods. The allegorical view of dance, used for the purpose of the pleasing the devas, was gradually wansformed into a regular, sevice (with deep religious connotations) in the temples of the medieval ‘This was possibly the reason behind the origin of devadasis (literally: servants of the deity), the earliest ‘Performers ofthe classical Indian dances. They were supposed to pursue the dance forms devotedly and excel in them. At the outset, devadasis were respectable women and highly talented artists hailing from the highest strata of the society. They lived and danced only in the temple premises ~ their vocation enjoying ‘great religious prestige. It was only much later that the devadasis condescended to perlorm in coyal courts, in the presence of the ele and the nobility A devadasi not only performed on all festive occasions, but also had 10 be present for the daily rituals, conmected with the deity. She was paid from temple funds: moreover the temple supplied the food grains for her and her family. To render a realistic touch a devadasi was ceremonially wedded 0 the deity. She was ‘consecrated her lord and thus out of bounds for mortals,10 Dance forms in Indi Aland of contrast and variety India is about extremes, vastness, intensity and paradox - all are qualities that describe this ancient culture, The sharp peaks of the Himalayas, the sweltering heat of the great Indian plain, the delicious coo! of Kashmir, arid deserts and monsoons in the tropical southwost- all these contrasts and many others are commonplace in India. Tiny villages where the slow pace of life remains the same as in centuries past are connected to teeming urban is teeming with variety. There are several subeukures thriving within impart tothe Indian culture a mystical centres by dirt roads that seemingly stretch to the horizon. Culturally 100, In the composite Indian culture. This variety and diversity impart to the Indian culture. This variety and diversi dimension and rich spirituality ‘There are many types of dance in India, foom those which are deeply religious in content to those which are danced on more trivial happy ‘occasions, Classical dances of India are usually always spiritual in content, akhough this is often tue also of Falk dances Kathakal ali literally means story-play and is anclaborate dance depicting the victory of truth over falschood. A Striking feature of Kathakali isthe use of elaborate make-up and colourful costumes. This is to emphasize that the characters are super beings from another world, and their make-up is easily recognisable to the uained eye as sanih or godlike, rujasik orheroic, and samasik or demonic. Mo “The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most often the hero. The spectators can feel his invisible presence when the heroine or her maid details dreams and ambitions through circular movements, delicate footsteps and subtle expressions. Through slow and medium tempos, the dancer is able to find adequate space for improvisations and suggestive Ahavas or emaions. Attam "The basic dance steps are the Adavus wh names are derived from the nomenclature called vaitfar, The Mobini attam dancer mai adorns a simple costume, in comparison to costumes of other dances, such as Kathakal beautiful white with gold border Kasavu sree of Kerala, with the distinctive white Jas bun a the side of her head. CENTER FOR PERFORMING ARTS foave of four kinds: Taganam, Jaganam, Diagamim and Samisram. These sins realistic make-up and ‘The dancer is attired in a in Howers around a French ELT tues 202 Jrorsws Misia PERFORMING ARTS IN INDIA MANIPAL ‘070901162 | XH Sex SAP uNTvenarryBharata Natyai Bharata Natyam dance has been handed down through the centuries by dance teachers (or gurus) called nazmwanas and the temple dancers, called devudasis, the sacred environment of the temple these families developed and propagated their The training traditionally took around seven years under the direction of the natuwanar who were scholus and persons of great learning. The four great nattuwanars of Tanjore were known as the Tanjore Quartet and were brothers named (Chinnaial, Ponnaiah, Vadivelu and Shivanandam. ‘The Bharata Natyam repestiore as weknow it today was constructed by this talented Tanjore Quartet, Kuchipudi ‘The dance drama that stil exists today and can most closely be associated with the Sanskrit theatrical tradition is Kuchipudi which is also known as Bhagavaia Mela Natakam, The actors sing and dance, and the style is a blend of folk and classical Arguably this is why this technique has greater freedom and fluidity than other dance styles, Biagavata mela natakam was always performed as an offering 10 the temples of either Mesratur, Soolamangalars, Oothkadu, Nallar of Theperursanall. Kathak ‘This nomth Indian dance form is inextricably bound with classical Hindustani music and the thythmic nimbleness of the feet is accompanied by the table or pakhawa} Traditionally the stories were of Radha and Krishna, in the Narwari style (as it was then called) but the Mughal invasion of North India had a serious impact on the dance. The dance was taken fo Muslim courts and thus it became more entertaining and less religious in content. More emphasis was lad on nviiya, the pare dance aspect and less on abhinaya (expression and emotion) Turis 2012 Jrorsws Misia ‘070901162 | XH Sex SAP 11 CENTER FOR PERFORMING ARTS PERFORMING ARTS IN INDIA a MANIPALOdissi Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play Geet Gos used to depict the love and devotion to God. The Odissi dancers use their head, bust and torso in soft Fhwing movements to express specific moods and emotions ‘The form is curvaceous, concentra head, bust and torso; the mmudras and the expressions are similar to those of Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishni, Lord Krishna. It 8 a sof, Iyrcal classical dance which dlopiets the ambionce of Orissa and the philosophy of is most popular deity, Lord Jagannath, whose temple is in Puri, On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly visible oon the tsithang or the division of the body into tree par Mi This dance style was originally called jogai which means circular movemert. In ancient texts it as been compared 10 movement of the planets around the sun. It said that when Krishna, Radha and the gopis danced the Ras Leela, Shiva made sure that no one disturbed the beauty of the dancing. Parvati the ‘consort of Lord Shiva also wished to see this dance, so to please her he chose the beautiful area of manipur and re-enacted the Leela, Hundreds of centuries later, in the 11th century the eign of Raja Loyamba, prince Khamba of the Komal dynasty and Princess Thaibi of the Maira 4 the dance and it became known as L nce of Manipur, most ancient d ET tess 2012 Jrorsx ‘070901162 | XH Sex SAP CENTER FOR PERFORMING ARTS isin PERFORMING ARTS IN INDIA 12 MANIPAL13 Forms of music in Indi ‘The music of India includes multiple varieties of folk, popubr. pop. classical music and R&B. India’s classical music tradition, including Camatic and Jory spanning millennia and developed over several eras. It remains fundamental to the lives of Indians today as sources of spiritual inspiration, cultural expression and pure entertainment, India is made up of several dozen ethnic groups, speaking their own languages and lialeets having distinct cultural traditions. Hindustani music, has a ‘The two main traditions of classical musie are Carnatic music, found predominantly northern and central regions. the peninsular regions, and Hindustani music, found in the (Main aricle: Hindustani classical music) Hindustani music is an Indian classical music tradition that goes back to Vedi times around 1000) BC. i further developed circa the 13" and 14" centuries AD with Persian influences and from existing religious and folk music. The practice of singing hased on notes was popular even from the Vedic times where the hymns in Sama Voda, a sacred text, were sung as Samagana and not chanted. Developing a strong and diverse tradition over several cemuries, it has contemporary tradions established primarily in India but also in Pakistan and Bangladesh, In contrast 10 Camatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hinds musical traditions, historical Vedic philosophy and native Indian sounds but abo enriched by the Persian performance practices of the Mughals. During the Medieval age especially in the Mughal era various Gharana became famous clue 10 excellence and class in type of musics like raga, almost all from the fineage of Tansen one of the nayrama of Mughal Emperor Akbar. Classical genres are drupad, dhumar, khyal, raranay sada. CENTER FOR PERFORMING ARTS LL tess 2012 ee Denese ff MANIPAL =: +.07090n162 | Xm