Thesis _report_1: 14/02/12 Jyotsna Mishra | Msap | Xth sem | 070901162 <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, ‘Through the years, the art has evolved taking new shapes every time, converting and integrating. through the passage of time. This gives to many ‘now forms of art. Arthas survived many criticism as well appreciation inthe test of time ‘Today artis understood and appreciated by lager section of society. The Nehru center for performing arts at Chandigarh, attempts to be the cconterging point and a national level platform for people who are interested in performing ats ‘The site in Chandigarh is year marked at secior 34b by the Chandigazh development authorky, 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 perfonming ats, providing with space, inftastructure, knowledge recourse and acting as a magnet to those practicing or interested in art. A potenti atlempt will be made to promote learning and interest Cowards the arts through observation, interaction ancl practice Mr Rakeshwar Katoch, a theatre butt, said “The city bas a potential to emerge as a major cukural centre in the North, All art forms nocd the support of the state and neighbouring state governments need to 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 ars 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 time, reflecting shits in demand that are stimulated by technological change as well as social, demographics and economi: tems in societyJustification. Justification of support for both capital and revenue finding has included one or more ofthe following reasons 1D 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 new facilities 10 ensure cultural opportunites 1D Economie: ditcct employment of staff and performers; hencfits to secondary businesses such as poster and programme printing and material supply: a widening of the tourist and conference market which, in tur, brings money into the town or city; an attraction to encourage relocation, and location of organizations, institutions, industry and commerce in an area with subsequent employment benelis Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational prograinme for schoolchildren, students and tho e in adult education, Prestige: international, national, regional, city or town comparison; re-enforcement of regional idemtity emphasizing dispersal from ‘meiropotitan focus. 1D Quatity of fife: performing arts as acceptable complementary activities to work and domestic obligations as a positive we of leisure time whieh enriches life culturally and also socially OF Regeneration: part of « wider programme to revitalize an existing city or town centre or to assist inthe formation of a new communi allt industry, commerce, imtitutions, housing, and so om. 1 Cutaurat Democracy: to stimulate and foster participation in the performing ants by all sections of a community, defined locally, as a creative activityDeveloping a performing ant center at Chandigarh, Punjab, which facilitates, practic, teaching, research, display and appreciation of varios art forms jective: 1p provide leadership on a national level as India's premier performing ants, research and training centre through the presentation of Indian and international art forms, the promotion of excellence and the preservation of India’s rich cultural heritage. 1 Development of a performing arts center providing the required areas and infrastructure to be able to display and promote the ar, Designing a sel integrated and flexible space, and also ensure constant sctivity af the center, involving the community and public Project Outline: (Performing art center at Chandigarh, Punjab shall bea center for esearch, understanding and promotion ofthe performing. arts. It shall cater to all forms of performing ans sirssing upon dance, theater and music also including the contemporary artform. It will also have a research center for music ane 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 he arts, meant ‘exclusively for the arts and not for any one exclusive art. [tis therefore meant to encourage in a broad sense all kinds of artiste pursuits 1 From an architectural point of view the building will be planned in order to create an envionment hefitng the nature of the activities related 1 the art and their promotion. Apart trom the functional spaces, therefore the eteation of a ample amount of space for che imexpretation of att by the semtive at: lover and the interaction belweem the people iterested in the arts s envisaged. The mood and the ambiance of the built space will be conductive forthe reflecting over subjects and missing Over a of the solitary thinkers mind. The architecture willbe sen extension of| fe to art and yearn to beFeom the functional poim of view the building will be designed co house the facilities required for the staging and preseatation of various disciplines of perlorming ants G Through the years, the art has evolved taking new shapes every time conveiting and branching out to give birth 1o new forms. The aft has survived all test of time, and today il is appreciated and understood in alls forms by a larger section of people. Today people recognise the value and scope of performing arts, and more than a type of means. of entertainment people are taking it up as a subjcet to study and research O The performing arts center at chundigharh, punjab attempts to be the converging information, for all interested in the performance arts and a source for O The site is inthe heart of changigharh, a planned c ‘by architect Ie corhusier, and i is @ lat tartan, it Hes 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, ce, and presence as a medium, and the later uses materials such as clay, metal or paint which can be molded or transformed lo create some physical art object . The term “performing farts" first appeared in the English language in the year 1711 een Ly dW) ty ‘Major forms Theater contemporary. folk Music i an an form whose medium is sound and silenes Is | bua Sewn oimon ele welch (‘Heh giver wielody ad aso, fol, ontemporaty "rhythm (and its associated concept: tempo, meter, and atultion) { Mini ctinsical, otk]. ‘ymmics, and the sonic qualities of timbre and texure. The word Seer esis fon Gresko (mse “art the Manes) + Circus ‘The creation, performance, significance, and even the definition of ‘usc vary according to culture and sovial contex!. Music ranges from strictly onganized compositions (and their recreation in performance), ‘through improvisational music to aleatorie forms, Music can be divided into genres and subgemes, although the dividing lines and ‘elationships between music genres are often subtle, sometimes open to individual interpretation, and occasionally controversial. Within “eho ans", music may be classified as a performing art, a fine art, and audkory aut Penvoneinc ART a IP)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 more elements of the other performing arts. In addition to the standard narrative dinlogue style of plays, theatre takes such forms as phys, musicals, opera, bullet mime, chssical Indian dunce, Kabuki, imummers’ plays, improvisational theatte, stand-up comedy, pantomime, and non-conventional or at house theatre, “a (CENTER FOR SLL huss 2012 rors Misia ‘O7o90ti62 | Xm Sex PSAP PERFORMING Dance Dance (from Old French dancier, pethaps trom Frankish) generally refers to human movement either used as 3 form of expression oF presented in a social, spirimal or performance soning Dance is also used wo ‘communication (see body lang dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and certain music genres describe methods of non-verbal age) between humans or animals (bee Choreography is the art of making dances, and the person wh does this is called choreographer. Definitions of what constitutes dance dependent ‘on social, cultural, uesthetés anstic 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 ars "kata" are often compared to dances. ARTS PERFORMING ART MANIPALPerforming Arts in India: History of Classical Dances, ln its trvest sense, Indian classical dance is an expression of lie, involving the body as well as the emotions. Indian Dance is based. on texts from Sanskr, an ancien! Indian language ~ also though to be the ‘mother of mot only Indian languages but also modem European languages. Indian classical dance is ane of the oldest dance traditions associated with any of the work's major religions. It has evolved sith the concepts of self and word, Accomding to Hinlu mythology, the Taanday (the frenzied dance performed by Lord Shiva, in grief after fis consort Sut's rage demise) symbolises the cosmic cyeles of cretion sand destruction, birth and death, His dance is therefore the dance of the Universe, the throb of eternal life. An interesting parallel may be seem in modern physics, which depicts thatthe cycle of ereation and destruction isnot only reflected in the turn of seasons and in the birth and death of living creatures but also inthe life eyele of inorganic matter. Nataraja (literally the king of dancers) or Lord Shiva in a graceful dancing pose is worshipped all over India, by classical dancers, and also ‘acolletor’s item for conmo’seurs of at, ‘Nataraja ~ the divine dancer ‘The origin of Indian dance can be taved back fo Bharata Muni (a learned saint) who lived hetween the Ist and 2nd century and ‘composed at magnum opus on dance, which is known t0 the workl as Natya Shastra. In ancient times, dance was not merely a form of featertainivent. On the contrary it was comidered a medium of instruction of morality, good values, and scriptures and. the ‘expression of realty. Nanya 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 dlfferent meanings, besides the construction of a stage, the art of make-up and lastly the orchestra. All dance forms make ample use of the nine basistasas or emotions ~ hasya (joy and happiness), Amd (angen) bibhaisa (disgust), bhaya (fear), vira (courage), karuna (compassion), adbhuza (wonder) and shamta (serenity),[Natya Shara further divides classical dance into nrtya- the faythmic elements, nviiya the combination of rhythm and expression, and Finally, nate ~ comprising the dramatic elements embedded in the dance recital, To appreciate nya or cance drama, an individual necds to possess sound knowledge, understanding and appreciation of Indian legends and mythology and folklore. Hindu deities like Vishnu, Keishm, Shiva and Lakshmi, Rama and Sita are commonly depicied in these dances. Each dance form also. draws inspiration from stories ‘depicting the life and traditional beliefs ofthe Indians. Ancient Indian history reveals that several centuries before Christ, Tnlia's art forms of dance, music and theatre were fairly well- advanced. The performing ars, i. dance and music reached the aeme of thelr glory, during the reign of the Choba dynasty in Southern India Dance fori were nurtured with a purpose in the sacred premises of temples. Temple dancing was imbuicd wth the Mea of taking art 1 the people, and conveying a message to the masses. The temple rituals necessitated the physical presence of mortal women (instead of the lomate, carved figures of heavenly damsels,apsaras) to propitiate the gods. The allegorical