PHOTOGRAPHY Final Report

PHOTOGRAPHY & VIDEOGRAPHY INSTITUTE
PHOTOGRAPHY & VIDEOGRAPHY

INSTITUTE
Comilla University, Comilla
By
MD JAKER HASAN
STUDENT ID: 12-003-1-16-00064
A Thesis
On
Architectural Aspect of Photography &Videography Institute
Submitted in partial fulfillment of the requirements
For the degree of Bachelor of Architecture
Department of Architecture
Premier University
1
Fall 2017
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PHOTOGRAPHY & VIDEOGRAPHY

INSTITUTE
Comilla University, Comilla
By
MD JAKER HASAN
STUDENT ID: 12-003-1-16-00064
Department of Architecture
Premier University
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Fall 2017
DECLARATION BY THE CANDIDATE
I hereby declare that this dissertation is my own work and effort and that has not
been submitted anywhere for any award. Where other sources of information have
been used, they have been acknowledged.
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Signature of Student
ID NO.: 12-003-1-16-00064
Date:
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Signature of Supervisor
Date:
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Signature of Head of Department
Date:
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ACKNOWLEDGEMENT
I would like to begin by thanking Almighty Allah for giving me such a wonderful and
eventful life. He has always given me what I have never imagined to get in my life
and blessed me with wonderful parents. The undying and unconditional supports of
my parents have helped me to shape myself up. They have always been so
supportive and helpful that they have made my life so much easier.
I would like to special thanks & sincere gratitude to my project supervisor,Hossan

Murad , Assistant Professor, Department of Architecture, Premier University
Bangladesh, who guided and accompanied me throughout my entire thesis
process. My grateful thanks to My Co-Supervisor Mainul Hasan Tuheen for his
continuing support. I express my sincere gratitude to Sohel M Shakur ,Chairman,
Department of Architecture, Premier University Bangladesh. For His Patience &
Support through this period of this study.
So, I Like to thanks to all of my faculty members for their encouragement, It would
not have been possible to come up with a successful thesis without their inspirations.
I wish to extend my sincerest thanks and heartfelt complements to my all my seniors
specially & also my juniors Payel, Shahadat, Tanveer, Saleh and Arif. I thank to my
friends who gives me support all the time to continue this. I also like to thank my
junior friends and fellows of the Department who gave me accompany. Finally
again I would like to express my gratefulness to all my family members who make me
possible to bring here by their support, guidance and encouragement.
A sincere gratitude goes to all individuals who facilitated me with all necessary
information and documents required for establishing this thesis.
MD JAKER HASAN
October , 2018
Chittagong
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ABSTRACT
Still and Motion picture are the third eye of a society. Where our everyday life‟s, very
known scenario changed instantly. It gives us new message, thoughts, hopes and
become the voice of the nation.
Not only, a media of art, it is also becoming two leading profession of Bangladesh,
with the boom of printing and visual media. But, there are not sufficient or up to the
mark quality institution to trained them. That‟s why; we are seeing many non-
government institutions like, “pathshala” “chobial” “rangmistri”. But the required
education becomes so expensive, that most of the students cannot effort it.
And, here comes the role of the government universities, where everyone can get
equal education at all most free of cost. If there is a department in the university,
especially in Comilla University, the future growing city of Bangladesh, then it would
boost up these two professions and would produce some brilliant artist for sure.
This institute will held 4th year graduation course for the students and
the courses too. Landscape studio, daylight studio, classrooms, out-doors spaces
and common spaces are the main attraction for this project. This project will be the
place for the society and place for the students by maintaining their privacy
properly.
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CONTENTS
 ABSTRACT
 ACKNOWLWDGEMENT
 CONTENTS
CHAPTER 01 INTRODUCTION 11
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CHAPTER 01
INTRODUCTION
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1.1 BASIC INFORMATION ABOUT THE PROJECT
1.1.1 Name of the project:

Photography and Videography Institute, Comilla.
1.1.2 Project type:

Institution.
1.1.3 Location:
Comilla University, Comilla, Bangladesh. (Opposite of
Comilla
University Central Mosque)
1.1.4 Site area:

6.25 ACRES
1.1.5 Client:
Bangladesh Photographer Society (BPS)
1.1.6 Financed by:

Bangladesh Government (Ministry Of Culture).
Fig 1.1: Site location

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1.2 PROJECT BACKGROUND

Photography is an international language spoken by all. It is recognized as a
popular means of communications but it is still developing in Bangladesh.
The tales of the daily life of Bangladeshi people dominant a great part of their art
form in perspective of their living style. Even form the prehistoric days, the women of
the families practiced art in “Nakshikatha”, where they express their day to day living
in a fantastic artistic manner and photography is one of the finest artistic ways to
capture and tell our everyday living, Struggle, Joy and achievements. And that is
why, from the very beginning of photography, in early 1960, it gain its popularity in
this nation.
A few years back, Mr. M.A. beg has, through individual efforts established “Beg art
Institute of photography” In Dhaka, which was the first photographic institute of
Bangladesh. Thus, the photographic society also started to form.
From the very first, with the film like, “padda nodir majhi”, “ora egaro jon”, “jibon
theke neya”, “aguner poroshmoni”, “titash ekti nodir naam”, cinematography gain
very popularity among the people of Bangladesh. Jahir Rayhan, Chashi nazrul Islam,
sotto saha etc. are very famous director of the early history of cinematography.
Then in 21 century there came videography, which was easy to learn, and because
of the advance technological help, one videographer can go beyond, and
achieve what he wants. And all because of these, new generation choose this
media. And because of very easy post production and editing, previous generation
of cinematography also shifted to videography or digital filming.
1.3 PROJECT INTRODUCTION

The Institution would contain and enhance photography and videography related
studies and technology. This institution would play a vital role in this sector and also
with a fully equipped lab and studio which would also help the students to make
their own film and photographic publication. And with the full phased digital movie
auditorium and photo exhibition center they could exhibit there works in public and
earn some extra money for their future career. And also this whole sit of facilities
would be rented to the professionals; the earned revenue would be used for
student‟s welfare and to continue their practical works and to buy new equipment‟s.
1.1.1 Client
BANGLADESH PHOTOGRAPHIC SOCIETY (BPS)
Bangladesh photographic society (BPS) was founded in 1976 by few dedicated
senior and experienced photographers with a mission to organize practicing
professional and amateur photographer in Bangladesh. Under the dynamic
leadership of Manzoor Alam Bag, a photo maestro and most successful mentor. BPS
took off with great achievements like recognition and acceptance as the country
member of world body FIAP (The International Federation of Photographic Art) BPS
has emerged as a federation having fifteen photographic organization all over the
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country.
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1.4 AIM OF THE PROJECT