Sex PSAP oxiver arty(Main article: Carnatic music) ‘The present form of Carnatic music is based on historical developments that can be traced 10 the 15% = 168 centuries AD and therealter. However, the form itself is reputed to have been one of the gilts bestowed on man by the gods of Hindu mythology. Its one of the oldest musical formes that continue tosurvive today. js melodie. with improvised variations. It consists of a composition with improvised embellishments added to the piece in the forms of Raga Alapam, Kalpanaswaram, Neraval and in the case of more advanced students, Ragam Tanam Pallavi. The main emphasis is on the vocals as ‘most compositions are written to be sung, and even when played on instruments they are meant to be performed in a singing style (known as gah’). There are about 7.2 million ragas (or scales) in Carnatic Music, with around 300 stil in use today. Purandara Dasa is considered the father of carnatic music. Sri Tyagaraja, Sri Shyama Shastryand Sri Muchuswami Dikshitarare considered the winity of carnatic music and with them came the golden age im eammatic music in the I8th-19th century Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja Iyengar (the father of the current concert format), Semmangudi Srinivasa Iyer TN Seshagopalanand more recently Sanjay Subrahmanyan TM Krishna Bombay Jayashri ete. Every December, the city of Chennai in India has its six week-long Musée Season, which has been described as the world’s Ingest euthural event. t has served as the foundation for most muisie in South India, including folk music, festival music and bus also extended its influence to film music in Uke past 100-150 years or so CENTER FOR PERFORMING ARTS ‘isin PERFORMING ARTS IN INDIA15 ‘Theater in Indi: The eatliest fom of the theatre of India was the Sanskvit theatre. Ic began afler the development of Greek and Roman theatre ad before the development of theatre in other parts of Asia. It emerged sometime between the 2nd century BCE and the Ist century CE. and flourished betieen the Ist century CE and the 10th, which vas a period of relative peace in the history of India during which hundreds of plays were ‘written. With the Islamic conquests that began in the TOth and 11th centuries, theatre was discouraged or forbidden entirely. Later, in an attempt to re-a India as one of the means of entertainment. As a diverse, ‘multi-cultural nation, the theatre of India cannot be reduced to a single, homogenous tre. ~|CENTER ELT tues 202 FOR PERFORMING Traditional Indian theatre Katiyatam is the only surviving specimen of the ancient Sanskrit Uiealre, thought 0 have orgimted around the beginning of the Common Era, and i officially recognised by UNESCO es a Masterpiece of the Oral and Intangible Heritage of Humanity audition, many forms of Indian folk theatre abound. Bhava (stro players) is popular folk theatre form of Gujarat, sal to have arisen in the 14th century CE. Jara has been popular in Bengal and is origin is tuaced 10 the Bhakti movement ia the 16th century, Another folk theatre form popular in Haryana, Uttar Pradesh and Malva region ofMadhya Pradesh is Swang. which is dialngue-oriented rather than ‘movoment-orieced and is considered to ave arisen in it present form inthe late 18th- early 1th cemusies, Yakshagama is a very popular theate atin Karnataka and bas existed under differemt names atleast since the 16th contuy. It semi-classical in mau and involves music and songs based rich costumes, Storylines based on the Mahabharata and Ramayana It also employs spoken dialogue in-between its songs that tives ita folk art avout. Katakali is 2 form of dance drama, characteristic of Kerala, that arose in the 17 century. developing from the temple at phys Keishaanatiam and Rananatiam ARTS MANIPAL rors Misia PERFORMING ARTS IN| INDIA 2 +-07090m162 | Xm Sex MSAPLITERATURE STUDY:16 Metropolitan centre: “Metropolitan centres are traitionally the main focus of cukural activty within a country, with a concentration of companies and facilities forthe performing ars, their organization, creative activity and education of performers, mangement and production staff. Such centres benefit from the ‘major concentration of population and national focus of transportation works. “There are several categories as follows: Opera house [National subsidized professional resident company in repertory or repertoire and visiting comparable companies of international standard providing large-scale opera productions. Such a facility may be exchsively for opera or combined with ballet Ballevdance theatre "National subsidized professional resident company as described under opera house, but exclusively for ballet and dance. Concert hall ‘Classical orchestral and choral music, ja77 and pop/ rock music, with the leading subsidized professional orchestras and groups. Fither housing a resident orchestra for their exclusive or seasonal use, or touring facility hired by promotional organizations including the orchestras and groups. Recital oom ‘Medium-and small-scale classical orchestral and choral music, jazz and pop/tock music also with readings such as poetry. Biter housing a resident orchestra fora season or, more ollen, hosting touring companies and groups. [Facility for the development of new forms of music with a prevailing concentration on electsonics and amplification,17 ‘Commercial theatre ‘Drama an musical productions usually initiated by the management or promoting organi usually present new plays and musicals and originale the mew productions ‘They may aso be initiated by the subsidized sector and transfered to the commercial theatre with long runs over several months, Such theatres ‘Arena Facilities for the presentation of very large-scale pop/rock concerts and other spectacles covering opera, music and musicals, hired by commercial ‘organizations who initiate and promote groups and companies as one-off events or part ofa tour. ‘Drama theatre ‘National subsilized professional resident drana company in repertory, or repestoite and visiting companies of national and international standard, producing new and established works. ‘Small and medium-scale drama theatre ‘Small theatres presenting new plays and experimental prodictions, with or without subsidy to supplement revenue, relying on low overheads and benefiting from a large catchment area from which audiences are attracted. Other categories © Universities and Colleges including Schools of Music and Drama, providing theatres and concert halls for their own and public use {© Open-air auditor for seasonal concerts and drama procluctions Informal external spaces for street theatre, music and entertainments ‘© Theatres with restrictions on company (e-g. Youth Theatre) and audience (e.g. chib theatres with restricted membership) ‘© One-off events including stadium concerts and festivals18 Entrance foyer “The entrance foyer may be required to accommodate the following: ‘ticket check if at entrance, and not at points of entry int the auditorium © information in the form of leaflets and other handouts describing productions and events, notice boards providing information on events and, possibly, a receptionfinformation desk ® circulation and waiting area ‘# seating (desirable for ambulant disabled) «directional signage directing the public to the various facilites (consider carefully colour, limpaited and eldesly) «supervision: some consideration needs to be given to oversee the entrance area by the staff in order to offer assistance and exercise control « exhibition and display: space for temporary exhibitions or wall display, display cases for merchansise and crafts © access to box office, créche, cloakroom. toilets and sales, as well as meeting rooms and other public Luclities "The public needs tobe able to easily identify visually the main circulation routes to the audoriuin and other public facilities from the entrance foyer. and type face for clarity and forthe visually ves and associated ‘The following staff may require individual offices; © Plafom/siage manager Assistant platorm/stage manager fe Sccretary © Chief technician © Master carpenter Property master ‘© Wardrobe mistress/master Inaddition electricians, and pkatform/stage hands and including flymen if appropriate) require changing rooms: allow 3M? per person. Stage ‘hands for opera, musicals, dance and drama productions. if seen within a performance will require muke-up provision and to chunge into costumes. Showers shoul be available to stage hands and flymen, off their changing rooms. A separate toilet can be located at plaiormistage level, suitable for wheelchair wers th each office being 12-15M2:Foyer ‘The foyer provides the means of access to all parts of the auditorium and should have