view of dance, used for the purpose of the pleasing the devas, was gradually wansformed into a regula, service (with deep religious conmtations) in the temples of the medieval ‘This was possibly he reason behind the origin of devadasis (Iiterally: 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 aists bailing from the highest strata of the society. They lived ‘and danced only in the temple premises ~ their vocation enjoying grea religious prestige. I was only much ler that the devadasis condescended to perlorm in soyal courts, in the presence ofthe ele and the naility: ‘A devadasi not only performed on all festive occasions, but also had 1o be present for the daily rituals, conmeoted 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 1 the deity. She was ‘consecrated to her ord and thus out of bounds for mortals.A land of contrast und variety India is about extremes, vastness, intensity and paradox I are qualities that describe this ancient cuure. The sharp peaks of the Himalayas, the sweltering heat of the great Indian plain, the delicious eool af Kashmir, arid deserts and monsoons in the tropical southwest- 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 (o teeming urban ‘centres by dit roads that seemingly stretch to the horizon. Culturally too, India is teeming with variety. There are several subcukues th the composite Indian culture, This variety and diversity impart to the Indian culture, This variety and diversity impart to the Indian c sGimension and rich spirituality ‘There are many types of dance in India, feom those which are deeply teligious in content to those which are danced on more trivial happy ‘occasions. Classical dances of India are usually always spiritual in content, although this is often tue also of Fal dances, Kathakal kali literally means story-play and is an elaborate dance depicting the vietory of truth over falsehood. A Striking feature of Kathakaliis the use of elaborate make-up and colourful costumes. This is to emphasize thatthe characters are super beings from another world, amd their make-up is easily recognisable to the uained eye as sanih or sodlike, rajasik orheroic, and eamastk or demonic. Mal Attam 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 h movements, delicate footsteps and subtle expressions. Tron maid details dreams and ambitions through circular slow and medinm tempos, the dancer is able to find adequate space for improvisations and suggestive bhavas or emotions “The basic dance stepsare the Adavus which are of four kinds: Tagaram, Jaganam, Dhagamam and Sanuniseam, These names are derived from the nomenclature called yuittar, The Mobint attam dancer maintains realistic make-up and adoms a simple costume, in comparison 1 costumes af other danees,stch a Kathakal. The dancer i attired in a beautiful white with gold border Kasavu saree of Kerala with the distinctive white Jas bun al the side of her head. KT CENTER FOR PERFORMING ARTS cL tests 2012 ors Misia ‘O7o90ti62 | Xm Sex PSAP in flowers around a FrenchBharata Natya Bharata Na am dance has been handed down through the centuries by dance nd the temple dancers, called devadasis, eloped and propagated their .. The training traditionally took around seven years under the ditection of the war who were scholas and persons of great learning. The four 1 natluwanars of Tanjore were known asthe Tanjore Quartet and were brothers named Chinnaial, Ponnaiah, Vadivela and Shivanandam. The Bharata Natyam repestiore as we know it today was constructed by this talented Tanjore Quartet. teachers (or gurus) called namewanars the sacred environment of the temple these families de het Kuchipudi The dance drama that stil exis with the Sanskrit theatrical adition is Kuchipudi which is also known as Bhagavaia Meta Natakam. The actors sing and dance, and the siyle is blend of folk and classical ts today and can mow closely be associat Arguably this is why this technique has greater freedom and fluidity than other dance styles, Bh either Mesratur, Soolam ata mela natakam vas always performed as an offering to the temples of ngalain, Oolikadu, Nallur or Theperunanallu Kathak This nowt Indian dance form is inextricably bound with classical Hindustani music, and the rhythmic nimbleness of the fect 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 Noth India had a serious impact on the and less religious in content. More emphasis was laid of nvfiya, the pare dance aspect and less on abhinaya (expression and emotion) dance. The dance was taken to Muslim courts and thus it became more en Zl Tests 2012 Jrorswe Masia ‘070901162 | XH Sex SAP 11 CENTER FOR PERFORMING ARTS PERFORMING ARTS TN OIA i: MANIPAL12 Odissi Odissi is based on the popular devotion to Lond Keisha and the verses of the Sanskrit play Geet Govinda are used to depict the love and devotion to Gd. The Odissi dancers use their head, bust and torso in soft Fhwing movements to express specific moods and emotions The form is curvaceous, concentrating on the wibhang or the division ofthe body ino three parts, head, bust and torso; the mmudras and the expressions are similar to those of Bharalnatyam, Odissi performances are replete with lares of the eighth incarnation of Vishni, Lord Krishna. It 8 a sof, lyrical classical dance which Jepiets the ambionce of Orissa and the philosophy of is mast popular dety, Lard Iagannath, whose temple is in Pur, On the temple walls of Bhubaneshwar, Puri and Konark the dance sculptures of Ouissi are clearly visible Mi This dance style was originally called jogai which means movement, In ancient texts it has been compared 10 movement of the planets around the sun. It & said that when Krishna, Raha and the goprs danced the Ras Leela, Shiva made sure that no one disturbed the beamty of the dancing. Parvati the ‘consort of Lord Shiva also wished to see this dance, so to please het he chose the beauiful area of manipur and re-enacted the Ja. Hundreds of centuries later, in the 11th century the «eign of Raja Loyambs, prince Khamba of Komal dynasty and Princess Thaibi of the Mairang dynasty re fenacted the dance and it became known as LaiHaraoha, the most ancient dance of Manipur. -~ 7 CENTER FOR PERFORMING ARTS SaLLA tests 2012 a Jrorsna Misia PERFORMING ARTS IN INDIA @ MANIPAL (O7os0I162 | Xim Sex MSAP oxiver srry13 Forms of music in Indi The music of India includes multiple varieties of folk, populs, pop. classical music and R&B. India's classical music wadition, including Camati> and Hindustani music, has @ history spanning millennia and developed over several era. I remains fundamental tothe 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 abd dialects having distinct cakural traditions ‘The two main traditions of classical musie are Carnatic music, found predominantly northern and cesta regions the peninsular regions, and Hindustani music, found in dhe (Main article: Hindustani classical music) Hindustani music is an Indian classical music tradition that goes back to Vadi times around 1000) BC. further developed circa the 13" and 14" centuries AD with Persian influences ard from existing religious and folk music. The practice of singing hased om notes was popular even from the Vedic times. where the hymns in Sama Veda, a sacred text, were sung as Samagana and not chanted. Developing strong and diverse tradition over several centuries, it has contemporary traddions established primarily in India but also in Pakistan and Bangladesh, In contrast 10 Camatic music, the other main Indian classical masic tradition origi South, Hindustani music was uot only influenced by ancient Hinds musical traditions, b philosophy and native Indian sounds but abo enriched by the Persian performar the Mughals. During the Medieval age especially in the Mughal era various Gharana became famous due to excellence ann class in type of musics like raga, almost all from the fineage of Tansen one oF the navrama of Mughal Emperor Akbar. Classical gems are dhrupad, dana, khyal,tarunay sadva. ce practices of CENTER FOR PERFORMING ARTS SLT tests 2012 IPA =e Pesromane ass won fl MANIPAL 2 + 070901162 | Xm Sem SAP14 Carnati musi (Main articles Carmatic music) The present form of Carnatic music is based on historical developments that can be traced 0 the 15% = 168 centuries AD and therealter. However, the form ise reputed to have been one of the gilts bestowed on man by the gos of Hindu mythokigy. Its one of the oldest musical forms that continue tosurvive today Carnatic music is melodie, with improvised variations, It consists of a composition with improvised ‘embellishments added to the piece in the forms of Raga Alapana, Kalpanawwvaram, Neraval and in the case of mice advanced students, Ragaim Tanam Pallavi. The min emphasis is on the vocals as ‘most compositions are written to be sing, and even when played on instruments, they are meant 10 be pesformed in a singing style (known as yuki). There are about 7.2 million ragas (or scales) in Carnatic Musi, with around 300 stil in use today. Parandara Dasa is considered the father of carnatie music. Sri Tyagaraja, Sri Shyama Shastryand Sti Muthuswami Dikshitarare considered the tinity of carnatic music and with them came the golden age im catmatic music in the ISth-19th century Noted artists of Carnatic Music include MS Subbulakshmi, Ariyakudi Ramanuja fyengar (the father of the current concert format), Semmangudi Srinivasa [ye TN Seshagopalanand more recently Sanjay Subrahmanyan TM Krishna Bombay Jayashei ete. Every December, the city of Chennai in India has its six week-long Music Season, which has been described as the world’s largest euthural event. It has served as the foundation for most music in South India, including folk music, festival musie and hus also extended its influence to film music in te past 100-150 years or so, CENTER FOR PERFORMING ARTS Ld tests 2012, Jvorsna Misia Pesromane ais n won fl 2 +-070901162 | Xm Set SAP MANIPAL15 form of the theatre of India vas the Sanskrit ches. It began aller the development of Greck and Roman theatre ae belove the opment of theatre in other parts of Asia. It emerged sometime between the 2nd century BCE and the Ist century CE and flourished between 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 10th and 11th centuries, theatre was discouraged or forbidden entirely, Later, in an attempt to re-a India as one of the means of enters ‘multi-cultural nation, the theatre of India cannot be red homogenous tree dev nt As a diverse to a single, CENTER SLT tests 2012 FOR PERFORMING Traditional Indian theatre Kutiyattam is the 0 theatre, thought to the Common Era, and is officially recognised by UNESCO as 4 Masterpiece of the Oral an Intangible Heritage of Hum Addition, many forms of Indian folk theatre abound. Bhavai (sro players) i a poplar folk theatre form of Gujarat, said to have arisen in the Ith century CB, Jatra fis been popular in Bengal and its or fuaced to the Bhakti movement in the 16th century. Another folk ealre form popular in Haryana, Uttar Pradesh and Malwa te ofMadhya Pradesh is Swang, which is dialogu -movementoriented and! is considered to have arisen in its present form in the late 18th early 19th centuries, Yakshagame is a very popular theatre atin Karnataka