 The key aspect of the project is to research and set an ideal curriculum for
properly study photography and videography.
 To make and established photography and videography as a profession,
which is by default for recent circumstances become an appealing
profession.
 To research, published books and make different kind of videos (short film,
documentary, digital film etc.) and help the new talented people give a
platform.
 People who are already established in this area, or took it as a profession,
give them further training, and certified them academically.
1.5 WHY I CHOOSE THE PROJECT
Because of the recent boom in print and visual media, these two sectors create a
huge amount of jobs both freelance and in institution in Bangladesh. But yet there
are neither enough institutions nor curriculums to train them properly. So I feel the
need of development in this sector a standard institute with all modern facilities
available under one roof. It will help one to gain more knowledge in the field.
1.6 OBJECTIVE OF THE PROJECT

 Create photography & videography professionals of excellence through a
common platform.
 Uphold our modern industry.
 Promote awareness on different creative & innovative field through
workshop & training facility.
 Encouraging indigenous creative solutions by focusing on affordable
creative ideas for the mass people.
 To make an environment of exchanging creative knowledge and
ideas.
 To create and promote creative confidence among students through
classes, seminars, practice, exhibition etc.
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CHAPTER 02
LITERATURE REVIEW
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2.1 HISTORY OF PHOTOGRAPHY AND VIDEOGRAPHY

The word photography comes from two ancient Greek words: photo, for "light," and
graph, for "drawing." "Drawing with light" is a way of describing photography.
The first time the word "photography" was used was in 1839, the year the invention of
the photographic process was made public, by Sir John Herschel. It could be said
that photography was not “invented “but that it evolved over time.
The Chinese were the first people that we know of to write about the basic idea of
the pinhole camera or "camera obscura" (Latin words meaning "dark room").About
2,500 years ago (5th Century B.C.) they wrote about how an image was formed
upside down on a wall from a pinhole on the opposite wall.
Fig 2.1.1: Pinhole
The camera obscura was used in the painting of this picture. It was painted about 1660 by
Jan van der Meer van Delft (aka Jan Vermeer). His paintings are known for their "camera-
like" detail and quality - but were painted 150 years before the invention of the camera.
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Fig 2.1.2: using camera by obscurJan van der Meer van Delft (aka Jan Vermeer).
"View from the Window at Le Gras,

France"
The birth of photography happened in
1826 when a French scientist, Joseph
Nicephore Niepce, put a plate coated
with bitumen (an asphalt Used in
ancient times as a cement or mortar) in
a camera obscura. He put the camera
obscura facing his house for eight hours
and made a photograph. It is the
earliest camera photograph that we still
have today. Here is that first photograph Fig 2.1.3: View from the Window at Le Gras,
France by Joseph Nicephore Niepce
2.2 HISTORY OF VIDEOGRAPHY

Videography is a process of capturing moving images and storing it into Electronic
storage devices, like hard discs, videotapes. The word combines video from Latin
meaning I see or I apprehend, with the Greek terminal ending graph, meaning. The
term is similar in many ways to cinematography but differs from it in terms of storage
where it uses film stock instead of electronic media.
2.2.1 Birth of “motion” pictures

Leland Stanford unwittingly started a chain of events
that contributed to the development of motion
pictures. To settle a wager regarding the position of
a trotting horse's legs, he sent for Edward Muybridge
a British Photographer who had recently been
acclaimed for his photographs of Yosemite.
Videography is a process of capturing moving
images and storing it into Electronic storage devices,
like hard discs, videotapes.
The word combines video from Latin meaning I see

or I apprehend, with the Greek terminal ending
graph, meaning. The term is similar in many ways to
cinematography but differs from it in terms of
storage where it uses film stock instead of electronic
media. Although Muybridge initially considered the
task impossible, he made history when he arranged
12 cameras alongside a race track. Each was fitted
with a shutter working at a speed he claimed to be Fig 2.2.1: Edward Muybridge
"less than the two-thousandth part of a second."
Strings attached to electric switches were stretched
across the track; the horse, rushing past, breasted
the strings and broke them, one after the other; the
shutters were r eleased by an electromagnetic
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control, and a series of negatives made

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Fig 2.2.2: Photograph of Edward Muybridge
Though the photographs were hardly more than silhouettes, they clearly showed
that the feet of the horse were all off the ground at one phase of the gallop.
Moreover, to the surprise of the world, the feet were bunched together under the
belly. None of the horses photographed showed the "hobbyhorse attitude" - front
legs stretched forward and hind legs backward -so traditional in painting. The photos
were widely published in America and Europe. The Scientific American printed
eighteen drawings from Muybridge's photographs on the first page of its October 19,
1878 issue. Readers were invited to paste the pictures on strips and to view them in
the popular toy
known as the zoetrope, a precursor of motion pictures. It was an open drum
with slits in its side, mounted horizontally on a spindle so it could be twirled.
Drawings showing successive phases of action placed inside the drum and
viewed through the slits were seen one after the other, so quickly that the
images merged in the mind to produce the illusion of motion.
In 1880, using a similar technique with a device he named the zoo-gyroscope,
or zoopraxiscope, Muybridge projected his pictures on a screen at the
California School of Fine Arts, San Francisco." Motion pictures were born.
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Fig 2.2.3: Zoetrope

2.3 HISTORY OF PHOTOGRAPHY AND VIDEOGRAPHY

INSTITUTION OF BANGLADESH
Photography is one of the finest artistic ways to
capture and tell our everyday living, Struggle,
Joy and achievements. And that is why, from
the very beginning of photography, in early
1960, it gain its popularity in this nation. Then,
Mr. M.A. beg has, through individual efforts
established “Beg art Institute of photography”
In Dhaka, which was the first photographic
institute of Bangladesh. Thus, the photographic
society also started to form.
Then one of the students of BEG ART