facilites for the public 10 si talk. walk about and meet Friends, These social aims can include also a legitimate level of sel-display from formal promenading to a general awareness of those attending a performance, The floor arca is related to the capacity of the auditorium: allow a minimum of 0.6M2 per person forall the foyer arcas, excluding toilets, cloakroom and vertical cxculation. Public entrance ‘The front entrance provides the main acces info, and egress from, the building for the public. The entrance should be loeated along the main access route and be clearly visible: the public should be aware of the entrance by its Woeation and sigmage. The entrance gives information about the attitude of the management towards the public and can be yy ‘welcoming or intimidating, exclusive or embr ig. clear or obscure. ‘Requirements for public entrance areas include: {© Access and parking: Provision for passengers to alight at the main entrance by taxi, car or coach, with a discrete lay by or service road, especially if it isa large building complex, and close proximity to parking 1 Exserual display: Name ofthe building and/or company as an illuminated external sign: posters and advertising material: current and future attractions on adjustable signs or electronic signs; banners and flags. The building itself, suitably artificially lit when dark, s also an ‘external display. 1920 Canopy: Provision of shelter atthe matin entrance from inclement weather with a protective caver over, and across, the line of doors. A ‘canopy isa useful device for gathering together pedestrian routes and dropping-off points if dispersed (Figure 13.2). {© Eurance doors and lobbies: Two lines of doors reduce nose and draught penetration into the foyer; automatic doors are essential for ‘wheelchair users. The distance between the lines of doors should be a minimum of 2 MC: several pairs of doors Parking: Integration ofall the spaces can be achieved by landscape, built form such as ‘commecting corridors, pergolss, pavement design etc‘Signage's: “Standard signage’s usedifor the building services, the signage’s should reflect the cultural theme of the design it should be placed in such a manner that people need nat ask which direction to go. Art gallery ‘The gallery may be designed as a formal interior essentially for pictures, oF Jess formal and specitic, allowing exhibitions co be created forthe space. Live Art should be considered, as should the use of gallery space for recital, «drama performances and so on, in which ease the acoustic characteristics of the space would require particular attention. The whole of the gallery ean be the oer space tothe auditorium, with refteshment areas, toilets, ete ‘olf the gallery, thus making the gallery the focus of the public spheres, A display can he provided within the foyer associated with a performance oF ‘conference, exhibitions of local interest, sponsors' material and arttelated displays, on walls or sevens. Security can be covered by the {general provision in the building, 21 mre22 z i E a d i z g ; 5 : i F é I E sm will prevent theft of book, by ve linked areas which as large as23 Toilets: Legislation provides a guide to the minimum provision: this is usually inadequate especially for women. ‘A-general guide to the minimum requirements i as follows: ‘Men WCs minimum of 2for up to 500 males, then one for each aditional 500. Urinal minimum of 2 for up to 100 males, hen one for each addkional 100. Wash basins one for each WC plus one for each five urinals. ‘Women WCs minimum of 2 for up to 75 females, then one for each additional 0. ‘Wash basin one for each WC. Also consider powder shelves, long mirrors and sanitary towel dispensers and dsposal in women’s toilets and provision for changing nappies Allow for handdrying facilities: either electric warm air dryers, maller towels or paper towels with containers for disposal. Separate toilet or wilets for disabled persons, containing 1 WC and 1 wash busin in each toilet, are essewial provision, ‘Toilets should be located ofl the main circulation near the entrance lobby and also at each level of the foyer in a nuilt-level auditorium. Auditorium and platform/stage formats ‘The relationship between the auditorium [the audience] and the platformstage [the performance] is a fundamental requirement. The selected fonmat affects the experience for both autience and performers, seating capacity and auditorium size and shape, from which follows the general arrangement of the building. “The relationship may be summarized as either the proscenium format or open stage formed: the proscenium formal is as ifthe performance is Seon through a window" or hole in the wall ans there isa clear division between audience and performers; the open stage formats follow the ‘concept of the auditorium and platiorny stage being within a single volume with the seating coniionting, partially surrounding or wholly surrounding the phtform/stage24 ‘Predominant types of production; ‘The following relationships accommodate a predominant type of production in purpose-built facilities. ‘Compatible secondary uses may be included in the brief but they do not require any physical adaptation ofthe auditorium and platformvstage, or only ‘requite a modest evel of flexibility, For orchestral and choral classical music in a concert hall or recital room, there are three broad categories: the audience focused towards the orchestra and choir on the phitform, with or without choir stalls, ina single direction; the audience on three sides, semi-surrounding the platform: the audience surrounding the platform ‘Types of single direction relationship include the: fe rectangular box «Variations on the rectangular box: fan-shaped auditorium,25 Open stage forms: ‘The open stage formm may be classified into five broad categories: © End stage: the audience focused towards the stage within a rectangular box: the stage at the narrow end, with stage and audience in the same space. © Fan-shaped: the stage is encircled by the audience by 90°. This level of encirclement allows the performer to command the audience and for the performer tobe seen against a scenic background by the audience. (© Thrust stage: with the audience on three sides, semi-survounding the stage. © Theatre-in-the-rvund: the audience surrounds the performance. Entrances by the performers are through the audience. Acoustically the performer ‘needs to project tothe whole audience in every direction, which implies a limit tothe maximum distance from stage to rear Tow. © Traverse stage: the audience either side ofthe sue. Multi-purpose form: ‘As opposed lo an auditorium and platfornvstage fo ‘one type of production to he accommodated within a Also productions may req sedominant type of production in a purpose-built facility, the brief may refer to more than le format. .¢ combination with non-performing arts activites. Each of the akemative uses will roquire specific provisions to he ‘made in its design and equipment; in platformstage spuce: in orchestra space and modification of acoustics: in scenery storage and workshops: in stage lighting and sound. While some degree of HHexibility can be accommodated af reasonable cost and with success, there is a limit 10 the ‘multiplicity of use. Apart from design difficubies, the cost of providing for the different requirements and of operating a multi-purpose form may become disproportionately high. The success of a multi-purpose format depends upon the compatibility of the various activities and the designer ‘aust be rigorous in the assessment of the activities, owe 126 Seok ot tan pe. to. ‘Satan cms heme26 ‘The viewer: ‘The horizontal angle of polyehromatic vision is generally 40 degree without eye movements. +The horizontal angle to the projector sereen at witeh distortion on the screen becomes substantially intolerant is 60 degree measured «9 the {far side ofthe projected image LOCATION OF AUDIENCE, + Audience will not choose. location beyond! ine proximity 100 degree to the curtain a the side ofthe proscenium, DESIRABILITY OF LOCATIONS BY AUDIENCE, “Judged by the ability to recognize shapes, and confirmed by free audience, choice of seats, the following are the desirable locations: A-tront center Be middle center C-middle side Defront side E-rear onter Fear side27 BACKST/ IPERATION: (actor/performer) ACTION ‘Check in, get mails and messages. [Dress for performance -pat makeup and costume Wait for call wo stage -stage manager checks east Goto stage -enter and perform leave the set SPACE, 1) vestibule ~ min S0sqft ‘equipments bulletin board. tekphone booth 2) door mans booth ~ min 30 softy ‘equipments counter, mail box, small deck Jkey rack 1) dressing room-SOsqi/person location — near stage ‘equipmens- clothes, costume hanger, shoe racks, make up table 30” wide, 18” deep. 18" wie mizror, one lavatory each 1/ ppl in large dressing oom, 2) makeup room ~ 300sqft(min) ‘equipments- makeup table benches, chair om 2 sides, lights on face. 1) green room-50 sqf/person (min) Tocation- near stage ‘equipments- lounge, furniture, tables, fll Jemgth mtror, all system outlet. 