and has existed under different names at east since the 16h century. It is semi-classical in nature and involves music a oriented rather than songs based ich costumes, Storylines based on the Mahabharata and Ramayana It also employs spoken dialogue in-between its songs that sgives it a folk art flavour. Kathakali is 4 form of dance-deama, characteristic of Kerala, that in the 17% century. developing from the temple: at phys Krishnasatiam and Rananatiam ARTS MANIPAL rors Misia PERFORMING ARTS IN. INDIA ‘070901162 | Xm Sem SAPLITERATURE STUDY:16 Metropolitan centre: Metropolitan centres are traditionally the main focus of cukural activity within a country, with a concentration of companies and facilities for the 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 networks, “There are several categories as follows: Opera house [National subsidized professional resent company in repertory ot repertoire and viiting comparable companies of international standard providing large-seale opera productions, Such a facility may be exchsively for opera or combined with ballet Ballet/dance theatre National subsidized professional resident company as described under opera house, but exclusively for ballet and dance Concert hall CCasical orchestral and choral musi, jazz and pop/rock msc, with the eading subsidized professional orchestras and groups. Ether housing a 1 orchestra for their exchisive or seasoral use, oF touring facility hired by promotional organizations including the orchestras and groups, Recital room ‘Mediui-and stallscale classical orchestral and choral music, jazz and pop/tock music also with readings such as poetry. Bither bousing a resident corchestra fora season or, mote ollen, hosting touring companies and groups. ‘Facility for the development of new forms of music with a prevailing concentration on electronics and amplification,17 Commercial theatre, Drama and musical productions usually initiated by the management or promoting organization with long. runs over several months, Such theattes usually present new plays and musicals and originale the mw productions ‘They may also be initiated by the subsidized sector and transfered to the commercial theatre ‘Arena Facilities forthe presentation of very large-scale popy 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 residem drama company in repertory, or repertoite and vi producing new and established works. ng companies of national and international standard, ‘Small and medium-scale drama theatre ‘Small theatres presenting new pliys and experimental productions, with of without subsidy ta 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 productions Informal external spaces for street theatre, music und entertainments ‘© Theatres with restrictions on company (e-g. Youth Theatre) and audience (e.g. chub theatres with resrited membership) © One-off events including stadium concerts and festivals18 Entrance foyer ‘The entrance foyer may be required to accommodate the following ‘ticker check if at entrance, and not at points of entry into the auditorium ‘information in the form of leaflets and other handouts describing productions and events, motice hoards providing information on events and, possibly, a reception/information desk * circulation and waiting area ‘seating (desirable for ambulant disabled) «# directional signage directing the public to the various facilites (consider carefully colour, ‘impaired and elderly) ‘# supervision: some consideration needs to he given to averse the entrance area by the stalin 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,cloakrooms, toilets and sales, as well as meeting rooms snd other public Lucilities "The public needs tobe able to easily identify visually the main circulation roules to the audtorivi and other public facilities from the entrance foyer Offices und associated areas ‘The following staff may require individual offices; with exch office heing 12-15M2: © Plafon/stage manager Assistant platorn/stage manager # Sccretary © Chief technician © Master carpenter Property master 18 Wardrobe mistress/master In addition electricians, and pktforn/stage hands and including flymen (if appropriate) require changing rooms: alow 3M2 per person. Stage ‘hands for opera, musicals, dance and drama productions. if seen within a performance will require muke-up provision and to change into costumes. Showers shoul be available tostage hands and flymen, off their changing rooms. A separate toilet can be located at platform/stage level, suitable for wheelchair mers and type face for clarity and forthe visually19 Foyer ‘The foyer provides the means of aevess to all pats of the auditorium and should have facilities for the public 10 sk, talk, walk about and meet ‘Giends. These social aims can include also a legitimate level of self-display from formal promenading to 2 general awareness of those alending 2 yerformance, The floor arca is related to the eapacty of the auditoriums: allow a minimum of 0.6M2 per person for all the foyer arcas, excluding toilets, cloakroom and vertical circulation. Public entrance ‘The front entrance provides the main access info, and egress from, the building for the public. The entrance should be located along the main access rote and be clearly visible: the public should be aware of the entrance by its ioeution and signage. The entrance gives information about the attitude of the management towards the public and can hey, ‘welcoming or intimidating. exclusive or embracing, clear or obscure. yi eee ‘Reguirements for public entrance areas include: ‘© Access anid 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. © Buernal display: Name of ihe building and/or company as an iuminated external sign: posters and adverthing material: cutent and flue altadtions on adjustable sigas or elecuonic signs; banners and Flags. The bulding itself, suitably atiiially it when dark, is also an external display20 Canopy: Provisien of shelter atthe main entrance from inclement weather with a protective cover over, and across, the line of doors. ‘canopy isa uselul device for gathering together pedestrian routes and dropping-off points if dispersed (Figure 13.2). {© Buurance doors and lobbies: Two lines of doors reduce noe and draught penetration into the foyer; automatic doors are essential oe ‘wheelchair users. The distance between the lines of doors shoul he a minimum of 2 M: several pairs of doors Integration ofall the spaces can be achieved by landscape, built form such as ‘consecting corridors. pergolss, pavement design ete21 ‘Signage's: Standard signage's used forthe bulldng services, the signage’s should reflect the cultural theme of the design it should be placed in such a manner that people need not ask which direction togo, Art gallery ‘The gallery may he designed as a formal interior essentially for pictures, oF less formal and specitic, allowing exhibitions co be created for the space. Live Art should be considered, as should the use of gallery space for recitals, «rama 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 yer space tothe auditorium, with refieshment area, oles, 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 provaion in the buikling22 ‘Area required fora simple reading/work place is 2.5 m2 4 seemiatiaien: Fora PC ‘work place > 4.0m? is mead — *The mors efficient method isto have linked areas which as lage as possible without change in level, —_———— Speen inky —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 minimuin of 2 for up to $00 males, then one for each additional 500, rina minimum of 2 for up t0 100 males, en one for each addtional 100. Wash basins one for each WC plus one for ea five urinals ‘Women WCs minimum of 2 for up t 75 females, then one for each additional 50. ‘Wash basin one for each WC. Also consider powder shelves, long mirrors and sanitary tovel dispensers and disposal in women’s toilets and provision for changing nappies Allow for handdrying facilities: either electric warm air dryers, roller towel or paper towels with containers for disposal. Separate toile: or wilets for disabled persons, containing 1 WC and 1 wash basin in each toilet, are essemial provision, ‘Toilets should be located off the main circulation near the entrance lobby and also af each level of the foyer in a nulti-level auditorium, Auditorium and platform/stage formats ‘The relationship hetween the atditorium (the audience] and the platformstage [the performance] is a fundamental requitement. The selected format affects the experience for both audience and performers, seating capacity and aucltorium size and shape, from which follows the goneral arrangement of the building. “The celatiombip may be summarized as either the proscenium format or open stage format: the proscenium formal is as ithe performance is seen through a window" or hole in the wall and there isa clear division between audience and performers; the open stage formats follow the ‘concept of the auditorium and platlomy stage being within a single volume with the seating coniionting, partially surrounding or wholly surrounding the phtfornstage24 ‘Predominant types of production; ‘The following relationships accommodate « predominant typeof prdiction im purpose-built fiities. ‘Compatible secondary uses may he included inthe brief hut they do not require any physical adaptation of the auditorium and plaformstage, or only require a modest evel of Hexibilty. Fur orchestral and choral classical masic in a concert hall ot rectal room, there are three broad categories: the audience focused towards the ‘orchestra and choir om the platform, with oF without choi tall, i a single direction; the audience on three sides, semi-suerounding the platforms the andience surrounding the platform ‘Types of single direction relationship include the: f rectangular box « variations on the rectangular box: fan-shaped auditorium, P2hroe om {om i ft . i i i ca a Gq iy al C p fi it i i i] iL tf nt25 Open stage forms: ‘The open stage forms may be classified into five broad categories: © End stage: the audience focused towards the stage within a rectangular box: the stage atthe narrow end, with stage and audience in the same space, © Fan-shapad: the srage is encircled by the audience by 90°. This lovel of encirclement allows the performer to commans the audience anv for the performer tobe seen against a scenic background by the audience. (© Thrust stage: with the audience on thre sides, sensi-surrounding the stage. (© Theatre-in-the-round: the audience surrounds the performance. Entrances by the performers are through the audience. Acoustically the performer ‘needs to project 10 the whole audience in every direction, which implies a limit tothe maximum distance from stage to rear row. © Traverse sage: the audience either side ofthe sue: Multi-purpose form: As opposed to an auditorium and platfornystage for a predominant type of production in a purpose-built facility, the brief may refer to more than ‘one type of production tobe accommodated within a single format Also prodetions may requite combination with non-performing arts activities. Each of the akemative uses will roquire specific provisions to be ‘made in its design and equipment; in