Fig 2.3.1: Beg art institute
INSTITUTE Shahidul Alam, start a
Photography library called, DRIK
PICTURE LIBRARY. DRIK Picture library and exhibition center: DRIK, meaning inner
vision, philosophy of vision is a picture library with a difference. Established in 1989, in
the Dhaka city, capital of Bangladesh. It is dedicated to presenting third world
photography striving to create an alternate image of Bangladesh and that of third
world nations. The library was small only about 6000 images but is rapidly growing,
with wide range of subjects in both black and white and color. Then, they build, DRIK
GALLERY.
2.3.1 DRIK Gallery
Though the Drik Gallery was opened in August 1993 with the first showing
of World Press Photo in Bangladesh, there is a story behind the scenes. We
were in the midst of a massive democratic movement in the late eighties. On the
streets, through curfews and through tear gas, we were documenting events in their
entirety. Throughout this period, the major galleries, either state owned or belonging
to foreign embassies, were not prepared to exhibit our work, since it was 'political'.
We knew we had to build our own gallery. The first ever staging of World Press
provided the perfect opportunity. We gathered our resources and built what is now,
one
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of the finest galleries in South Asia and the largest private gallery in
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Bangladesh. The gallery, split into two levels (on the first and second floor of the
building), has permanent wall space measuring 446 running feet. Its total floor area is
2,796 square feet. Then after a while, they start a full phased photography learning
institute named “Pathsala” and which later also cover videography sector.
Fig 2.3.2: DRIK Gallery
2.3.2 The South Asian Institute of Photography
Located at 16, Panthapath. West Dhanmondi. Dhaka. Pathshala, The South Asian
Institute of Photography is considered by many to be the one of the finest schools of
photography in the world. Students interact with a
star studded visiting faculty of some of the finest professionals in the world. Students
of
Pathshala have gone on to win the National Geographic All Roads Awards, Joop
Swart Masterclass and the Young Reporters award at Perpignan. It is the
educational wing of Drik Picture Library Ltd. Bangladeshi photographer, writer and
activist Shahidul Alam is the founder principal of Pathshala. The name Pathshala
comes from the ancient education system that prevailed in South Asia. It brings to
mind classes held underneath a large tree; conjuring up learning spaces without
walls, in the cool shade of its leaves. The South Asian Institute of Photography not
only allows students to explore the world of image making but provides them
opportunities to question beyond the confines of the discipline. The conceptual
absence of classroom walls enables 1st year students and 3rd year students to
attend the same classes and work together on collaborative projects together with
visiting faculty. This enhances and complements each student's learning experience.
The institute started in 1998 in conjunction with a three-year World Press Photo
educational initiative. It was launched to coincide with the Dhaka's annual WPP
exhibition. This exhibition was also replicated in other countries like Peru, Bosnia and
Zimbabwe. This initiative of WPP and Drik Picture Library Ltd, was supported by The
British Council, The Thomson Foundation and Panos South Asia. Since then, Pathshala
has slowly grown to become a fully-fledged educational wing of Drik, a socially
conscious photo resource center also based in Dhaka, Bangladesh. The first group of
six students is now among prominent photographers whose photographs have been
published in some of the leading publications worldwide. In January 2010 Pathshala
decided to be extended to other sectors of the media, namely broadcast, print and
multimedia journalism. At the same time Pathshala decided to change its name to
South Asian Media Academy to reflect the development. The launching of the new
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Media Academy took place on Monday, 22 March, 2010 by opening a new

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department on broadcast and multimedia journalism.

2.3.3 Videography
From the very first, with the film like, “padda nodir majhi”, “ora egaro jon”,
“jibon theke neya”, “aguner poroshmoni”, “titash ekti nodir naam”,
cinematography gain very popularity among the people of Bangladesh. Jahir
Rayhan, chashi nazrul Islam, sotto saha, are very famous director of the early history
of cinematography. But later it declined its popularity due to lack of talented
directors, story line, low qualities films and lack of modern of technologies. And the
main reasons were it is gradually become expansive, it required a certain amount of
time to learn to handle this technology, and there are not many institution to teach
this media, in Bangladesh. Then there came videography, which was easy to learn,
just with a video film coder anyone start can this career. And also post production
and editing are very easy. And so, especially new generation moved towards,
videography or digital film technology, and in almost by self-learning this alternative
media grow, and it spread out informally by one people to another.
2.4 CAREER DIVERSITIES OPPORTUNITY FROM

PHOTOGRAPHY AND VIDEOGRAPHY PROFESSION:
2.4.1 Preferable career in after photography degree:

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 Wedding photography
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 Portrait and studio photography
Fig 2.3.3: Some of the movies produced by videography

 Fashion photography
 Photo-journalism
 Advertising photography
 Magazine photography
 Event photography
 Digital photo art
 Fine art photography
 Landscape photography
 Architectural photography
2.4.2 Preferable career in after videography degree:
 Video editors
 Videographer41
 Broadcast technician
 Audio-video equipment technician
2.5 THE OBJECTIVE OF THE DEPARTMENT

1. Bring two subjects in the reach of all students of Bangladesh, as it is very
expensive to study.
2. Give a well-known, proper certificate after the graduation, which would be

internationally recognized after graduation.
3. From the 2 film studio, dubbing studio, film mixing studio, editing panel,
auditorium, exhibition gallery , food court, flower shops rent would be used for
student waivers, supporting them in their works or exhibitions and buying
equipment‟s.
4. Open air amphitheater show, auditorium, exhibition center would help them to
display their works and promote them publicly. It also creates a platform for them,
before starting the career. It would also create a platform for them, before starting
the career.
5. The site would also be great inspiration for their works.

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CHAPTER 03
SITE APPRAISAL
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3.1 LOCATION OF THE SITE
Location:
Comilla University, Comilla, Bangladesh (opposite of Central masjid)

About 5 kilometers distance from Dhaka Chittagong. Highway
Site area:
308197.96 square ft. (6.25 acre)
3.2 SITE AND SURROUNDINGS
Fig 3.2.1: Site location
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Fig 3.2.2: Road network

Fig 3.2.3: Site surroundings
3.2.1 Landmark of the site

Shalban vihara in Mainamati, Comilla, Bangladesh is one of the best known Buddhist
viharas in the Indian Subcontinent and is one of the most important archaeological
sites in the country About half kilometer distance from proposed site
Fig 3.2.4: Landmark of the site

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3.2.2 Site surroundings & neighborhood area
Fig 3.2.5: Boundaries & site area
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Fig 3.2.6: Boundaries & site area

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Fig 3.2.7: View from site
3.2.3 Circulation ratio of site
3.2.4 Built
area-Open area Fig 3.2.8: Ratio of circulation
relationship
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Fig 3.2.9: Solid -void relationship
3.2.5 Land use pattern
Fig 3.2.10: Land use pattern

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Fig 3.2.11: Vegetation
3.2.6 Noise
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Fig 3.2.12: Noise

3.2.7 Photographs of the site
Fig 3.2.13: Site photographs

to
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3.3 CLIMATIC ANALYSIS

3.3.1 Climate graph (Comilla)
The driest month is December, with 3 mm of rainfall. With an average of 469 mm, the
most precipitation falls in June.
Fig 3.3.1: Temperature graph

Comilla
The warmest month of the year is May, with an average temperature of 28.4 °C.
January has the lowest average temperature of the year. It is 19.0 °C.
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Fig 3.3.2: Temperature graph

Comilla
3.3.2 Bangladesh climate elements
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Fig 3.3.3: Bangladesh climate

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elements
3.3.3 Proposed site analysis
Fig 3.3.4: Site analysis

Comilla
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Fig: 3.3.5: Site analysis

Comilla
3.4 SWOT ANALYSIS
3.4.1 Strength
- A rapidly developing area. Not fully developed yet. Has the potential of becoming
a good urban public place.
- Can be the center of creative work of the comilla district.
- Attracts tourists & foreigners.
- Rich site, Because of the Archaeological importance.
- Is located in lash of green.
- Is located in along the tertiary road. So no rush of traffic & less traffic congestion.
- Invites a diverse age group.
- Exhibitions, cultural programs saturates the public life at different times of the year.
- Important public spaces are nearby.
- Being away from the city gives more privacy to the shooting location.
3.4.2 Weakness
- Lots of unused spaces surrounding the site.