2) stage anterroom- alternate to green room ~ 150 sqft ‘equipments- chair and benches Jocation- near proscenium without lounge aspects 1) passage of min. wilth 1.5m no stair only ramp for level change.ACTION Quick change Waltz for curtain calls Remwval costume Confer with tage manager! director ‘Check out and leave theater 28 SPACE, 1) dressing room —_min SOsqft actor space lor dresser to help actor Ineation- immediate tothe stage. 1) green room, stage anteroom, 1 shower- adjoining each dressing room 146 actor 1) green room with adjoining kitchenette 1) vestibule and stage entrance29 stock ROOM “Sequence e ABCDE for commercial theater EFGHDE for self contained theater ere !8t nd Meine ein er kt Dan30 BACKSTAGE OPERATION: (musician ACTION SPACE, ‘Check in, get mails and messages. 1) vestibule ~ min 50sqft ‘equipments bulletin board. tekphone booth 2) door mans booth ~ min 30 softy ‘equipments counter, mail box, small deck Jkey rack Prepare for performance 1) musician room 300sqft min -tune instruments an practice Tocation ~ at basement level near pit large instrument are usually kept inthe pit ‘equipments locker or cloth racks chair , music cabinet, call system ‘outlet. Gotopit 1) passage ~ direct lange door allow carrying instruments, 2) orchestra pit -10sgft for musician =100sgft for grand piano -SOsqfttympana ‘width from stage figured on per person bass / depth should be kept so Ut musicians are below audience sight line Probable steps or platform to be set aver orchestra pit 1) conductor must see stage 2singer and orchestra must see conductor. 3) elevated orchestra pit loor- featured orehestraas a part of | performance , adds floor for seating. if brought to auditorium kvel rmuikes forestage when required, Leave pit and leave theater lavatoris and toilets same a® for actors, dressing room with lavatory and shower forthe conductor,3132 BACKST/ PERATION: (stage hand ACTION SPACE, ‘Entrance theater checkin Stage entrance and vestibule (Change clothes and go to stage Locker room according to mumber of men Equipment individual lockers, chair benches and phone Location —in basement near stage, serves as tage hands lounge, direct tweither side of stage Work the show Locker room ‘equipment-lounge funiture , adjoining toilets ‘Clean up and leave Locker room shower tper 4 people ‘Treatment of accidents First aid room ~ 50 sqft min. Equipments ~ surgical table, stools. sink and hot water facilities.BACKST/ PERATION: (stage mana; ACTION ‘Checking in. getting mails and messages “Manage the show ‘Work the show Care of seripts, use sheets et BACKSTAGE OPERATION: (scenery ) ACTION Brought totheater ‘Stored pending set up 33 SPACE, Use stage hands locker room Stage managers desk- on stage near proscenium on working side Equipments- cals, phone, monitor, moving stage control ete Locker room ‘equipment-lounge funiture , adjoining toilets Otfice min 50g SPACE Loading door-8°X 12°/ 2.5m x 3.6m located at side ear , rear ofthe stage Loading platform- width of 2 vans Receiving space- 200sqf min, Equipments ~ pipe frame at right angles 10 wall optional for stacking Scenery clear wall and floor space.BACKSTAGE OPERATION: (scenery ) ACTION SPACE ‘Setup Stage equipment for flying rolling and sinking scenery Repairing Repair shop- 300sqft¢min) Equipments -work bench, tools for working. Dismantling and transportation Receiving space, loading door BACKSTAGE OPERATION: (properties: ACTION SPACE Brough to theater and unpacked Loading door —6'x8"/ L.83m x 2.5m. Separate from scenery door, adjacent to loading platform = 100sqft Fitted to sot of scenery , stored on stage (floor / rack / shelves) Operated during show, repaired, struck and transported.35 BACKSTAGE OPERATION: (lighting equipments ) ACTION SPACE Brought totheater Loading door ‘Unpacked Receiving space ~ 100 sqft Additional space for properties, create storage when empty Location ~ alley loading platform Installed Lighting. equipment miy be placed in any position on stage , above stage, in slots in auditorium ceiling or in font of balcony and boxes. Operated, dismantled, taken out BACKSTAGE OPERATION: (sound apparatus) ‘With less bulky by 75% essemtally the same lighting equipments. BACKSTAGE OPERATION: (costume) ‘Brought to theater —Ibading dooe- property door Passage of -5i/1.Sm clear width, no stairs, use ramp when needed Wardrobe room 120 sqft(min) Equipment — costume hanger 12Ft finer, ironing board36 ‘The three-dimensional volume of an auditorium is conditioned by the limitations set by alll members of the audience able to hear and see a performance, and for the performers to be able to command the audience. Seating density, floor rake and seating layout are covered by legislation to ensure a satisfactory means of escape in case of fie, and by an appropriate level of comfort forthe audion >. Performance organization requires lighting, sound and broadcasting positions within the auditorium and a view of the whok performance area trom control rooms. Aural limitations ‘There are limits to the distance across which speech, singing and ‘music can be clearly heard in an auditorium, without the assistance of amplification, and this has a bearing fon the maximum distance fom pperlormance to the rear row of seas Beyond these limits the lack of audibility gives the audience less than the basic requirement to clearly hear a performance. The distance varies according to wpe of production. Other factors include the articulation of the spoken work by fan actor of the sound quality, including loudness, from a musical instrument. Visual limitations: “There afe visual limitations that determine the maximum distance from the Performance area beyond which the audience is unable to appreciate the Performance adequately and forthe performers to command an audience. "The distance tothe furthest seat varies according to the type and scale of production: f¢ In order to discem facial expression — essential with drama — the ‘maximum distance from the point of command on the stage should not exceed 20 M. The point of command isthe geometic centre of an open stage or the setting ine of a proscenium sage ‘© For opera and musicals, discerning focial expressions is less critical and the distance (othe rear row ca be 30 M. ‘© For dance, the audience neads to appreciate the body and feet of the dancers, and also 1 discern jacial expressions: the maximum distance fiom the point fof command on the stage should not exceed 20M.37 Auditorium acoust "The acoustic performance of the auditorium is a critical design requirement and needs to be considered as part of the initial brief. Acoustic performance refers to the quality of the sound ~ music or speech ~ heard by each member of the audience, and also the performers on the platform/stage. Design considerations for the acoustics of an aucitoriam, when the sound isnot amplified, include: «Type of production: each type has its own requirements with differont characteristics for musie and speech, ‘Shape and size ofthe auditorium: the extent to which the audience surrounds the platfornstage seating capacity; number and depth of balconies; rake of the seating: for concerts the proportion of length to width and height to width; for ‘opera, dance and musicals, the location of the orchestra pit; location of performance lighting and sound equipment and lighting bridges. « Scuting forthe performance: such as permanent architectural setting, ‘within audience, proscenium stage and so on. «Volume of the auditorium: calculated as the number in the audience multiplied by a ratio of volume 1 person, according to the type of production: 3.4MG3 per person for music amd 9MB per person for speech within the auditorium enclosure: for opera the ratio is between TMG and SMG per person «© Reverberation time: the difference in time between slrect sound to each member of an audience and es ini plies ‘the reflected sound from all surfaces of the auditorium, — Which requires co be short for speech and long for music‘Seating layout: ‘The seating layout in an auditorium depends mainly on the sekction of format - the relationship between audience and performance — and the visual nd aural limitations associated with a particular type of production as well as the number of levels and sightines. Orher aspects which influence the layout, and thereby condition seating capacity, include factors in the folowing