plaformtage spuce: in orchestra space and modification of acoustics: in scenery storage and workshops: in Stage lighting and sound. While some degree of flexibility can be accommodated af reasonable cos! and with suacess, there is a limit 10 the ‘multiplicity of use. Apart ffom design dificuies, the cost of providing for the different requirements and of operating. multi-purpose form may ‘become disproportionaely high. The suecess of a multi-purpose format depends upon the compatibility of the various-activkies and dhe designer ‘aust be rigorous in the assessment of the activities owe 126 seo ity nee te. to, Stim amine none semen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 intolesamt is 60 degree measured wo the {far side ofthe projected image LOCATION OF AUDIENCE, ‘Audience will not choose. location beyond! line proximity 100 degree to the curtain at the site ofthe proscenium DESIRABILITY OF LOCATIONS BY AUDIENCE, “Judged by the ability to recognize shapes, and confirmed by five audience, choice of seats, the following are the desirable locations: A-tront center Be middle center C-middle side ‘Defromt side Exrear center Frear side27 BACKSTA( IPERATION: (actor/performer) ACTION (Check in , get mails and messages. Dress for performance put makeup and costume ‘Walt for call stage stage manager checks east Goto stage enter and perform leave the set SPACE, 1) vestibule ~ min SOsqft ‘equipments bulletin board. teksphone booth 2) door mans booth ~ min 30 softy ‘equipments counter, mail box, small deck Jkey rack 1) dressing room-SOsqitiperson location — near stage ‘equipems- clothes, costume hanger, shoe racks, make up table 30° wide, 18” deep, 18" wide mizzor, one lavatory each 1/4ppl in large dressing oom, 2) makeup room ~ 300sqitcmin) ‘equipments- makeup table benches, chair om 2 sides, lights on fice, 1) green room-50 sqi/person (min) Tocation- near stage ‘equipments- lounge, furniture, tables, full length mitror, call system outlet. 2) stage anterroom- alternate to green room ~ 150 sqft ‘equipients- chair and benches Jocation- near proscenium without lounge aspects 1) passage of min. with 1.5m no stair only ramp for level change.ACTION Quick change Waltz for curtain calls Remeval costume Confer with tage manager! dxector ‘Check out and leave theater 28 SPACE, 1) dressing room — min SOsqfi/ actor space for dresser to help actor Ibcation- immediate tothe stage 1) green room , stage anteroom, 1) shower- adjoining each dressing room 1/6 actor 1) green room with adjoining kitchenette 1) vestibule and stage entrancestock Roos CRATE STORAGE Scr SPACE FLOW CHART FOR SCENERY = Sequence @ ABCDE for commercial theater = EFGHDE for self contained theater = eet !th mn etme pt nn Os tam 2930 BACKSTAGE OPERATION: (musician ACTION SPACE, (Check in , get mails and messages. 1) vestibule ~ min SOsqft ‘equipments bulletin board. teksphone booth 2) door mans booth ~ min 30 softy ‘equipments counter, mail box, small deck Jkey rack Prepare for performance 1) musician room 300s min -tune instruments and practice location ~ at basement level near pit arge instrument are usually kept inthe pit ‘equipments- locker or cloth racks chair , music cabinet, call system ‘outlet. Gotopit 1) passage ~ direct lage door allow carrying instruments, 2) orchestra pit sqft for musician. ~100sqft for grand piano -S0sqft tympana ‘width fcom 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 2yinger and orchestra must see conductor. 3) elevated orchestra pit loor- featured orchestra as apart of | performance , adds floor for seating if brought to auditosium vel mikes forestage when required, lavatories and toilets same as for actors, dressing room with lavatory an shower forthe conductor. ‘Leave pit and leave theater3132 BACKSTAGE OPERATION: (stage hand. ACTION SPACE, ‘Entrance theater checkin Stage entrance and vestibule (Change clothes and go to stage Locker room accordig to aumber of men Equipment — individual lockers, chair benches and phone Location —in busement near stage, serves as stage hands lounge, direct lweither side of stage Work the show Locker room ‘equipment-lounge fumiture , adjoining toilets ‘Clean up and leave Locker room shower Iper 4 people ‘Treatment oF accidents First aid room ~ 50 sqit min. ‘Equipments ~ surpical table, stools, sink and hot water facil33 BACKSTAGE OPERATION: (stage mana; ACTION SPACE, ‘Checking in. getting mails and messages Use stage hands locker room “Manage the show ‘Stage managers desk- on stage near proscenium on wotking side Egquipments- calls, phone, monitor, moving siage control ete ‘Work the show Locker room ‘equipment lounge funiture , adjoining toiles Cate of sripts, use sheets et, Otlice min S0syf BACKSTAGE OPERATION: (scenery ) ACTION SPACE Brought otheater Loating door-8°X 12°/2.5m3x 3.6m located aside ear rer ofthe stoge Loading platfarm: width of 2 vans Stored pening st up Receiving space: 200g min, Equipments ~ pipe frame at right angles 10 wall optional for stacking Scenery clear wall and lor space.BACKSTAGE OPERATION: (scenery ) ACTION SPACE Setup Stare equipment for fying rolling and sinking seonery Repairing Repair shop 300saftnin) Equipments - work bench, tools for working. [Dismantling and trinspostation Receiving space, lnading door BACKSTAGE OPERATION: (properties: ACTION ‘SPACE Browght to theater and unpacked Loading door—6'x8"/ 183m x 2.5m, Separate from scenery door, adjacent to loading platform = 100sqft Fitod to ser af scenery , stored on stage (floor / rack / shelves) Operated during show, repaired, struck and transported.35 BACKSTAGE OPERATION: (lighting equipments ) ACTION SPACE Brought to theater Loading door ‘Unpacked Receiving space ~ 1) 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 ofbalcony and boxes. ‘Operated, dismantled, taken out BACKSTAGE OPERATION: (sound apparatus) ‘With less bulky by 75%, esemtally the same lighting equipments, BACKSTAGE OPERATION: (costume) ‘Brought to theater —bading door- property door Passage of 51 /1.Sm clear width, no stairs, use ramp when needed Wardrobe room ~ 120 sft(min) Equipment — costume banger 12ft finer, ironing board36 ‘The three-dimsenstonil volume of an auditorium is conditioned by the limitations set by all 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 eseap incase of ie, and by an appropriate level of common for the aon - Performance organization requires ligiting, sound and broadcasting positions within the auditorium and a view of the whole performance ares from 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 rom performance to the rear row of seas, Beyond these limits the lack of audibility gives the audience less than the basic requirement to carly hear performance. The distance varies according to ype of ‘Production, Other factors include the articulation of the spoken work by fan actor of the sound quality, including loudness, from a musical inirument. ‘There are visual imitations that determine the maximum distance from the performance area beyond which the audience is unable to apprecinte the performance adequately and for the performers to command an audience, "The distance to the furthest seat varies according to the type and scale of production ‘© In onder to discem facial expression — essential with drama — the maximum distance from the point of command on the stage should mot exceed 20 M. The point of command is the geomettic centee of an open Mage or the setting line of a proscenium stage ‘© For opera and musicals, discerning facial expressions is less critical and the distance to the rear row can be 30 M. ‘© For dhinoe, the audience needs to appreciate the body and foot of the dancers, anu also 1 discern facia expressions: the maximum distance feom the point of command on the stage should not exceed 20M.37 Auditorium acoustics: ‘The acoustic performance of the auditorium isa 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 auditorium, when the sound is not amplified, nctude> ‘Type of production each type has its own requirements with different characteristics for musie and speech, ‘© Shape and size ofthe auditorium: the extent to which the audience surrounds the platformstage: seating capacity: number and depth of balconies; rake of the seating: for concerts the proportion of length to width and height to widths for ‘opera, dane and musicals, the location of the orchestra pit; location of pesfonmance lighting and sound equipment and lighting bridges. «# Setting forthe performance: such as permanent architectural setting, within audience, proscenium stage and s0 om Volume of the auditoriui: calculated as the number in the audience multiplied by a ratio of volume 1 person, according to the type of production: 3.MG per person for music anal 9MB per person for speech within the auditorium enclosure: for opera the ratio is between TMB and 8M per person, ‘© Reverberation time: the difference in time between direct sound to-each member of an audience and 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 and aural imitations associated with a particular type of production as well as the mimer of levels and sightlines. Onher 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 isto provide an appropriate standard of comfort during a performance. The sange of human body dimensions is wide. while a singe, correstricted, size of sea is normully provided. Also tolerance levels vary between generations and indeed between dilerent performing ats: 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 comir higher than those ata drams performance. The dimensions of aseat are generally based on a median characteristic of the anticipated users, which varies by age and abo by nationality, ‘Minor variation is achieved by the upbolstery and aljustment of the back and seat pan materia! when the seat is occupied: otherwise the seat Scketion isa common size within the whole, or part of, the auditorium layout. Probably the best that can be achieved is inthe order of 90 per cent of the auicnce within an acceptable range of comfor. 