- Negative space created by unused spaces.
- Totally calm & quiet around the site
3.4.3 Opportunity
- The other public buildings & institutions around would make a positive force for the
Site.
- Lots of open spaces around.
- Can be a vibrant & useful public hub & civic space.
3.4.4 Threat
- If not handled properly, the area might have a bad effect on the community, as
possibilities are huge.
- Unplanned development may spoil the master plan
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CHAPTER 04
METHODOLOGY
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4.1 METHODOLOGY
The term methodology generally refers the way a system will go on. In broader
sense method means a series of process to doing any kind of work. And
methodology refers the system of doing the work. So, it is a philosophical system
or procedure to collecting and analyzing data. In all kinds of research this
process or system is very much important. As methodology is the systematic
procedure or technique in which various stages or steps of collecting data or
information are explained and the analytical techniques are defined. So it is
very important consideration in this type of project.
4.2 DESIGN PROPOSAL

I laid my interest in designing the, “Photography & videography institute,” at Comilla
university, Comilla in Bangladesh. On the account of the completion of a successful
thesis, I tried my best to collect all the relevant information from indigenous and
international sources.
4.3 LITERATURE SURVEY

The prospect of “Photography & videography institute” has already changed a
form the prior indigenous manner; though the conception of a full-fledged Institute
of its being is a new subject in Bangladesh. Understandably, it was difficult to
determine the program, space allocations and overall the expression as a whole
complex. The information from the indigenous sources, especially from our country,
are not sufficient. For this, I was vastly dependent on internet to collect all the
relevant information. To gather further information, I personally met some people
who are largely regarded as the pioneers of this sector.
4.3.1 Case study
Case study means the relevant type of study that a researcher intended to conduct,
influences a researcher to implement any ideas or techniques that have been
applied anywhere else. This helps a researcher to improve someone's ideas.
Sometimes researcher innovate anything to their own context while other
implemented that idea in different region is different, then it will be automatically
changed. Some relevant case studies have been studied to strengthen this
revitalization study.
However, during the data collection it has been considered to ensure maximum
authenticity of data. Depending on permissibility and availability of sources, all the
collected data have been verified and cross-cheeked in the field. It has been
neglected if detected errors are found minor. During the field survey work, the
community leaders have been purposively interviewed for recording their views and
opinions.
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4.4 DATA COLLECTION

Data collection is one of the most important parts for this kind of project and it
requires some stages. For my project secondary source is very important to collect
data and it covers the maximum portion. And then primary source of data help me
to find out the essence project.
4.4.1 Primary sources
Primary source of data is very important to understand current condition of research

problem. Primary data is collected on the basis of objectives. On the other hand it
depends on the secondary source of data because all time secondary source is not
sufficient then primary source is the only way to find out.
4.4.2 Secondary sources

It has also got a significant look in the research study. Sometimes or usually it
becomes impossible for a researcher to collect all information from the primary
sources within a short period of time. Various newspapers, magazines, dissertations,
journals, reports, are data source.
4.5 PROGRAM FORMULATION

The methodology of program formulation of a new conception like a design
institute is a very complicated and intricate process. This very project is related
to local demands as well as to the global demands and issues. This entire
correlation, which is to be embedded with new functions and purpose needs
a very detailed and deliberate case study. To understand the detail program
I mainly depend on case study, foreign institute and their working and exposing
tendency.
4.6 DESIGN PHASE

a) Phase 01:
 Site Analysis
 Gross program
 Concept formulation and sketches
 Literature review
 Zoning analysis
b) Phase 02:
 Total Program
 Concept development
 Zoning
 Function Analysis
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 Mass Model analysis (master plan and building blocks)

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c) Phase 03
 Function
 Mass Model Analysis
d) Phase 04
 Detail Function
 Detail mass model
National Institute of Design
4.7 METHODOLOGICAL FLOW DIAGRAM
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CHAPTER 05
PROGRAM ANALYSIS
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5.1 FUNCTIONS & PROGRAMS

5.1.1 Proposed program
Photography & videography
Exhibition gallery block
 Permanent gallery
 Temporary gallery
 Archive
 Library
 Auditorium / Multipurpose hall
 Theatre
 Seminar room
 Workshops
 Studios
 Classrooms
- Photography
- Videography
 Faculty rooms
 Cafeteria
 Souvenir shop
 Administration / Offices
5.1.2 Flow Diagram of the program
Fig: 5.1.1: Flow diagram

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5.1.3 Initial zoning
Fig: 5.1.2: Initial zoning
5.2 STANDARD ANALYSIS
5.2.1 Exhibition gallery block
 Common lobby
 Permanent gallery
 Temporary gallery
 Workshop
 Store
 Toilet
 Others supportive service
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Fig: 5.2.1: Functional flow chart of exhibition gallery

block
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Fig: 5.2.2: Plan of exhibition gallery block
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Fig: 5.2.3: Functional flow chart of visual art gallery block

Fig: 5.2.4: Critical Dimension for a visual Arts Facility
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Fig: 5.2.5: Different ways of dividing up & circulation pattern of exhibition space .
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5.2.2 Theater & Auditorium

5.2.2.1 Program
• Sitting area
• Stage
• Green room
• Toilet
• Mechanical storage
• Ticket counter
• Lobby
Fig: 5.2.6: Plan of Auditorium block (Time saver)

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Fig: 5.2.7: Functional flow chart of Auditorium block
5.2.2.2 Seating & Eye vision
1. The horizontal angle of polychromatic vision (no eye movement) is approximately

40‟
2. The horizontal angle to the center line at which objects onstage, upstage of the
Curtain line, cease to bear the intended relationship to other objects onstage and
to the background is approximately60 „
3. The horizontal angle to a flat projection sheet at which distortion on the screen
becomes substantially intolerable is 60„
4. Audiences will not choose locations beyond a line approximately 100 „
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Fig: 5.2.8: Angle of view
5.2.2.3 Sitting arrangement
Straight rows
Uncomfortable for spectators
at side, unequal stress on seats
and decks.
Straight, canted side-banks

Same defects as straight rows
though to less degree not that
rows do not line up steps if
required in aisles will be
unsaved.
Carved rows
Recommended for Comfort
ease of vision and safety.
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Fig: 5.2.9: Sitting arrangement

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5.2.2.4. Angle of views of theater
Fig: 5.2.10: Angle of views of theater
5.2.2.5 Means Of Escape:

 Lifts, Escalators cannot be used as the means of Escape.
 If Step changes more than 300 mm in any exit access, ramp must be used.
 One side of the building should adjacent to road where the exit discharge is
situated.
 For this type of building the main entrance could be used as Exit for half of the
audience. If the building is more than one stores than Exit should be available in
each floor which will satisfy requirement of the 2/3rd user.
5.2.3 Multipurpose hall
5.2.3.1 Functions
• Lobby
• Sitting area
• Stage
• Store
• Toilet
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Fig: 5.2.11: Functional flow chart of multipurpose block

Fig: 5.2.12: Plan of a multipurpose hall
5.2.4 Library
5.2.4.1 Table space requirement for Readers:
• Both side table is 8‟x4‟2”,
• Normal table is for 7‟x4‟2”
• Walkway minimum 4‟.
• There should be single public entrance.
• More than 1 circulation desk
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Fig: 5.2.13: Minimum clearances for people and equipment in reading room.
5.2.5 Souvenir shop

5.2.5.1 Principles of shop design:
 Merchandise is located according to classification.

 Staple goods are unobtrusively yet accessibly placed.
 Luxury items are spotted where the prospective customer cannot help but be
attracted to them.
 White counter areas are allocated to services: cashier, wrapper, information,
etc.
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Fig: 5.2.14: Typical store layout (time saver)

Fig: 5.2.15: Section of Typical store layout (time saver)
5.2.6 Cafeteria
5.2.6.1 Functions:
 Lobby
 Sitting
 Kitchen
 Pantry
 Wash room
 Toilets
 Storage
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Fig: 5.2.16: Functional flow chart of cafeteria block

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Sitting:
4 people sitting needs 91 sqft. When the table is arranged in a rectangular pattern
and 66 sqft, when the table is arranged in a diagonal pattern .so, we can say, 70
people sitting needs 1593 sqft. When the table is arranged in a rectangular pattern
and 1155 sqft. When the table is arranged in a diagonal pattern.
Fig-:5.2.17 Module for square Fig: 5.2.18: Module for square Fig: 5.2.19: Module for square
Table to be arranged in a Table to be arranged in a Table to be arranged in a
rectangular pattern. Diagonal pattern. Circular pattern.
Fig-:5.2.20: Module for sitting arrangement
In rectangular pattern: In diagonal pattern:

47
For 4 seats- 81sft For 4 seats- 70sft

For 100 seats- 2100sft For 100 seats- 1800sft
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5.2.7 Academic block

5.2.7.1 Functions:
• Lobby
• Lecture classroom
• Studio classroom
• workshop
• Computer lab/ cyber café
• Color lab
• Archive
• Audio visual
• Toilet
Fig-:5.2.21: Functional flow chart of academic block
5.2.8. Lecture classroom
5.2.8.1. General Requirements for All Classrooms Design
1. Sufficient space is needed near the front of the room for setting up audiovisual
equipment, such as projection screens and charts.
2. Ceilings should be a maximum of 9' ft. high.
3. Light from windows should, if possible, come over a pupil's left shoulder. No
teacher should be required to face the windows when addressing the class from the
normal teaching position.
4. Ceilings and/or walls should be acoustically treated.
5. Floors should have a cushioning material.
5.2.8.2 Location
The classroom should have as quiet a location as possible, away from noisy outdoor
Areas. Ease of access to specialized facilities outside the academic unit should be
ensured.
5.2.8.3 Light Control
Color films, television, and slides are becoming more and more widely used.
Darkening curtains or light-tight blinds should be provided for light control in all
teaching areas. The architect should give careful consideration to the problem of
48
darkening clerestories, skylights, and other sources of light. Consideration might be

given to the type of venetian blinds that ride in side channels and are easier to
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operate and to clean than other blinds.

Fig-:5.2.22: Plan of lecture class room
5.2.9 Studio design
5.2.9.1 Ideal studio design
There are a few "ideal" ratios of room height, width, and length that professional
studio designers agree should be used if possible. Three of these ratios, developed
by L.W. Sepmeyer, are shown in Table,
Table: The ideal room has a ratio of height, width, and length similar to one of these.
There are other good ratios, but those shown above are the ones I see referenced
most often. Note that when a room has a suspended tile ceiling the real height, as
far as low frequencies are concerned, is to the solid surface above the tiles. Likewise,
in a basement with exposed joists the true height is to the bottom of the floor above,
not the bottom of the joists. Small rooms > Height=1, length=1.6, width=1.25. In other
words, to build a small music studio, the ceiling should be 10 feet, the width 12 ½ feet
and the length 16 feet. Using these dimensions, with non-parallel walls, floor and
ceiling, and with a good amount of full range acoustical treatment, you will have a
fine small studio. When choosing dimensions for a studio or evaluating an existing
design, it is imperative to have major dimensions that are not related to each other.
Even with non-parallel surfaces this is extremely important. Related dimensions
produce resonances or peaks in a room's response. Related dimensions are
devisable by each other, or a root number. In other words, a room with a ten foot
ceiling height that is 20 feet wide and 30 feet long will, predictably have standing
49
waves, flutter echo's and will not be suitable for a recording studio. Related
dimensions produce a hang-over effect at critical
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frequencies.
Min. room size: 30x20 sft

Min. room height: 13-15 feet
Artificial Studio two types
--- Floor-based
--- Ceiling-based
Daylight studio
Large room studio

Fig: 5.2.24: Artificial studio
5.2.9.2 Recording room

A recording studio is a facility for sound recording and mixing. Ideally both the
recording and monitoring spaces are specially designed by an acoustician to
achieve optimum acoustic properties. The typical recording studio consists of a
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room called the "studio" or "live room", where instrumentalists and vocalists perform;
and the "control room", where sound Fig: 5.2.23: Artificial
engineers studio
sometimes with producer(s) as well
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operate either professional audio mixing consoles or computers (post 1980s) with
specialized software suites to manipulate and route the sound for analogue or
digital recording. Often, there will be smaller rooms called "isolation booths" present
to accommodate loud instruments.
Fig: 5.2.25: Recording studio
5.2.10 Parking
5.2.10.1 Functions
 Entry
 Drop-off
 Parking lot
 Pick up
 Exit
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Fig-:5.2.26: Functional flow chart of Parking

5.2.10.2 Parking types considering circulation
Fig-:5.2.27: Traffic pattern
Fig-:5.2.28: Parking lot style

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Driveway for 90 degree parking should be a minimum of 22 ft.

For 60 degree parking it reduced to 18 ft.
For 50 degree parking it reduced to 14 ft.
5.2.11. Administrative block

5.2.11.1 Functions
 Lobby
 Directors office
 Toilet
 Deputy directors room
 Staff room
 Accounts
 Administration room
 Meeting / conference room
 Prayer room
 Toilet common
 service
Fig-:5.2.30: Functional flow chart of administrative block
5.3. PROGRAM ANALYSIS

53
Below the proposed program is provided in brief. The different component and the
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proposed area of the different units demand an elaborate master plan.