sections. Design of the individual auditorium seat ‘The design alm is to provide an appropriate standard of comfort during a performance. The range of human body dimensions is wide. while a single, correstricted, size of sea is normally provided. Also tolerance levels vary between generations and indeed between dilerent performing arts: the ‘young can tolerate simple seating found less comfortable by older age groups, ‘whereas those attending concerts of classical music appear to expect a level of comirt higher than those ata drama performance. The dimensions of seat ate generally based on a median characteristic of the anticipated users, which varies by age and ako by nationality, ‘Minor variation is achieved by the upholstery and adjustment of the back and seat pan materia! when the seat is occupied: otherwise the seat scketion is a common size within the whole, or part of, the auditorium layout. Probably the best that can be achieved is in the order of90 per cent of the audience within an acceptable ringe of comfort. Other factors include: ‘© Acoustics: upholstery must satisfy the acoustic ‘requirements, usually the level of absorbency when ‘unoceupied: this i especially the case with music. «© Ventilation/heating: for air supply or extract under space should be allowed in the floor or riser toreceive a grille ‘© Upholstery: thickness of padding should provide comfort and avoid fatigue, but should not encourage ‘excessive relaxation; the material of the ‘padding and finish must satisfy fre regulations, For chuive of type of seat 38‘Seating density Density of seating can vary (Figure 12.20): seats with arms and | tippable seat cam oceupy an area as small as SOO mm wide, ‘and less with seats without arms, with a row to row dimension ‘of 760 mm, but can be as large as 750 mm wide by 1400 mun. This i a variation from O.S8M2 to. LOSM2, with these ‘examples, and the increased dimensions means fewer seats Within a given area and reduces the seating capacity. ‘The ‘minimum dimensions laid down by legislation olfer a low Standard of comfort for the audience. Comfort needs to be considered, especially knee room, and these dimensions should ‘ot be taken as the worm. Social cohesion of the audience may be lost if the space standards are to0 high, with the performer being less aware ofthe grouping and more the individual, ‘Travel distance The evacuation from cach level of the anditorium within limited period of time is required in case of a fite. For traditional seating the travel distance is 18 M measured from the gangway: for continental seating, 15 M ffom any seat, The aim is to evacuate the audience of each level within 2.5 mites. Exit numbers [At kast ino separate independent exits must be provided from each level within the auditorium. The exits should be located with sufficient remoteness from each other tallow alternative directions of escape, The numberof exits per level are two foreach level within an auditorium with the seating capacity upto 5: an additional exits required for every lumter 250 seats as selined by kegislation, Egress incase of emergencies should follow the natural low of movement Som the seats away from the platformystage. 3940 Exit widths ‘The ext widths are aid down by regulations. ‘The base calculation is 45 persons per minute per unit wid of $20-530 mum. ‘The minimum total ext widths requited are outlined Exit route ‘The exits from the auditorium must lead directly to place of safety. The exit route must be the same width asthe exit and be a consistent Width avoiding botlenecks. The exit doors from the auditorium, any doors within the route and the final exit doors must open in the direction of egress. Staircases withia the route are subject to the following conditions: the maximum number of steps, 16: the minimum ‘number, :treadiiser to be 275 180, asa recommended ratio, and consistent Ramps should be at a pitch of 1.15, in lengths of 10 m maximum with intermediate platforms. Exit routes for wheelchair users are required to be on the fat or ramped if there is a change of level, and may be required to be separate from the other routes. Routes are to be enclosed by fire-resistant material within the building. Nember of persons Mewes up 10200 22 201-300 14 301-400 28 401-sao 32 501-999 48 1000-1999 64 2000-2999 “aCirculation within auditorium: ‘Audience entry points into the auditorium from the foyer ean be atthe rear or sides of the seating, or within the banks of seating, and should be related to the gangway positions While gangways ate primarily calculated as part ofthe escape route in ease of fie, they also act as circulation routes through the auditorium, with possible addtional gangways, from the audience entry points tothe particular row and seat ‘Access through banks of raked seating — \omitories ~ remove seats, and thereby reduce the potential seating capacity .A threshold spice atthe entry points for ticket checks, programme sales and for members of the audience to orientate themselves should be considered. ‘Gangways for use by wheelchair users require to be ft oF ramped: the pitch should not exceed 1.15 for a ‘ump With a maximum dstance of 10M. Beyond 10 M, the regulations require a fat platform, whic in a large auditorium may be inconvenient as it may break the lie ofthe seating banks. Permission will be ‘necessary to have a continuous ramp. For a wheelchair user maving from a ramped gangway toa flat platform will require an intermediate ramp. Gangway widths are established through the regulations ‘covering fire escape from auditoria, The minimum width though i taken as 1100 mm unless used hy wheclchaie users where the with increases to 120mm, ‘Handraik will be required to a stepped gangway adicent 10 an enclosing wal; to a stepped gangway if drop atthe side: at landings, rear of rostra and where there is drop of more than 60} sam; where the rakes above 25° to a gangway the ends of the rows served hy the gangway may require loop rail Rails are usually 40 mm shove the pitch line and 1200 mm above landings, with panels cither solid orsub- divisions whieh may require a 100mm maximum gap. 41Performers’ access through the auditorium Performers muy have access (othe stage Ubrough the auditorium during a performance by way of ‘access along the gangways, with stepped access onto the stage if raised; ‘# access through vomitories exclusively for performers. Details of a performers’ vomtory are shown in ‘The performers’ vomitory can be filled to accommodate auditorium seating if notin use Wheelchair location within the seating Regulations require a minimum number of places for ‘whoolchairs at each level, oF 1/100th of the audionce capacity whichever isthe greater. Wheelchair locations, as discrete areas, can occur at the rear, front, se or within the seating. Wheelchairs can he centrally positioned by forming a buy off a cross gangway, The actual location will be conditioned by the particular seating layout, the convenient points of entry from the public areas and the escape arrangements in th case of fire. Separate entrances into the auditorium as well as escape routes should be considered, Choice of location within an auditorium is desirable, covering each level and within different sections ‘of the seating. Inthe lager auditorium, phcing the Wheelchair users in a single designated area should be aided43 Broadcasting requirements ‘Television cameras, Extemal broadcasting — television and radio — and recording in auditoria may be a ‘requirement especially in those buildings forthe performing arts housing ‘or hosting national and regional professional companies. Television cameras require 10 be located it the seating areas either in specilic locations, om platforms, or by displacing seats _—— Sound control room Inlarge auditoria with amplified sound and/or sound ceflects the sound comol room may be located within the seating area to benefit from being in the acoustic ‘volume of the auditorium, Adaptation ‘Taamuli-purpose auditoria where different formats or uses are combined then all or part ofthe raked seating Pa cour oie onan Tuga tcscieed by forming a structure off a fat oo, and nee - i i a cas Ma Sptocredseatig wth ar abe retracted into the depth ofa single and highest row. The rows are staight and the extended structure Tete roclagaas Heck, which pares 4 LE discipline on the seating layout, i Fi I© Rosira: Complete raked units with either permanent or removable seats, on wheels or air pallets for ease of ‘movement into storage areas when not in use. © Sectional rostra: A set of boxes able to be built up to form raked units with removable seats. The storage requirements are less than complete rostr © Kit of parts: Scaffolding or equivalent sei of components able to