5 2. ‘Other factors include: ( l be L fr ti Bn cs 2 Ai py ad gic Fehiremena, mally the lve of abarheney wen tito a epectaly ho Wi moa, + Veatlatio/heatng Tor ait supply or extact under sea spies ibould be alle a I vor oer ioetnc a gil + Uptotser: hikes of paling should provide exer and ave igi bat sould wt corp cei leans te eral of ic padding and finish must satisfy fire regulations. Foretuice of ypeorsea 3839 ‘Seating density. Density of seating cam vary (Figure 12.20): seats with arms and 8 tippable seat can occupy an area as small as S00 mm wide, and loss with seats without arms, with a row to row dimension ‘of 760 mmm, but can be as large as 750 mm wide by 1400 mut. ‘This is a variation from O.ARM2 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 offer 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 too high, with the perlormer ‘being less aware of the grouping and more the individuals. ‘Travel distance The evacuation from cach level of the auditorium within limited period of time is required in case of a fito. For traditional seating the travel distance s 18 M measured from the gangway: for continental seating, 15 M ffomt any seat, The aim is to evacuate the audience of each level within 2.5 mines, Exit numbers ‘At least fo separate independent exits must be provided ffom each level within the auditorium. The exits should be located with sufficient remoteness from each other to allow alternative directions of escape, The numer of exits per level are two for each level within an auditorium with the seating capacity up 0 0): an additional ext is requted for every further 250 seats as defined by legislation, Egress in case of emergencies should follow the natural ow of movement from the seats away from the pltfornysage.40 Exit widths ‘The ext widths are aid down by regulations. The base calculation is 45 persous per minute peru ex ids required are outlined width of 520-530 mn. ‘The minimum total Exit route ‘The ots from the auditorium must lead directly wo place of safety: The exit route must be the same width asthe exit and be a consistent Width avoiding boulenecks. The exit doors from the auditorium, any doors within the route and the final exit doors must open in the ditwetion of egress. Slaieases within the route are subject to the Iollowing conditions: the maximum aumber of steps, 16: the minimus ‘number, 2: treadiiser to be 275 — 180, asa recommended ratio, ae consistent Ramps should be at « pitch of 1.15, in lengths of 10 m maximum with intermediate platforms. Exit routes for wheelchair users are required to be on the flat or ramped if there isa change of level, and nay be required fo be separate from the other toutes. Routes are to be enclosed by fre-tesistant material within the building. Nembar of parsons Mewes ‘up 1m 200 a2 201-300 24 301-400 a8 401-sa0 a2 501-999 rr 1000-1999 64 ‘2000-2999 “a 3000 m8Circulation within auditorium: ‘Audience entry points ito the auditorium from the foyer can he atthe rear or sides of the seating, or within the banks of seating, and should be related to the gangvay positions While gangways are primarily calculated as part ofthe escape route in ease of fire, they also act as circulation routes through the auditorium, with possible additional gangways, from the audience entry points to the particular row and seat. ‘Access through hanks of raked seating: \omitories ~ remove seats, and thereby reduce the potential seating capacity .A threshold spuce atthe entry points for ticket checks, programme sales and for members ofthe audience to orientate themselves should he considered, ‘Gangways for use by wheelchair users require to be flat or ramped: the pitch should not exceed 1.15 for a ‘ap witha naxinium datance of 10 M, Beyond 10 M, the regulations require a at platform, whish in & large auitriun may be inconvenient ast nay break the Ke ofthe sealing banks, Permission will be recessry to have acontinions ramp. For a whcelchair usr moving from a ramped gangway to fa ‘atform will roqute an termediate ramp, Gangway width are established through the repulations Covering fie escape from auditor, The muisisoa width though aken as 1100 tum unless used ty wheelchair isers whete the with increases 1 1200tm Honsrails will bo required t «stepped gangway adjacent 1 an enclosing wall: toa stepped gangway ia drop atthe side; at landings, var of rosea andere theresa drop of moce than 600 an where the rake is atove 25° to a gangyay te ends of the rows served by the gangway may require alo rail Rails are usually 900) mm above the pitch line and 1200 mm above landings, with panels either solid or sub- divisions which may requite 100mm maximum gap. 41Performers’ access through the auditorium Performers may have access tothe stage through the auditorium during 2 performance by way of: ‘# access along the gangways, with stepped access onto the sage if raised; «# access through vomitories exclusively for performers. Dalails of a performers’ vomstory are shown ‘The performers’ vomitory can be filled to accommodate auditorium seating if notin use, Wheelchair location within the seating Regulations require a minimum numberof places for ‘whecichairs at each level, or 1/100th of the audience capacity whichever is the greater. Wheelchair lations, as dliserete areas, can occur af the fear, from, se oF within the seating. Wheelchairs ean be centrally positioned by fomming a buy off across 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 the case of fie. Separate entrances into the auditorium as well as escape routes should be comidered, Choice of location within an auditorium is desirable, covering each level and within different sections ‘ofthe seating. Inthe larger auditorium, phcing the Wheelchair users in a single designated area sbould be avoided43 Broadcasting requirements ‘Television cameras, Exemal broadcasting ~ television and radio — and recording in auditoria may be a ‘requirement especially in those buildings for the performing arts housing ‘or hosting ational and regional professional companies. Television cameras reguire 10 be located inthe seating areas either in specie locations, om platforms, or by displacing seats —— ‘Sound control room In large auditoris with amplified sound andor sound fleets the sound contol room may be located within the seating area to benefit from being in the acoustic ‘volume of the auditorium, Adaptation {Im uli-purpose aditoria where different formats or uses ae combined then all or part ofthe raked seating ‘wll require tobe movable. This can be achieved by fming a structure off a at oor, and include ‘© Bleacher seating: Telescopic structure with ippable “upholstered seating with backs, able rotracted into the depth ofa single ane highest ‘ow. The rows ae straight and the extended structure ‘sa simple rectangubr Hock, which places a discipline om tho seating layout© 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 rostra © 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 of the audience 10 have an uninterrupted view of the performance and its setting over the heads in fiont and clear of overhangs, the section and phn of the auditorium needs to conform to cestain imitations set by vertical and horizontal sighlines. Vertical sightlines ‘Vertical sightlines may be calculated by establishing: Lowest and nearest poiat of sight on the platfonay stage for the audience 10 see clearly. The platlormy/stage height, when raised, can 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 platiormstage level, If forestage is part of the proscenium or end stage wee formats then point needs to reite to the forestage. If an orchestra pi is 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 10 t see each musician at the front of the stage (who pastially masks the other L rusicians) may not be critical and point P may be taken as over 600 mm above the platform level atthe front edge.Horizontal sightlines are to be considered only with a ‘roscenium stage and possibly end stage and platforms ‘or elassical and choral music. Given « particular performance area sighilines will mit the wide ‘of seating tha! can be proved in the auditorium. ‘Conversely the sightlines from the side seats restrict, the amount of the performance area that can he used, "The narrowest dimension of the proscenium opening. ‘f sudjustable, should be taken asthe basis ofthe calculations. ach member of the audience should have a divect ‘ew ofthe performance focused towards the centre ‘of the performance area Curved or angled rows direct the focus ofthe audience towards the contre "The curved rowsradiating from the creak 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 setting. out ‘point of the seating: the audience showkl be eotained Within a 130° angle peripheral spread of vision ‘om the performer atthe point of vommand on the parlosmance area for opera, dance, musicals and Drama. (ope 5 feng: prom 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 le member of the audience 4546 Ventilation ‘The experience of enjoying a performance influenced by the qualiy of the ventilation in the auditorium, and the avoidance of draughts, stuffiness and ‘noise of mechanical ventilation, Health meds include respiration while comfort needs inchide maintaining body heat, control of airborne contamination and removal of odours, There is also the cost of the venia ‘and associated questions about heating which ‘can contribute significantly to the running costs ‘The approach to the ventilation of an auditorinm teflects its size and shape (number of beleones in particular, level of deaibility (diferent audience/performance ‘elationships). the type of construction of the auditorium enclosure and extemal climate conditions. "The initial 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 orchesteal music the level may be required to be much lower at NR20. For recording, the level would he even lower with a recommended 1NRIS. This 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 10 provide fresh air at arate of change to achieve suitable ‘contfort conditions: rates are subject to legislation ‘expressed as minimum of fresh air supply per person, nchading a proportion of recycled comitioned air. Air change rates appear to vary according tthe authoritative body. “The basic principle of mechanical ventilation lies with bringing aie into an auditoriues, with sie which i fresh, clean and at « similar temperature, achieving umber of air changes per hour when the auditors is ‘occupied. This s complemented by the extract of ai to achieve the air changes. There are different locations for the inoduetion of air into an audivoriuan and for the ‘extraction of ait.47 ‘Lighting within the auditorium covers the following: «© Performance lighiing Lighting positions within the auditorium at ceiling level, on side and rear walls, alcony fronts and at low level within the seating: the lighting ditection is wads the platfornystage wit clear projection; each postion requires ease of access for technicians 1o change amd adjust, with lighting bridges at ceiling level and ladder access to wall locations; follow spotlights require a cation at the rew of the auitorium or from a lighting bridge at ceiling lighting isan integral part of the staging of all types of production, except orchestral and choral music, and is subject to changes within a performance controlled by operatives atthe rear of the auditorium . The tradition for orchestral and choral ‘nusic is for the platform to be Mluminated during the performance with a genecal and fixed level of lighting: however this may be changing With, say, follow spotlights as an increasingly common feature. Auditorium lighting: For imnination of cireulasion youtes and seating ateas for the audience to move around the auditorium, read programmes, and so on; decorative lighting emphasizing architectural letures within the auditorium. Auditorium lighting is usually dimmed and out during the actual performance forall types of production except for classical and choral music, where the tradition is to dim the lights only. © Emergency lighting: An illumination of te circulation routes within the audicorinm curing a performance, with the luminaires located at ceiling level orfand 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 ofthe auditorium for cleaning and maintenance as a separate system during times when the auditorium is ‘not used for performance and rehearsals. © Direcior 8 desk lighting: supply of power within the a ually applicable for classical music 1 Cue tights: at entry points into the auditor. 