5.3.1 Exhibition gallery block
5.3.2. Library
Function Number of person Total space
Lobby 400 sft
Librarian 1 150 sft
Asst. Librarian 1 120 sft
Check & locker 1 300 sft
Reading 200 4000 sft
Stack 2500 sft
Archive 2000 sft
Research 1500 sft
Cyber cafe 50 1000 sft

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Audio visual 800 sft

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Toilets 200 sft (male)

200 sft (female)
Storage 100 sft
Total 13270 sft
30% circulation 3981 sft

Total space requirement 17251 sft
5.3.3. Cafeteria
Function Number of person Total space
Lobby 200 sft
Sitting 200 2500 sft
Kitchen area 750 sft
Pantry 150 sft
Wash room 200 sft
Toilets 200 sft
Storage 100 sft
Total 4100 sft
Total space requirement 5330 sft
5.3.4 Administrative block

Function Space Number of Area per unit Total space
person sqft
Entry Lobby, lounge 30x20 600 sft
Directors office 1 15x15 225 sft
Toilet 1 5x8 40 sft
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Deputy directors 1 15x12 180 sft

room
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Staff room 12 30x20 600 sft

Accounts 4 20x20 400 sft
Administration room 1 12x10 120 sft
Meeting / seminar 30 40x20 800 sft
room
Prayer room 10x10 (female) 100 sft
Toilets 15x15 (male) 225 sft
10x20 (female) 200 sft
20x10 (male) 200 sft
service kitchenette 15x10 150 sft
store 15x10 150 sft
Toilets 10x20 (female) 200 sft

20x10 (male) 200 sft
Total 4274 sft
30% 1282 sft

circulation
Total space 5556 sft
requirement
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5.3.5 Academic block (Program in detail)

Photography students and classrooms
Total graduation period = 4 years
Total number of classroom = 6
Total number of studios =2
Total number of students per year = 50 (semester number 2
in each year ,So number of student in each semester 25 )
1 year student = 25x2=50
4 year students =50x4 = 200
For two units total number of student =200x2=400
Function Space Number of Area per unit Total space

person sqft
Office Principals room 1 15x15 225 sft
Toilet 5x8 40 sft
Teachers room 15 180x3 540 sft
Students lounge 25x20 500 sft
Class room 16x600 9600 sft
(30x20=600 sft
Each room)
Seminar room 200 2000 sft
Photography 200 8000 sft
units
Videography 200 7800 sft
units
Total 28705 sft
requirement
5.3.6 Auditorium
Function Space No of users No. of rooms Total area

required per
person
Sitting area 8 600 4800 sft
Stage 30x20 600 sft

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Green room 20x20 400 sft

Toilet 20 10 200 sft
Mechanical 200 sft

storage
Ticket 100 sft
counter
Lobby 640 sft
30% 1602 sft

circulation
requirement
5.3.7 Multipurpose hall
Function Space required No of users No. of rooms Total area

per person
Sitting area 6 150 01 900 sft
stage 20x10 200 sft
Store 01 100

requirement
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CHAPTER 06
CASE STUDY
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6.1 CASE STUDY 01

CENTRAL INSTITUTE FOR EDUCATION TECHNOLOGY, INDIA
6.1.1 Basic information
Project name: Central Institute for Education Technology, India

Location: Jaiselmeer, India.
Site area: 10,500 sq. m.
Building Type: Education & Research Institute
Year of complete: 1986
Award: The Aga Khan Award for Architecture (1995)
Architect: Raj Rewal Associates
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PHILOSOPHY
There seems to be a devotion for gracefully

Integrating Traditional and Vernacular
Principles of Indian Architecture with Modern
Ideologies visible by the very Sensible
Harmony.
l His design include pure structural expressions, cubic volumes.

l They reflect a concern for climatic sensitivity.
l Structure , material
l Memory and geometry
Raj Rewal
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6.1.2 Location
Jaiselmeer, Delhi, India.
Fig-: 6.1.1 Location
6.1.3 Context
Historical background
“This building is dedicated to the children of India” .
-30% of the country‟s population is illiterate. This problem is addressed by such
governmental Institutions as the C.I.E.T.
- (12-15) % of the population of India is Muslim, a larger number than in neighboring
Bangladesh & Pakistan.
-Muslim girls confined to home & not attending school, audio & video cassettes can
serve as teaching aids at home and the institute send teachers as well.
-The institute provides facilities for training teachers and its objectives are:
development of software, personnel training, conducting research & evaluation,
and disseminating information.
-C.I.E.T. is funded through the Ministry of Human Resource Development (MHRD) by
62
UNDP/UNESCO/ UNICEF.
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-C.I.E.T. programs are telecast daily for children between the age groups of 5-8 & 9-
11 years.
6.1.4 Program telecasting system
-They are telecast in morning for 3 hours, 6 days a week during 300 school days a
year, including the summer vacation and are presented in 5 local languages on a
time sharing basis (45 minutes per language).
-Saturday programs are for teachers.
-C.I.E.T. has trained nearly 600 specialists working in the network of institutions for
educational technology. With 5000 books in its library, C.I.E.T. produced 1000 audio
& 8000 video programs and its activity is unique & has tremendous social impact.
6.1.5 Influences, Derivations and Features
Cities of Rajasthan and Some from North India have an Impact on Raj Rewal as he
seems to have devised his Ideologies from them. And it is exemplified by his various
projects.
The Urban spaces like plazas, market places, streets, clusters, etc. have been
thought with respect to Rajasthan in terms of solids and voids in Jaiselmer in Indian
context and merged with his projects
Fig-: 6.1.2 Influences, Derivations and Features
6.1.6 Concept of Gateway
l Gateways were built in the cities to define particular zones.

l Each Gateway is like the opening of a new chapter.
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Indian traditional Gateway Jaiselmeer Gateway of C.I.E.T. with respecting tradition.
Fig-: 6.1.3 Concept of Gateway
6.1.7 Roof terraces
- Roof terraces are an essential component of the lifestyle of north Indian cities.
- They provide welcome outdoor space during the summer nights in the dry, hot
climate when the interior rooms receive the heat absorbed.
- Also provide an extension to living areas at upper levels during the sunny “winter‟
days when interior rooms can be cold.
- Private roof terraces and courtyards are an integral design component in Indian
architecture.
Asian games village C.I.E.T
Fig-: 6.1.4 Roof terraces
6.1.8 Thinking about circulation

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-The narrow shaded streets of Jaiselmeer generate movement patterns full of

fun,pleasure and surprise.
-The streets are broken up into small units, so there are pauses , points of rest and
changing vistas.
-And the open squares offer the sense of neighborhood
Narrow Street Broken Street into a small court
Fig-: 6.1.5 circulation
6.1.9 Story of the tree in courtyard
-Raj Rewal decided to preserve this tree as a starting point for whole idea and
composition of the building.
-The “saved” traditional tree provides shade for pupils & soften the courtyard.
- Also focused on the texture of the tree in the time of seasonal changes, which may
gives new life & different flavor to the courtyards.
Fig-: 6.1.6 courtyard
6.1.10 Design concept

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Raj Rewal placed his building on the North-South axes

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Of the site, he took advantage of the prevailing wind direction

From the North-West to the South-East.

The wings and two courtyards of the C.I.E.T. are easily penetrable to
The wind.
Fig-: 6.1.7 Design concept
Creating courtyard‟s
The design concept is based on creation two

interconnected courtyards:
-The smaller one near the entrance

-The second built around an existing tree as an –
Open air multipurpose TV studio.
Comprises an open air stage and an amphitheater
On the ground floor by entrance hall, artist‟s rooms &
a canteen.
-The existing tree in the courtyard is a focal point for
activities.
-The courtyard conception of “madrasa”, a
traditional Islamic school.
-the courtyards provide the C.I.E.T. interiors with
diffused light and make their natural ventilation very effective.
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Evolution of courtyard
As stated by Raj Rewal, the Concept for this Exhibition Complex has been
Derived from Humayun‟s Tomb, an Attempt to Interpret as to how the
Statement might have been translated into the Master Plan. Differentiating
Singular major space from the cluster such that their access points that are
linked through pathways may envelope a common space for community.
Fig-: 6.1.8 Design concept
6.1.11 Necessary program in ground floor
Fig-: 6.1.8 Necessary program in ground floor

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Activity around the courtyard

Fig-: 6.1.9 Necessary program in ground floor
Necessary program in 1st floor
Fig-: 6.1.10 Necessary program in 1st floor

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Zoning 1st floor

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Fig-: 6.1.11 zoning
Necessary program in 2nd floor
Fig-: 6.1.12 Necessary program in 2nd floor

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Zoning 2nd floor
Fig-: 6.1.13 zoning
Necessary program in 3rd floor
Fig-: 6.1.14 Necessary program in 3rd floor

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Zoning 2nd floor
Fig-: 6.1.15 zoning
Section
Fig-: 6.1.16 section

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Structure
Fig-: 6.1.17 structure
6.1.12 Case Study findings
- The courtyard topology madrasa character.

Shaded courtyard or deep verandah helps good ventilation and this deep shaded
Places cools the surrounding air and ventilation.
- Courtyards at various levels and an amphitheater in the main courtyard.
Which form a series of open spaces that collectively offer a unique opportunity for
discussion groups, theater and an amphitheater in the main courtyard and even
educational film making.
- All this open, semi-open places creates idle places for nurturing creativities.
This institute also a great example to show in this kind of study, nature plays a vital
role.
- The courtyard and internal surface are treated as the public realm.
These places are also very favorite among the youth generation.
- Most the class room at the outer edge
Which formed of circulation spaces on all levels and modulated of create semi-
open
spaces, sitting alcoves and terrace, thereby further reinforcing a public a public
realm along the edge of the courtyard.
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6.2 CASE STUDY 02

Erick Kristanto‟s proposed Cartoon Museum

Project name: Erick Kristanto‟s proposed Cartoon Museum
Location: Manhattan, New York.
Award: Honorable mention in the international competition to
design a Museum of Comic and Cartoon Art
sponsored by Sucker Punch (SUCKERPUNCH CARTOON
MUSEUM COMPETITION).
Architect: Erick Kristanto
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PHILOSOPHY
Erick Kristanto‟s proposal for a comic and cartoon art museum in New York manages
to do something architecture rarely does: Make you laugh.
l His design include speech bubbles, cubic volumes.

l It reflect a feeling of anti-reality.
Erick Kristanto
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6.2.2 Concept & Form
The concept originates from a series of bubble quotes used in comics, which, in this
design, is used to display the programs of the Museum
Fig-: 6.2.1 concept & form
6.2.3 Thinking about the Building

1. Bubble Art Display is a way of presenting
comic and cartoon art into an architectural
building as a public display that attracts
people with the intention of promote the art
itself.
2. Generates an engaging, fun visitor‟s
experience. 75
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6.2.4 Necessary program in Ground floor
Fig-: 6.2.2 Necessary program in Ground floor
6.2.5 Functions & Circulation

1. The bubbles come in various shapes and sizes and they
Pile up, like a monument to the Sunday funnies.
2. Indoors, they serve as modules for various exhibitions,
retail and other spaces.
3. A main corkscrew stair connects all the floors, or if you
want to take a shortcut, you can slip down a slide that‟ll
launch you from one super happy fun zone to the next.
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6.2.6 Section studies
Fig-: 6.2.3 Section studies
6.2.7 Case Study Findings
· The form of a cartoon museum should be inspired by element from cartoons.

· Design & spaces may create a feeling of anti-reality.
· Auditorium & galleries should be spacious & height should be varied at places.
· Facilities & spaces for different types of exhibits should be provided, like- sculptures,
Paintings, books, action figures etc.
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6.3 CASE STUDY 03

Jawahar kala Kendra
Project name: Jawahar kala Kendra

Architect: Charles correa
Construction time: 6years
Constructed by: pwd
Site area: 9.5 acres
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PHILOSOPHY
Few philosophies in his vast body of work:
• Incrementally
• Pluralism
• Participation
• Income generation
• Equity
• Open-to-sky space
• Disaggregation.
Charles correa
Conclusion from his philosophies
•Charles correa thus believes that architecture is not just a reinforcement of existing
values but social, political and economical.
•architecture varies depending upon the needs of the inhabitants as well as

population density.
•climatic conditions have a direct effect on the technical design of his buildings,
thus should be accordingly designed.
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6.3.2 Location
Fig-: 6.3.1 Location
6.3.3 Project introduction
Jawahar kala Kendra is an arts and crafts center located in the city of Jaipur.
The center is important not because of the nomenclature but its close association
with the city of Jaipur itself.
The center was built in the year 1986 and the construction completed in 1991.
The center was launched by the state government to provide space to the cultural
and spiritual values of India and display the rich craft heritage.
The center is dedicated to the late prime minister of India jawaharlal Nehru.
The center has been made in the nine blocks housing museums, theatres, library,
art display room, cafeteria, administration and studio
Each unit is different from the other with the use of different materials and the
presence, each of the planets is expressed by its traditional symbol inlaid in white
marble
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6.3.4 Concept
The center is an analogue of the original city pian of Jaipur drawn up by the
maharaja, a scholar, mathematician and astronomer, jai Singh the second, in the
mid-17th century.
His city plan, guided by the shipla shastras, was based on the ancient Vedic
madala of nine squares or houses which represent the nine planets (including two
imaginary ones ketu and rahu).
Due to the presence of a hill one of the squares was transposed to the east and
two of the squares were amalgamated to house the palace.
The plan of Jaipur city is based on nine square yantra in which one square is
displaced and two central squares are combined