form raked levels to receive seating. This is the most flexible system, it has efficient storage requirements, but is labour intensive. ‘© Hydraulic lifts: Mechanical method of raising sections of the flat floor to form a rake floor to receive seating. Loose scats, secured in position when required for Performances. For the whole ofthe audience 10 have an uninteupted view of the performance and its setting over the heads infront and clear of overhangs, {Ue section and plan of the auditorium needs (o conform to cextain imitations set by vertical and horizontal sightlines, Vertical sightlines ‘Vertical sightlines may be calculated by establishing: Lowest and nearest poiat of sight on the platfon stage for the audience 10 see clearly. The platfonm/stage height, when raised, cam range from 600 to 1100 mm above the lowest level of the auditorium and point can be the leading edge, or setting line for the performance, at or above the platiormYstage level, If forestage is part of the proscenium or end stage tt formats thea point needs to relate to the lorestage. If an orchestra pit is r included between stage and seating then point may be regarded as the ; ‘conductor's head. With a symphony orchestra in a concert hall, the ability to see each musician at the frout of the stage (who partially masks the other ‘musicians) may not be critical and point P may be taken as over 600 mm above the platform level atthe front edge.‘Horizontal sightlimes are tobe considered only with a ‘proscenium stage and possibly end staze and platforms for classical and choral music. Given a particular performance area, sightlines will Hii the wide ‘of seating that can be provid in the auditorium. Conversely the sightlines from the side seats restrict the amount of the performance area that can be used. "The narrowest dimension of the proscenium opening. if adjustable, should be taken as the hasis of the calculations. Bach member of the audience should have a direct view ofthe pesformance focused towards the centre ‘of the performance area. Curved or angled rows direct the focus of the audience towards the contr. "The curved row'stadiating from the circubs stage of a Greco-Roman theatre isa clear and simple example ‘of this form with the geometry emanating from a single point, With a proscenium stage the geometry of the performance area varies from the seting out point ofthe seating: the audience shoul! be contained ‘within a 130° angle peripheral spread of vision liom the performer atthe point of command on the performance area for opera, dance, musicals and Drama Without bead movement the arc to view the whole of the performance area on plan is 40° from the eye. An acceptable degree of head movement is debatable, where the seat is focused away from the stage, as with side galleries, requiring the head tobe turned by lke member ofthe audience 4546 ‘Ventilation ‘The experience of enjoying a performance is influenced by the quality ofthe ventilation in the auditorium, and the avoidance of draughts, stffiness and ‘noise of mechanical ventilation, Health meds include respiration while comfort needs include maintaining body heat, contro of aithorne contamination and removal of odours, Thete is also the cost of the vent ‘and associated questions about heating which ‘can contribute significantly to the running costs ‘The approach to the ventilation of an auditorium reflects its size and shape (number of balconies in particular), level of fexibility (different audience/performance relationships), the type of construction of the auditorium enclosure and extemal climate conditions. "The intial design decisions lie with defining the ‘noise criterion and number of ar changes per hour to be achieved in the auditorium. The acceptable level of ‘noise can vary according to performing art: for drama the level can be NR2S while for ovchesteal music the level may be required to be much lower at NR2O. For recording, the level wou! he even lower with a recommended RIS. Ths criteria refers to the background ‘noise level and not the quality ofthe sound as experienced by members of an audience. ‘Ventilation supply rates of at relate tothe need to provide fresh air ata rate of change to achieve suitable ‘conufort conditions: rates are subject to legislation ‘expressed asa minimum of fresh air supply per person, inchiding a proportion of recycled comtitioned air. Air change rates appear to vary according tothe authoritative body. ‘The basic principle of mechanical ventilation lies with bringing air into an auditorium, with si which fresh, clean and at « similar temperature, achieving umber of air changes per bour when the auditors is ‘occupied. This & complemented by the extract of ait to achieve the air changes. There are different locations for the ineduetion of air into an auditorium and for the extraction ofa. i |47 Lighting: [Lighting within the auditorium covers the fellowing «© Performance lighting Lighting positions within the auditorium at ceiling level, on side and rear walls, balcony fronts and at low level within the seating: the lighting direction is towards the platiora/stage with clear projection: each position reques ease of access for echaicians to change and adjust, with lighting bridges at ceiling level and ladder access to wall locations; follow spotlights require a location at the rear of the auditorium or from a lighting beige at ceiling lighting isan integral part ofthe staging of all types of production, exeept orchestral and choral ‘music, and is subject to changes within a performance controlled by operatives at the ear of the auditorium . The tradition for orchestral and choral ‘nusic is for the platorm to be Mluminated during the performance wth a general and fixed level of liking: however this may be changing With, sas, follow spotlights as an increasingly common feature. Auditorium lighting: For iluminasion of cireulasion youtes and seating areas for the audience to move around the auditorium, read programmes, ‘and so on; decorative lighting emphasizing architectural features within the auditorium, Auditorium lighting is usually dimmed and out during the ‘actual performance for all types of production except for classical an choral music, where the tradition isto dim the lights only: 4 Emergency lighting: An lumination of te circulation routes within the sadicorinm during a performance, with the luminaires located at ceiling level orfind at low level incorporated into the design of the gangways; exit signs and emergency directions at points of egress inthe auditorium; lighting of the auditorium at times of emergency: Working lights: general illumination of the auditorium for cleaning and maintenance as a separate system during times when the auditorium is ‘not used for performance and rehearsals. © Divecior § desk lighting: supply of power within the auditorium to serve temporary location of director's desk during rehearsals. This is wot ually applicable for classical music 1 Cue tigins: at entry points into the auditorium. © Blue lights: areas within ihe auditorium which will be accessed during the performance by technicians and performers require lighting but at alow evel with a blue kit to avoid distraction to the audience. This covers lighting bridges and entry points into the auditerius, Ease of access is required to service all luminaires,48 ‘Sound equipment: ‘The sound equipment described in the following sections may be required to he incorporated into the auditorium design. Control rooms for performance sound, brocdcasting and recording are discussed under Performance Organization ‘Sound reinforcement; Location of loudspeakers forthe amplification of _music, voices or special effects, especialy for those performances relying om amplification such as musicals ‘and pop/rock concerts. The ai is to locate the ‘main loudspeaker to distribute sound across the whole ‘ofthe audience and can he: « over the platfornystage along the seting ine or above the proscenitim opening ‘© atthe sides of the platform/stage as the traditional position for pop/rock/iazz concens (often touring _proups proviling their own equipment) {various positions within the auditorium to supplement ‘main loudspeakers and for sound effects on side and reat walls, ceiling to auditorium and balconies and, possbly, under th: floor. Location ‘requires an uninterrupted line from speakers to ‘members of the audience,49 Public address Loudspeakers may be required within the auditorium for announcements fo the audience as a separate system, Rehearsals Loudspeakers may be required, usually located athe rear ofthe auditoriums, for use during rehearsals on the stage, so thatthe director located inthe auditorium can communicate with the performers on the