1 Blue lights: areas within she auditorium which will be accessed during the performance by technicians and performers require lighting but at alow level with a blue light to avoid distraction to the audience. This covers lighting bridges and entry points into the auditors, Ease of access is required to service all luminaines. {orium to serve temporary location of director's desk during rehearsals, This is not48 ‘Sound cauipment: ‘The sound equipment described in the following sections may be required tn he incorporated into the auditorium design. Contol rooms for performance sound, broadcasting and recording are discussed under Performance Organization ‘Sound reinforcement; Location of loudspeakers for the amplification of -uisic, voices or special effects, especially for those performances relying om amplification such as musicals ‘and pop/rock concerts, The aim is to locate the ‘main loudspeaker to distribute sound across the whole ‘ofthe audience and can he: « over the platfornystage along the seting line oF above the proscenitim opening ‘atthe sides of the platform/stage as the traditional position for pop/rock/iazz concerts (often touring ‘groups proviling their own equipment) ‘ sariows positions within the aidtorium to supplement ‘main loudspeakers and for sound effects on side and reat walls, ceiling to auditoriuin and balconies ‘and, possibly, under th: loor. Location ‘requires an uninterrupted line from speakers to _members of the audience,49 Public address Loudspeakers may be required within the auditorium for announcements to the audience as a separate system, Rehearsals Loudspeakers may be required, usually located athe rear ofthe auditoriun, for use during rehearsals on the tage, so that the director located inthe auditorium can communicate with the performers on the stage. This requirement tends not to he 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 anit radio transmission and for video, film and tape recording of a 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 assist the hard of hearing, consider the applications of one ofthe following: inducvion loop: magnetic field transmission looped acound audivotium infra-red system: modulated light signals, radiated froma number of sources (© hant-wired: cable within floor trunking connected to panel in seat ‘The enclosing walls and floors of the auditorium should be fire-resistant as should the doors and other openings in the walls. Other aspects to be considered include: ‘¢ bon-combustibility of materials including finishes and seating ‘8 detector sysiem: smoke detectors in auditorium and associated voids euinguishers: hose-reels, portable extinguishers: automatic sprinkler systems will not be allowed over seating areas 1 alarms: connected to automatic detector system apd central indicator panel and, possibly, direct link to local fire station; alarms should be Visual (lashing light) in auditorium andl not audible Fire precautions should be discussed withthe local fre 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, ished of, if multi-purpose auditorium, (lat. Balconies introduce additional long spans able wo carry beavy loads. For sound insulation purposes the auditorium walls will have tobe substantial, which suggests load-bearing construction, Ceiling zone: ‘The celling and ceiling zone are mainly determined by functional needs and include the following requirements: © Acoustic requirements: Profiled reflecior panels and possible adjustable diflusers to ensure distribution of sound over the whole seating area For non-amplified music the reflectors will need to be suspended over the platform as well {© Lighting requirements: Access and supporting framework for performance lighting, “house lighting and also working lights and emergency lights, © Uennilation requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring equipment, supporting hangers and means of access for servicing. {© Pruduction requirements: For opera. dance, musicals and drama, a gril and pulley suspension system for lying or suspending scenery over forestage, including access by technicians. (¢ Fare control requirements: Alarm system in voids: fire dampers in ducts. ting capacity "The masimun: capacity within an auditorium depends om the selection of format and the aural and visual limitations set by the type of proxluction. Other influences on the calculation include, levels, sightines, acoustics, circulation and seating density, as well a the size and shape ofthe plaformstage ((o be described in the following section), To maximize the seating capacity within these imitations, sightines may be compromised so that, say, 10 per cent of the audience experiences 90 per cent of the performance area. This isa debatable issue ‘mainly associated with the proscenium format, where, to achieve an intimate character in the auditorium. a desire to provide perfot sightlines for everyone may have to be overridden. The acnual searing capacty depends an the ability to attract audiences which ‘may be ess than the possible maximum, Alo the potential peak demand coull exceed the seleced capacity on a particu evening: the aim ‘hough should be to spread attendance across less popular days, or extend performances over a longer petiod of lime rather than increase the capacity over a short duration,Safety curtain: In case of fire on the stage, traditionally i is necessary wo separate the stage areas from the auditorium, with the proscenium opening hing closed by a safety curtain The normal foem of safety curtain is a rigid type which is suspended immediately behind the proscenium opening, running between side wacks and dropping ‘onto Ue stage front fom the Hytower The safely curtain can be om the straight line of the stage separating the orchestra pit, a8 part of ‘the auditorium from the stage, or on the line of the rail to the ‘orehestta pit so tha when the pit is exchanged for an apron stage it is acoomsmundated within the stage arca. If there is a curved of angled pit rail then the safety curtain showhi follow the same ‘The safety curtain tends to be obligatory for audivoria with & seating capacity over 500, a6 outlined in the building regulation ‘The need for 9 safety curtain is hstorically-defind, hased on pre leetric ighting ad extensive use of combustible materials onthe sage. The continued use of the traditional barrier of the safety curtain to separate the sage volume from the auditorium has been questioned. Akernatives include a sprinkler system along the line ‘of @ proscenium opening and/or controlled smoke extract within the stage volume as well a away from the stage inthe auditorium, Access to the stage: performers ‘The door leading from the dressing rooms for the performers shoul be located down stage of the prompt side (PS) as the primary point of entry to the stage, with a crossover behind the stage, and at least a second point of entry on the non-PS sie. All entrances to the stage require lobbies as sound and light locks. The entrances shoud be located soa 0 eave a maximum amount of clear wall space. Access & also required 0 the sub-stage by performers from bol sides ofthe performance area and possibly also from the auditorium, which may requite steps athe side ofthe front of the stage. With opera, there are a large number of performers including. principals, chorus and dancers: separate access points should be considered for each group.52 shestra pit: mi dan¢ ‘The orchestra lor opera, musicals and dance isin a pit between the stage and the audience. The limiting factor is for the conluctor to be seen by both the singers and dancers on the stage and the musicians. The audience requires to hear a lance of singers and ‘orchestra, especially for opera. Amplification in musicals makes this requirement less of a necessiy. Allow 1.3M2 average per player. 5M2 for the piano, OME for tympant and percussion and 4M2 or the conductor. The actual production will have specific orchestral requirements with varttion in the size and composition ofthe orchestra. The conductor's eye level must not be lover than stage level when seated on «high stool, ‘Te iinienive the gull betwee stage sid audience the pit ean extend under the stage Diese ae Hest dose oo er a? Te al of ie open abet eel eae l’] sound var ito the aur, For opr thei shoul! be eigned br a ‘atin 100 asany: for musicals, 6 ance, 60-90. The moar sco be Jess wih (ouring companies. The floor level ofthe orchestra pit should be adjustable, % — between 2-3 m, below the stage level to suit the different requirements of the teeoe pee musicians and directors. The fire separation between aucltorium andl stage ‘must be maintained including the entry point into the pit: access must be possible fom both ends. The aretestra pit requires its own independent ventilation system, locally controled. Lifis may be required to redhce the size of he pit, and its acoustics “The orchestra pit requires acoustic reatment and working lights, as well as the socket ‘outlets for liking to nausic stands, “53 Relationship between public spaces ‘The functional relationships between the various public spaces are shown inConclusion Accomplete theater uni ust 1) Accommodate an audience 2), accommodate a performance 43) Bring audience and performance together in the most ellicient way: ‘A theater must have the following saliont feature: 1) Interdependence of functions- optimizing the audience perfomance relationship in order w increase the appreciation of audience towards the performance and also o encourage the performers to give ther best ello 2) Universality ~ factional requisites are Wlentical imespective of the origin of the building peojcet 3) Harmony between functions and architectural stage theatrical finetions must be the primary determinants of the site, shape and aurangements of the pais of the theater building 4) Appropriate selection of ste- the site must be big enough to hold the theater and to provide access und outside audience landing facilities, 5) Development of phan ~ shape and size of the stage and auditorium , acting area and orchestra pit according o the audience. 66) Varatis in program: all production lype mais be chosen lor performance in order to Keep the theater running. 7) Nariable house capacity- many designs are there which can varry the size of the auditorium as per the number of people and production type. 8) Atuactiveness of the house can generate potential audience. 