Correa's plan for the Kendra invokes directly the original navagraha or nine house
mandala.
One of the squares is pivoted to recall the original city plan and also to create the
entrance.
The plan of Jaipur city based on the nine square yantra in which one square is
displaced and two central squares combined. The squares is defined by 8m high
wall, symbolic of the fortification wall along the Jaipur old city
6.3.5 Response to climate –
Material: red sandstone and white marble

-vastu symbols on facade of each unit
-small punctures on walls for ventilation
-light shafts have step profiles with marble capping
-smaller openings
-light shafts at corner of each unit
-central courtyard to bring in light and air.
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Each square was linked to the planet

as per the characteristics of the
particular planet and its astrological
values and the functionality of the
square.
This Navgrah concept with its energy
values their favorable color, quality
and the favorable functionality to the
each planet with square kept in mind
while designing and allocation of
spaces.
Partly open courtyards and the
traditional design elements of
Rajasthan have been incorporated in
the complex.
The landscaping was also done
as per planets astrological values
in the whole complex in each
square wherever was required
Sandarbh Library
The whole complex in itself has a

unique design & concept in the
architectural industry, the concept of
nine squares as „Navgrah‟.
Each square was linked to the planet
as per the characteristics of the
particular planet and its astrological
values and the functionality of the
square.
This particular square was linked with
„Jupiter‟ the characteristics were
matched in such a way
Linked planet „Jupiter‟
Favorable color lemon yellow
Quality of the planet Knowledge
Functionality allotted Library
Fig-: Plan of library
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Favorable color
As and when the square was representing

The planet „Jupiter‟ the astrological value
was kept in consideration. The favorable
Color of this planet was lemon yellow so
the square was treated with yellow color
in the external finishing and the water body
was added in the partially open area to
make the environment more lively.
Play with light and shadow
The second most significant feature which

was been adopted in this particular square
was the spectacular play with the light and
the shadow. As the square was
partially open to sky and the particular
side had the full height glazing in it the
partial open roof was treated with the
architectural feature „pergolas‟.
The cut out was designed in such a way
that the corridor will
always remain in
Shade and has the
pond in corner
which
would reduce the
effect of the harsh
sun to
The library.
Use of local material
The spanning between beams was

designed and kept such that the local
material available like wooden bamboo
sticks could be used to complete the
entire space frame.
Madhyavarti Open air theatre
The theatre was located and

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placed so well in layout and

planned that the rest of 8
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square were well connected to

the central open theatre and

the best part of it were the
stepped platforms which could
be used as seating areas. The
same were surrounded by the
8m high walls and the design
stepping was incorporated in
the corners of two walls to
make them more interacted to
each other.
The stepping and the walls
were cladded with red
sandstone the locally available
material the theater was
opening into the library,
Vehicular entrance, gallery and
workshop as shown.
6.3.6 Zoning
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Fig: - defined space according to usage
Fig:- sketch view of entrance facade

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6.3.7 Facilities
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•Library
•Print making studio
•Sculpture studio
•Alankar museum
•Sudershan terracotta gallery
•Chaturdik gallery, running wall
space 48.5 ft.
•Sukriti gallery, running wall
space 160 ft.
•Surekh gallery, running wall
space 160 ft.
•Parijat-1 gallery running wall
space 60 ft.
•Parijat-2 gallery running wall
space 88 ft.
•Satkar cafeteria
•Guest and domiatory
•Madhyavarti open theatre
•Rangayan and krishnayan
director theatre
•Shilpgram
Fig: 6.3.2 a volumetric model each‟s dimension is 30x30x8m
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07. CONCLUSION
The stated above chapters include the process & journey of completion of the
design of a photography and videography department. A photography and
videography institution can have a huge impact on Bangladesh & the rest of the
world regarding still and motion picture. The whole effort to complete the project &
the learning acquired through the journey, is dedicated to the photographers,
videographers, who remain on the other side of the camera, entertained us or
motivated us gives us hopes and the fuel to dream for a better future.
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PHOTOGRAPHY & VIDEOGRAPHY INSTITUTE

PHOTOGRAPHY & VIDEOGRAPHY

PHOTOGRAPHY & VIDEOGRAPHY

DECLARATION BY THE CANDIDATE

I would like to special thanks & sincere gratitude to my project supervisor,Hossan

1.1 BASIC INFORMATION ABOUT THE PROJECT

1.1.1 Name of the project:

1.1.2 Project type:

1.1.4 Site area:

1.1.6 Financed by:

Fig 1.1: Site location

1.2 PROJECT BACKGROUND

1.3 PROJECT INTRODUCTION

1.4 AIM OF THE PROJECT

1.5 WHY I CHOOSE THE PROJECT

1.6 OBJECTIVE OF THE PROJECT

2.1 HISTORY OF PHOTOGRAPHY AND VIDEOGRAPHY

Fig 2.1.1: Pinhole

"View from the Window at Le Gras,

2.2 HISTORY OF VIDEOGRAPHY

2.2.1 Birth of “motion” pictures

The word combines video from Latin meaning I see

control, and a series of negatives made

Fig 2.2.2: Photograph of Edward Muybridge

Fig 2.2.3: Zoetrope

2.3 HISTORY OF PHOTOGRAPHY AND VIDEOGRAPHY

Then one of the students of BEG ART

2.3.1 DRIK Gallery

Fig 2.3.2: DRIK Gallery

2.3.2 The South Asian Institute of Photography

Media Academy took place on Monday, 22 March, 2010 by opening a new

department on broadcast and multimedia journalism.

2.4 CAREER DIVERSITIES OPPORTUNITY FROM

2.4.1 Preferable career in after photography degree:

 Portrait and studio photography

Fig 2.3.3: Some of the movies produced by videography

2.4.2 Preferable career in after videography degree:

2.5 THE OBJECTIVE OF THE DEPARTMENT

2. Give a well-known, proper certificate after the graduation, which would be

5. The site would also be great inspiration for their works.

3.1 LOCATION OF THE SITE

Comilla University, Comilla, Bangladesh (opposite of Central masjid)

308197.96 square ft. (6.25 acre)

3.2 SITE AND SURROUNDINGS

Fig 3.2.1: Site location

Fig 3.2.2: Road network

Fig 3.2.3: Site surroundings

3.2.1 Landmark of the site

Fig 3.2.4: Landmark of the site

3.2.2 Site surroundings & neighborhood area

Fig 3.2.5: Boundaries & site area

Fig 3.2.6: Boundaries & site area

Fig 3.2.7: View from site

3.2.3 Circulation ratio of site

Fig 3.2.9: Solid -void relationship

3.2.5 Land use pattern

Fig 3.2.10: Land use pattern

Fig 3.2.11: Vegetation

Fig 3.2.12: Noise

3.2.7 Photographs of the site

Fig 3.2.13: Site photographs

3.3 CLIMATIC ANALYSIS

Fig 3.3.1: Temperature graph