stage. This requirement tends not to be applicable for orchestral and choral music rehearsals, ‘or for small aucitoria, Broadcasting and recording ‘Consideration should be made of provision within the auditorium for television anid radio transmission and for video, film and tape recording of performance. Spatial requirements, beyond camera and operator locations, are nominal and mainly include access for cables and equipment. Aids for the hard of hearing ‘To assis the hard of hearing, consider the applications of one of the following: © induction loop: magnetic field transmission looped axound audicotium ‘infra-red system: modulated light signals, radiated frou a number of sources (© hant-wired: cable within floor trunking connected to pane! in seat ‘The enclosing walls and floors of the auditorium shouldbe fire-resistant as should the doors and other openings in the walls. Other aspects to be considered include: ‘¢ son-combustbility of materials including finishes and seating ‘© detector sysiem: smoke detectors in auditorium and associated voids © euinguishers: hose-reels, portable extinguishers: automatic sprinkler systems will not be allowed over seating areas «alarms: connected to automatic detector system and central indicator panel and, possibly, direct link to local ire station; alarms should be visual (lashing light) in auditorium and not audible. Fire precautions should be discussed with the local fire authority and fire insurers50 Structure: A large span structure will be required, capable of carrying shaped ceiling, lighting bridges and ventilation ducts, Floors will be sloped, raked, dished of, if multi-purpose auditorium, flat. Balconies introduce additional long spans able to carry heavy loads. For sound insulation purposes the auditorium walls will have to be substantial, which suggests load-bearing construction Ceiling zone; ‘The ceiling and ceiling zone are mainly determined by functional needs and include the following requirements: 1 Acoustic requirements: Profiled reflector panels and possible adjustable diflusers to ensure distribution of sound over the whole seating area For non-amplified music the reflectors will nced to he suspended over the platform as well €# Lighting requirements: Access and supporting framework for performance lighting, “house’ lighting and also working lights and emergency lights. © Uentilarion requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of access for servicing, {© Production requirements: For opera, dance, musicals and drama, a gril and pulley suspension system for flying or suspending scenery over forestage, including access by technicians. (¢ Fare control requirements: Alarm system in voids: fire dampers in ducts ‘Seating capacity: ‘The maximum capacity within an auditorium depends on the selection of format and the aural and visual limitations set by the type of proluction. Other influences on the calculation include, levels, sightines, acoustics, circulation and seating density, as well as the size and shape ofthe plaform/stage (Wo be described in the following section). To maximize the seating capacity within these imitations, sightines ‘may be compromised so tha, say, 10 per cent of the audience experiences 90 per cent ofthe performance area. This is a debatable issue ‘mainly associated with the proscenium format, where, to achieve an intimate character in the auditorium, a desire to provide pperfot sightlines for everyone may have to be overridden. The acnual searing capacty depends an the ability to attract audiences which ‘may be less than the possible maximum, Abo the potential peak demand could exceed the selected capacity on a particu evening: the aim though should be to spread attendance across less popular days, or extend performances over a longer period of tine rater than increase the capacky over a short duration,In case of fize on the stage, traditionally i is necessary 0 separate the stage areas from the auditorium, with the proscenium opening being closed by safety curtain. The normal form of safety curtain is a rigid type which is suspended immediately behind the proscenium opening, running between side wacks and dropping ‘onto the stage froat from the Hytower The safety curtain can be om the straight line of the stage separating the orchestra pit, as part of ‘the auditorium from the stage. or on the fine of the rail to the ‘orchestra pit so iat when the pit is exchanged for an apron stage it is accommodated within the stage area. If there is a curved oF angled pit rail then the safety curtain shoul follow the same "The safety curain tends 10 be obligatory for auditoria with a seating capacity over 500, as outlined in the building regulation. ‘The need for a safety curtain is historically-defined, based on pre= cleciric ighting and extensive use of combustible materials on the stage. The continued use of the traditional barrier of the safety curtain to separate the stage volume from the auditorium has been ‘questioned. Akernatives include a sprinkler system along the line ‘of a proscenium opening andor controlled smoke extract within the stage volume as well as away from the stage inthe auditorium, Access to the stage: performers ‘The door leading from the dressing rooms for the performers shout be located down stage of the prompt side (PS) as the primary point of entry 10 the stage, with a cross-over behind the stage, and at leat a second point of entry on the nom-PS side. ll entrances to the stage require lobes as sound and light locks. The entrances should be located so as to leave a maximum amount of clear wall space. Access & also required w the sub-stage by’ performers from both sides ofthe performance area and possibly also fous the auditorium, which may require steps atthe side of the front ofthe stage. With opera, there are a large number of performers including principal, chorus aul dancers: separate access points should be considered for each soup.52 irchestra pit: musicals, dance: ‘The orchestra for opera, musicals and dance isin a pit between the stage and the audience. The limiting factor is for the conuluctor to be seen by both the singers and dancers on the stage and the musicians. The audience requires to hear a belance of singers and orchestra, especially for opera. Amplification in musicals makes this requirement less of a necessity. Allow 1.3M2 average per player, SM2 forthe piano, 1OM2 for tympani and percussion and 4M2 forthe conductor. The actual production will have specific orchestral requirements with variation in the size and composition of the orchestra. The conductor's eye level must not be lower than staze level when seated on a high stool, “To minienize the gulf between stage and audience the pit can extend under the stage tits Seat if dita ta Gear an & MTN eek of uc rcsag nop Tene Oe exe} =e fr i FE sound outward into the auditorium. Foe oper, the pit should he designed for + , taximum of 100 misetans far musicals, 6; or dane, 60-90, The ninbers coud be tes with touring companies The floor level of the orchesira pit shoul! be adjustable woe oe etween 2-3 m, below the stage level to suit the different requirements of the. Phere ye ye musicians an diectors. The fe separation bstsen auditorium al stage ee tet be maintained icing Ue etry pool ino the pit access must be posible Bom . both ends, The arehesra pit requites its own independent ventilation system, locally controled. Lifs may be requied to reduce the se ofthe pt and its acoustics. “The orchestra pit requires acoustic treatment and working lights, as well as the socket te ‘utes for Highing to music sta r53 Relationship between public spaces ‘The functional relationships between the various public spaces are shown in war 7 Ae peo ee | SES aa— =e) Sea] y= solos es i — 4 mi54 Conclusion Accomplete theater uni must 1) Accommodate an audience 2) avcommodate a performance 3) Bring audience and performance together in the most elficient way Actheater must have the following salon Feature: 1) Interdependence of functions- optinizing the aulience perfomance relationship in onder to increase the appreciation of laudcnce towards the performance and also to encourage the performers to give this best ellot. 2) Universality —fanctinal quits are Hentical respective ofthe origin of the building project 3) Harmony between finetion and architectural stage theatrical fimetions must he the primary determinants of the sk, shape and satrangements of the pars of the theater building 44) Appropriate selection of ste- the site must he ig enough ta hold the thester and to provide access and outside audince landing sacilities. 5) Development of pln ~ shape and se ofthe sage and aitorium , acting area and orchestra pit according tthe audenee. 6) Variation in program all prodkiction type mast be chosen for performance inorder keep the theater running. ‘T)Nariable house capacity- many designs arc there which can vary the sie of the autor ax per the mimber of people and production type. 8) Atactiveness ofthe house can generate potential audience. 9) Appropriate stage 10) Storage facility in order to rita 11Andince (in order to grab aienes evel he efficiency of the theater) essential that their seeing and hearing experience i highlighted to the maximum 12) Other sourse of income ~ a theater might not always move in profit and because of this # requires alternate means of income ‘which can be acquired by means of exhibition, letting out of spaces etc@ASE STUDY:KALA ACADEMY, GOA Solection as cave study ‘The academy deals with both easterm and westerm form of art. Spaces are planed especially For teaching and practice of performing arts.KALA ACADEMY, GOA ated at Campal, Panaji along the banks of 1 28 mixed land tse with a military hospital aeross the road, a cricket ground and a park on either side ARCHITECT: | Charks Correa BUILDING TYPE: Insttution SITEAREA: 63acros ADIENT: Gentle Slope al film festival of Inia fon for promotion of art and cu in Goa ACCESS: + Regular buses connecting Panaji and the academy are available + Dabolim airport, 35km + Nearest ralvay station is Madgao, 53 km, Layout: + Four entries tothe st. + Boat jetty provided + Coverage is about 4 + Well defined peclesiran an! vehicular systems * Includes the cafeteria, garden and amphitheatre. + Site is divided into main building service building, muktangan, parking CENTER FOR PERFORMING ARTS ey ase stupy ff MANIPAL Frosoncs |i Sox PSAP eS56 BUILDING STYLE AND CHARACT * Designed by ar. Charles correa + Imporaance tothe process of moving through the spaces ina building. + Built forms has been kept low ranging from one to three floors + This is further enhanced by the use of parapet walls for upper floors, which ‘emphasize horizontally + The pergola ‘above the entrance acts as an extension to the foyer ofthe main suditorium and amphitheatre. + Use of coffer slabs and parapet walls + Extensive use of specially designed seat firs flor around floor BUILDING LEVEL ZONING + Building is divided ino three zones Public. Administration, Academic + Provided al different levels so a8 to avoid conflict between these zones + Ground floor includes facilites ike Augitorium, preview theater, amphitheatre, at gallery, ceanteen ete, where public entry is invited and second floors - academic and administration Facilities. - reultion linked to the zoning is segregated through levels Aloor for staff and students with degree of inter linking. CENTER FOR PERFORMING ARTS ane case sTuoy i MANIPAL ‘Misia MANIPAL ‘070901162 | XmH Sex PSAP. i ‘round for for audience fimctions and first and secon!57 FACILITIES AT KALA ACADEMY + DM Kala mandi + Open air theatre + Mini OAT + Black Box + Rehearsal Room + AnGallery + Meeting Room + Guest Room + Preview Theaue + Cafeteria + Library + Teaching Studio + Green Room + Kitchen + Administration + Reception58 D.MKALA MANDIR (A. CAUDITORIUM) + Seating capacity ~ 1000 (1300 sq.m ) + Orchestra pit- 72x 2.1 m ty of acoustical conditions ranging from speech. plays to sitar recitals and orchestral arrangements + Wal of the audiorium are painted illusions of an old goan theatre + Stageis SUcm high from the fist cow, + Raking height varies from 10-20 cm CENTER FOR PERFORMING ARTS — cerry MANIPAL Jrorsws Misia ‘070901162 | XH Sex SAP59 r MINLOPEN AIR THEAT + Capacity-300 people + Used as an outdoorelssroom and meeting space | t0, + OAT seating hus atread of 8Sem and rise of 45 em depth + athest seat is 6m away and no amplication require. + Twoaisks runalong either end. Width -120em + The steps have ISem risers and 28 em treads + Squate shape stage is and has an area of 7.5.x 7.5m OPEN AIR AMPHITHEATRE: eating capacity (no chai) ~ 2000 Sealing capacity (chair) ~ 1312 + Proscenium opening - 15m + Depth from curtain line- 12m + Amphitheatre is of double herringbone shapo + Main enty from road main lobby and the restaurant are + Stage is raised at 75em above the ground floor levelfeye level of the frst row) + Lower Seat rise - 30 em and tread af 100 em + Higher Seat rise of 5 cm + Acousties ae good as the seats block out noise fom the road side and the stage blocks at ene fren the ver ie CENTER FOR PERFORMING ARTS ey case stuoy ff MANIPAL Pe ae aetna MAME AS60 BLACK BOX: * Seating capacity - 200 + Area 175 sq.m, + Used Sor experimental productions, misie concerts, meetings and amateur performances. + Akko used as a recording studi. *+ Control room anda green room provided. + Black box lnbhy & also provided. ADMINISTRATION: + Administrative area is om tho first floor. The atea divided into closed and ops + Total area -500 54.0, cabinets PREVIEW THEAT + Capacity = 24 + Used during “FET for special sereening. + Has gota jury room and projector room attached. + Particle board has been used lor acoustical effect. ART GALLERY: + Running wall space - 30x 1.50 ms + Carpet area of gallery ~ 90 sq.nts + The exhibits ave displayed on the wall on four sides + Lighting features are very normal no facility to hoki a g + Adjustable cove ightings are used in gallery CENTER FOR PERFORMING ARTS eae Case stupy MANIPAL brosur | Xm Sex PSAP aaaag61 LIBRARY, + area: 135 SQ.M + Library is in proximity with mini oat + Books are raked in glass shelves ‘CABETERIA. + Capacity for 100 members + Square able are provided each with 4 seals + 3sides open in to the outdoor landscape + Itis accessible {som all theatre meeting room -45 sq. {All the music studios are ofthe same size 3.3 2. + Central air conditioning is provided forall classrooms. + Acoustically treated classrooms wit the same type of padding provided for the walls and ceilings. + The walls are faced wih linen material and glass wool, the rest is pancled with wood particle board Parking facilities is provided on the south-eastern side + Nearly 250 public parking are provided. + Special VIP and staff parking provided. CENTER FOR PERFORMING ARTS Turis 2012 a isin Case stupy fy MANIPAL ‘070901162 | XH Sex SAP eSERVICES + The service buildings (AC plant and generator room) are provided on the western corner ofthe site without diseupting building funeto + Two soparate sorvice entries have boon provided ‘generator room and the other ceastem comer of the site + The castem entry eaters tothe need ofthe amphitheatre and the canteen + Aoading deck bas also been provided bere + The septic tank is provided imdemeath the garden LANDSCAPE: + Beautiful lawns form the main part of the site. Tres are provided aptly + Specially designed benches and lamp posts line the path Along the river ANALYSIS * The layout and the building zoning provided are excellent + Good acoustical treatment he front side ofthe building + Flow of spaces has resulted in a good bull-open relationship. + Good use of site features has successfully made tho public spaces interesting by use of sculptures, paintings, seating ete + The caitera isthe most active space with good view to the tiver. + Vebicular and pedestrian ways properly defined + Service blocks are separated + Security measures provided are minimum, + Signage provided is + The trees have to some extent blocked the view to the river + Public spaces too large CENTER FOR PERFORMING ARTS =a case suey] MANIPAL ee MANIEALNATIONAL CENTRE OF PERFORMING ARTS.MUMBAT Solection as cave study ‘The center focuses mainly on performances and had succeeded in becoming a common platfonm for performances ranging fro small individual peclormance to large shows. ‘My aim to study NCPA was to understand the context. Its functioning an to study the diferent spaces it involve, The seale of project is comparable63 NATIONAL CENTRE OF PERFORMING ARTS.MUMBAI LOCATION: Niraman Point on NCPA marge ARCHITECT: Ar. Phillip Johnson. BUILDING TYPE: Institution SITEAREA: Sacre INTRODUCTION: + NPA is a cultural building, lift the indian culture in the society through events Dance, Music, Drama and Opera + NCPA private sector undertaken by TATA. + Designed by at Pullip jobson, + Bullding having five theatres, Administration area (Music Library, small gallery, Guest House and the apartments for the Directors) AUDITORIUM + Jamihed bhabha theatre “The NCPA audio & film archives + Tata theatre Recording studio + Experimental theatre Library + Dance theatre godrej * Little theatre LOBBY AND RECEPTION: * Approach tothe reception area from the main entry + Reception desk is located atthe building entrance YEW FICA HAN ENTRANCE EW Fea WARLAN PONE * Right sido of the reception located the administrative area CENTER FOR PERFORMING ARTS ae creresrtar a MANIPAL ‘070901162 | XH Sex SAP ORIveRatry