9) Appropriate stage 10) Storage faclity( in order to maintain the efficiency of the theater) 11) Auuience (in order to grab audience evel 12) Other sourse of income ~ a theater might nat always move in profit and because of ths # requires alternate means of income ‘which can be acquired by means of exhibition, letting out of spaces etc essential that their seeing and bearing experience i highlighted to the maximum@ASE STUDY:KALA ACADEMY, GOA Solection as case study ‘The academy deals with both easterm and western form of art, Spaces are planned especially for teaching and practice of performing ats.KALA ACADEMY, GOA LOCATION: Situated at Campal, Panaji along the banks of siver Mandovi ‘Arca has mised land use sith a military hospal across the road, a cricket ground and a park on either side TE GRADIENT: Gentle Slope al film festival of Inia fon for promotion of art and cx + Veriie of internat +1969 - prime i ACCESS: * Regular buses connecting Panaji and the academy are available + Daboiim airport, 35km [Neatest railway si ‘Madgao, 53 kn Layout: + Four entries tothe ste. + Boal jetty provided on the siver side + Coverage is about 40% + Well defined pedestrian and! vehicular systems + Includes the cafateria, garden andl amphitheatte. Site is divided into main building service building, suktangan, parking tea, the exhibition space. CENTER FOR PERFORMING ARTS “Lad tasts 2012, em CASE IPA > eee sux fi] MANIPAL56 BUILDING STYLE AND CHARACT * Designed by ar. Charles correa + Imponance tothe process of moving through the spaces ina building. + Built fori has been kept low ranging from one to three floors BR This is farther enhanced by the use of parapet walls for upper floors, which comphasize 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 seating nd flor LEVEL. ZONING: ding is divided ino three zones: Public, Administration, Academie + Provided al different levels so as to avoid conflict between these zones + Ground floor includes facilites like Auditorium, review theater, ampitheate, at galley, canteen ete, where public entry is invited + First and second floors - academe and administration facilities. + Circultion linked tothe zoning is segregated through levels - grow Aloor for staff and students with degroe of inter linking. ‘hor for audience functions and fist and secon! CENTER FOR PERFORMING ARTS ‘Taess 2012 Case stupy i iFACILITIES AT KALA ACADEMY DM Kala mandir (Open air theatre Mini OAT Black Box Rehearsal Room Ast Gallery Meeting Roos ‘Gaost Room Preview Theatte Cafeteria Library “Teaching Studio Green Room Kitchen Administration Reception 5758 D.MKALA MANDIR (A. AUDITORIUM) * Seating ~ 1000 (1300 sq.m ) + Orchestra pit- 72 2.1 m ty of acoustical conditions ranging from speech, plays to star recitals and orchestral arrangements + Wal of the audiocium are painted illusions of an old goan theatre + Stages Stcm high from the fist tow, + Raking height varies from 10-20 am “<.CENTER FOR PERFORMING ARTS Tuts 2012 c ‘Msi IPA ee coat suey fi] MANIPAL59 Yr ‘MINLOPEN AIR THEATRE: + Capacity-300 people + Used as an outdoor chssroom and meeting space + OAT seating has a tread of SSem and rise of 45m depth + Farthest seat is 6m away and no amplication require. + Twoaises runalong either end, Width -120em + The steps have 15cm risers and 28 em treads, + Square shape stage is and as an arca of 7.5 x 7.5m OPEN AIR AMPHITHEATRE: + Seating capacity (no chair) - 2000 + Seating capacity (chair) -1312 + Proseenium openmg = 15m + Depth from curtain line- 12m + Amphitheatre is of double herringhone shape ‘+ Main eoy from road min lobby and the restaurant area, + Stage is raised at 75cm above the ground oor levelleye level of the frst sow) «+ Lower Seat rise - 30 ent and tread of 100 em + Higher Seat rise of 5 cm + Acoustics are good as the seats block out noise {rom the road side and the stage Ser ies Ge CENTER FOR PERFORMING ARTS “Lad tasts 2012, ors Misia case. IPA 2 + 070901162 | Xm Sem SAP stuDY MANIPAL60 BLACK BOX: * Seating capacity - 200. + Asea 175 sq.m, + Used Sor experimental productions, misie concerts, meetings and amateur performances. + Ako used as 4 recording studio + Control room and a green room provide. + Black box labhy & als provided: ADMINISTRATION: \dministrtive arca is on the first oor, he area divided into closed and opem cabinets + Total area -500 54.0, PREVIEW THEATRE: + Capacity -24 + Used during “IFFT” for special sereening. + Has gota jury roomand projector soomattached. + Particle board has been used lor acoustical ellect. ART GALLERY: + Running wall space - 30x 1.50 ms + Carpet area of gallery ~ 90 sq.ints + The exhibits are displayed on the wall on four sides. + Lighting features are very normal no facility to hoki a good exhibition + Adjustable cove lightings are used in gallery “ - CENTER FOR PERFORMING ARTS SLL huss 2012 Jrorse Misia CASE sTUDY ‘O7o90ti62 | Xm Sex PSAP MANIPAL61 LIBRARY, area: 135 SQ.M + Library i in pronimity with mini oat. + Books are raked in glass shelves ‘CABETERIA. + Capacity for 100 members + Square lable are provided each with 4 seats + 3 sides open in to the outdoor landscape + Itis accessible from all theatre meeting room -45 sq. ‘TEACHING STUDIO: {All the misic studios are ofthe same size 3.3 x 2.68 + Central air conditioning is provided forall classrooms. + Acousticlly treated classroams wit the same type of padding provided for the walls and ceilings. + Thee walls are faced wih linen material and glass wool, the rest is paneled with wood particle board i provided on the south-eastern side, parking are provided. + Special VIP and staff parking provided CENTER FOR PERFORMING ARTS ET tess 2012 rors Misia CASE STUDY ‘O7o90ti62 | Xm Sex PSAPSERVICES: + The service buildings (AC plant and generator room) are provided on the western corner ofthe site without disrupting building func + Two separate service entries have boon provided {generator oom and the other ‘easter comer of the site + The eastem entry caters tothe need ofthe amphitheatre and the canteen + Aoading deck has also been provided bere +The septic tank is provided andemcith the garden LANDSCAPE: + Beautiful lawns form the main part of the ite. Trees are provided aptly atthe front side of the building + Specially designed benches and lamp posts line the path Along the river ANALYSIS * The layout and the building zo + Good acoustical treatment wg provided are excellent + Flow of spaces has resulted in a good buil-open relationship. + Good use of site features has successfully made the public spaces interesting by use of sculptures, painting, seating ete + The cafeteria 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 treeshave to some extent blocked the view to the river + Public spaces too large CENTER FOR PERFORMING ARTS ee Ll tests = ae ee ff MANIPAL S ‘O7o90ti62 | Xm Sex PSAP BeeneNATIONAL CENTRE OF PERFORMING ARTS.MUMBAI Solection as cave study ‘The center focuses mainly ow performances and al succeeded in becoming a common platfonm for performances ranging from small individual peclormance to large shows. ‘My aim to study NCPA was to understand the context. I is functioning an to stdy the diferent spaces it involve, The seale of project is comparable63 NATIONAL CENTRE OF PERFORMING ARTS.MUMBAI LOCATION: Niraman Point on NCPA nag ARCHITECT: Ar. Philip Johnson, BUILDING TYPE: Institution SITEAREA: Sacre INTRODUCTION: + NPA is a cultural building, lift the indian culture in the society through events Dance, Music, Drain and Opera + NEPA private sector undertaken by TATA. + Designed by at Pillip jobson, + Building lnving five theatres, Administration area (Music Library, sll gallery, Guest House and the apartments for the Directors) AUDITOR! + Jamhed bhatt theatre . “The NCPA audio & film archives eT + Tata toate pessrakig td E + Experimental theatre bray + Dace theatre gode} + Title theatre LOBBY AND RECEPTION: Approach to the reception area from the main entry + Receplion desk is located atthe building entrance EVER MAN PRONG “SEW ERO AMMAN DONE + Right side ofthe recoprion Incated the aminixrative area FOR PERFORMING ARTS Cerne a MANIPALSEATING CAPACITY * Total eapacity- 1109 seats STA * Stageentry From east & west foyer 2 Nas. (Stage Right & Lett) + Floor Hardwood tinber Hooring on MS framing (No traps, No revolve) + Size 28.7m (w) x 14.6m (d) Behind house-curtain) *Top-oF stage dom lm auditorium level JAMSHED BHABHA THEATRE, )NTROL ROOM: + Location Rear ofthe auditorium behind glass window: partially openable divided iawo 4 compartments inter-connected through common passage + Compartment 160 sqm, + Compartment 228 sqm. + Compartment 310 sqm. (Light Contsol Cubicle) + Compartment 445 sqm, + Powersupply 18 KW, 30 Amps per phase REHEAR! ‘These are separate veries *+ West room 1 124 sq.m, height 2.88m(second floor West Wing) (90sq.m. adjoining open terrace) ‘EW OF STAGE JOT + West room 2 115 sqan. height 2 Smthird floor West Wing) DRESSINGROOMS(BACKSTAGE): (30sq2m- adjoining openterace) + Ground floor, solo toons. 3 (9 squn. each) + East room 1113.8 sq.m. height 2.9m(second floor East Wing) + Fist floor, solo toons 4 (9 sq.m. each (55 s,m adjoining open terrace) * Second loor, group rooms 2 (18.5 sq.m. each) (7 persons) * Eastroom2 99 sq. height 29m(hird Noor East Wing) + Third floor, group room 1 (46.5 spam. cach) (18 persons) (32 sq.m. adjoining open terrace) CENTER FOR PERFORMING ARTS ‘Taess 2012 i i Case stupy65 MISCELLANEOUS SPACES Foyers at vo levels GROUND FLOOR (LEVEL 0) + Area 930 sq.m. ‘+ Height variable, minimum 2.5m. + Elevator | (Wea Foyer) + Accessory clectric 9 kW (East Foyer) Lighting supply Amps per phase + Load 15 Amps per phase 9 LW (WestFoyer) Lighting load 15 ice Counter 2 (one Front Foyer and one in West Foyer) 1maIN ENTRY OF THE SBT ForeR AND THE FOOD COUNTER FIRSTHLOOR (LEVEL 1) + Arca 465 sq.m. ‘+ Height variable: minimum 2.5m + Service counter I (East Foyer) ORCHESTRA PIT + Forostage orchestra clevator 19m (w) x 4m (A): travel -2.9m{below stage) ce (autora level to Im (Stage eve docking @ 400m ncremes9) err + Capacity 60 musicians ; 2 Height $450 + Belowstage pit, fixed portion 15 4m (w) x4.2m (d) x 3.1m (bh) INTERIOR OF THE REHERSAL ROOM INTERIOR OF THE AUDITORIUM CENTER FOR PERFORMING ARTS 7 Now Mma case stony MANIPAL LL: o7ogoti62 | Xm sex MSAP ee66 FOYER (MAIN ENTRY TO THE THEATRE BJ Deere nesrnan — ROTATRGSTAGEEACKSDE SEDI tasis 2012 Worse isis 5 + 0709ori62 | Xm Se PSAP ‘TATA THEATRE: EATING CAPACITY ‘Total capacity -1010 seats Capacity reduced in the Following cases: + Use ofin-house + sound mixer/monitor Reduced by 7 seats Sound System + 8-Channel autio mixing console + Basic sound system lor speech and music reinforcement STAGE + Floor Hardwood timber flooring on conerete + Size 9m (d)x 175m (oy) av its maximum wid: + Height 3 at upstage: 6 at downstage rotatable stage + Operation electronically controlled * Rotation 180° + Rotation time 80sec. DRESSINGROOMS Ground floor- Solo rooms 4 (11.6 sq.m. each) ‘Mezzanine- Group rooms 2 (23 sq.m. each) CENTER FOR PERFORMING ARTS coat suey fi] MANIPAL67 EXPERIMENTAL THEATRE EXPERIMENTAL THEATRE or CENTER ET tess 2012 Misia From Case stupy a MANIPAL “+ O70901162 | Xm Set SAP BATCER ATES SEATING CAPACITY + 285 scats maximum (variable) + Plastic bucket chairs (blue) on modular wooden tiers STAGE + 97m () x7.3m (d) x 0.7m (h) mardmum + Variable configuration; modular wooden platforms FLOOR rete loor 19.20kn (1) x 19m (w) + Flocr-fo-grid height (Catwalk) 9mm (h), average CONTROLROOM + Behind glass observation window at frst floor kvel LIGHTIN + Electronic light dimmer 1 Specifications ‘Lighting console -Phoenix Cantor-48 48 channels (ADB make) DRESSINGROOMS (with toilets & showers) + Ground floor 2 (7 sq.m each) + First foor 1 (20 sq.m) MISCELLANEOUS SPACES + Foyer (uo AC) + Size 425 sq.m ; height 3m VIEW OF EXPERIMENTAL THEATRE FOR PERFORMING ARTS68 DANCE THEATRE GODREJ SEATING CAPACITY ‘GODREJ DANCE ACADEMY THEATRE + 185 seats = ; stace + 0465m frou auditorius evel + Croxs-over space 14.9m (x Lm (3) DRESSING ROOMS (2 nos) + Ground hoor - 13.8 sqan & 17 sy.tu *+ Common lobby ~ 19.6 9q.M MISCELLANEOUS SPACES * Foyer( non-A/0) + Arca-158 sqm + Sunken Garden 232 54.0 oeoRSETS- STRSEEREESEl ‘VIEW OF GODRE) THEATRE FOR PERFORMING + Wing-to-wing Sn (») x 5.6m (dl) height: 2.34 m (00) 6.7m (D eight: 234m 2.2m (w) x 6.7m (I eight: 234m [OUTER AREA OF THE THEATRE ight: 234m + Proscenium opening 9.55m (w) x2.40m (hy + Howe curtain Maroon velour: motorized travel STAGE OF THE THEATRE AND FIXTURES ARTS aeeerier fi MANIPAL69 LITTLE THEATRE LUTTUE THEATRE ean EEEEEED EERE CEST eyeocococucocac] CEGEEETEEER ET tess 2012 Jrorswe Mises ‘a70901162 | Xm Sem SAP CENTER SEATING CAPACITY +114 seats + Cushioned chairs (off-white) on carpet (Maroon) STAGE + Flor timber flooring an concrete st + 0.8m (h) from auditorium level. + Size with side wings and 6.66m (w) x + 5.47m (d) x back concertina flat 3.96m (h) + Downstage 3.08m (h) upstage WING SPACE ‘+ Stage-right 1.1m (w) x ém (1) x 3.08m (hy + Stage-left 1.0m (w) x 6m (I) x 3.08m (h) + Cross-over space 8.7m (l) x 0.6m (w) x 3.08m (h) + Proscenium opening 5.85m (w) x 3.96m (h) + House curtain Maroon velour; motarized travel DRESSING ROOMS + Ground floor 1; 8.5 sq.m + First floor 15 15.8 sq.m (MISCELLANEOUS SPACE Foyer (air-conditioned) + Size 13.3m (\) x5.6m (w) x 6m (hy + Area 74.5 sq.m VIEW OF LIFTLE THEATRE PERFORMING ARTS Cerne a MANIPALRECORDING STUDIO dios equipped with state-of the-art multi track + recording equipment based on the ProTools HD phitlorm “Main recording hub , interconnected to all five theatre + through fiter optic cable sp SUNKEN GARDEN (75-100 members) * Located next t the dance theatre godre + Reception space lso used for smull-scale performances STORE + Stepped seating leading down to a performing area * All the Auditoriums having column beam str + JBT-and TATA theatre have good span column free space, + Coffeced ceiling is cast for making the space columa free + Cantlevers more than 10 fets is projected a the entrance of TATA theatre + Buikling & finished with different materials like stone, plastered et. v ‘OUTER AREA OF BT (OUTER AREA OF TATA THEATRE. WAY TO THE BASEMENT PARKING “< CENTER FOR PERFORMING ARTS =i a ose ea eet a MANIPAL Sec: | rgeotee 15h Sex PISA MANIEAL71 ‘THEATRE, JAMSHEDBHABHA | TATATHEATRE EXPERIMENTAL THEATRE THEATRE ARCHITECT Patel manohar and Philipsjohnson Patel manoharand asscciates associates USE Can hostany event from | Indianrrusic, dance and | Ideal both or traditional stagedindlan epicand | other arforms. fcikand performance type ccatsicalcorcertta presentation ‘westerns dance ‘SEATING 190 010) 300 SPECIALITY Heavily omamentod Fanshaped,rotaing tage, | Flewble seating, stage uit Interiors with orchestra | andthe convexconcave | can provide complex pit celingaswell 2s wall asymmetrical seating provide witheven accra, distrution of sound. FEATURES Stage cafthas33 y bars | Bultin thrust shape, based | Additional balconies on 3 ‘due to which rutiple ontheseeing pattem at | sideswith 50 seating backerops can be provided | Indian audience, fan capacity, situated at a andiightng facitycan | shaped plan, heightof 13 fet. Celing ‘erange accordingto the [pid frameandestwik requirement. Also has3 system ‘conference room large ‘over spaces, amuseum and black box, which is ‘the ticket and event information sytemTRIVENI KALA SANGAM Solection as cave study ‘Study of functional aspect ofthe center To study the open air theater and its funetions.72 ‘TRIVENIKALA SANGAM INTRODUCTION: ‘Triveni kala sangam was founded in 1952 by Smt. Sundhari Sridharni, as an academy of dance, music and painting with the im of reiauodueing waditiowal forms of expression into Indian lite. Each of the functional units of the complex its, theatre, classroom, studios and galleries ix individually ariculated in the building missing LOCATION: ‘Triveni kala sangam is located on 205, Tansen Marg, New Delhi [tis the cultural core of the city with similar buildings like Sri RamCentre for Arts Rabindra Bhawan and Sangeet Bharati located close by ACCESS: ‘Access 10 the site is form the Tansen Marg. the road that leads tothe Bengali Market "There is mot match heavy traflic om this road. (GENERAL PLANNING AND LAYOUT: ‘The centre is organised into a four storey classroom block wi shaded dining/ tea terrace to the north, And a ground floor gallery hack with a shaded roof terrace above tothe west Opposite to the gallery is a covered stage oper Which is heart of the complex ‘canteen and 1g onlo an outdbor garden theatre CENTER FOR PERFORMING ARTS Ld tests 2012, | Jrorswaa Misia CASE stubyY 2 070901162 | Xm Sex PSAP73 PHASE F- houses the music and dance studios, an O.A.T,a library, café, exhibition galleries and the administrative areas. PHASE H-comprise of an auditorium for 200 people, painting and sculpture workshops and residential apartments “The building layout fluenced by 2 maj factors Large no of functions io he handled on asmall site ‘igh degre of esbility requiced for various functiom. ‘The building has been perfec designed ina rebtively sll sie of one acre following individual articulation f fuetional units nthe siding massing ‘Onemering the lobby the principle areas of imteres lke at galleries, auditorium, OAT etc i wisble at once The two heavy massed HocksrBe up to storeys and ate a response to tight program within aight site INDIVIDUAL SPACE ANALYSIS: RECEPTION AND LOBBY AREA: The main entrance 10 the building leads 10 large rectangular space, which acts as the reception are. *The wooden partitioned cubicle serves as the reception offic. +A staircase opens into this area and connects various floors 1 basements ‘To the right of the main entrance is the “Sridharni Gallery” and straight abead isthe corridor, which houses the eassrooms, EXHIBITION GALLERY. ‘Hvis locatad right mest to the main entrance, ‘The gallery is curved in plan and is sipported on a beam-column structure ‘The displays are hung on the walls ‘A special framework of wood s attached on the roof, which hus spotlight on itMUSIC STUDIOS: ‘The musie studios are used for teaching instrumental and vocal music. ‘There are 3 studios in all, cach 15-0°x15-0", two for instrumental and one for vocal r ‘These studios are located on the second floor, The access is from 6-0" wide singly loaded semi-open corridor, whieh oveddooks the O.A.T below. *The Mooring is bare except for mattresses on which the artists and students si. Storage space is provided along one length of the wall, which is adequate Cavity walls are provided for insulation +The lighting and ventilation is aken care of by providing window opening on the whole length of the wall on the north side AUDIO VISUAL STUDIO: ‘The AV studio i located in the basement of phase 1 ‘It has faciliy of recording of playback voices and music and a separaie chamber fortstening. STUDIO SOUND CONTROL ROOM "The Triveni auditorium is small hall with a capacity of 200 seats PARKING: ‘There is no parking space in Trivoni Kala Sangam. Vohids have to parked main toad and parking space is also not sufcient LANDSCAPING: ‘The whole complex is well landscaped. ‘Three well landscaped lawns in front of the building is contrasting with its external features. ‘The whole environment of the complex is calm and peacetul ENTER FOR PERFORMING ARTS sor ret case stupy MANIPALART HERITAGE: +A heritage or a exhib The hall is L type im plan. +The space is well Ut and his good circulation area within 1 hall for visual artis Ioeated in the basement Boor, the ground flor with the AC, green rooms, at room, stores ete, below. tsa proscenium theatre with the actors and audience in separate spaces. ‘The side walls have teakwood paneling, whereas the rear walls, stairwells and railings have sound absorbing treatment of teak wood states over fiker pass wood insulation, expose conerete witha few acoustical panels, placed ranwlomly. ‘The control room is located behind the audience seating. It includes both south and light ‘The lights for the stages are concealed in the depth ofthe coffers and are not visible to the audience, ‘The seats are placed over precast slabs, combining the hilt in AC ducts This leads to unusually high ranking oF seats fora hall of this size ‘As the AC is fed through duets below the seas, it causes chill at the audience leet. ‘For exclusion of extemal noise, ducts are teated heavily internally with sound absorbing lining and extemally with plaster oat: + The OAT s located between the teaching corridor and art gallery. > + Iehas& capacity of 380-400 people. a = - pa CENTER FOR PERFORMING ARTS ‘Taess 2012 rors Misia CASE STUDY ‘O7o90ti62 | Xm Sex PSAPBHARAT BHAWAN . BHOPAL Solection as cave study ‘The only center for fll: music in India To study the opens in plat and courtyard style architecture. ‘Terraced planning, and ste responsive design,Charles Cortea the architect found here the possibilities of series of terraced gardems, ‘hich would he seen cascading down tothe lake. The visitors enter a the highest level and ‘walk down a pedestrian spine, flanked by a pattern of courtyards, to reach the various parts of the conplex. Each curve and space defines self, Each of the part of the building is distinct yet flow’ easily one another, linked hy meandering paths. The total effect is one of the surprise and pleasure, There is always a moment when the eye can rest and the mind ccomemphies, Location : bhopal ,madhaya pradesh Area: 1200m2 Architect : chasles corre. Court of Fountais Courts form a major special element in the building. The MUGHALSalways planned their complexes around the courtyard From the court ofthe fountain one has a visual choise duc to the level difference This courguides the visitor to TRIBALFOLKART GALLERY & —_ADMINISTRATION.ANTARANG, BHAIRANG, & VAGARTH towards west and south. This isthe largest court in the cours, Folk Art & Tribal Court; ‘This counis also square in plan.The walls are barren and thevisitor walic is less as compared (0 the oter courts Informal seating isdone on the steps like GHATS. SCULPTURE AND LOW LEVELLANDSCAPE ate the dominating features ofthis court ADMINISTRATION of the complex is housed in this courtAE nights whenthe INTERIORS get lightot the walls bocome dark and looks like a eavearchitectae CENTER FOR PERFORMING ARTS Ld tests 2012, Worst Mises CASE STUDY 2 +070901162 | Xm Sex SAP77 Court of Antarang: ‘Onone enters this court either fronuhe citculaionaxistromihecourtotfoumtain.The overbridge isthe main gate forthe entrance toths court. The court leads 1o GRAPHIC AREA, PERMANENT GALLERY &ANTARANG. The court performs as an extension and a out space passage, room for the visitor waiting to gain entry in the permanent museum. ROOPANKAR is the only museum ofits kind in India which houses contemporary folk and tral art together with usban art, Roopankar has two fully equipped workshop for printraking and ceramics. There are about 6000 tribal and folk art objects and nearly 2,500 urhan art work in the collection of Roopankar museum, WAFFLESLAB ROOF with coffersmakes The otherwischeavy roof seem light Large ‘Cutouts inP YRAMIDICAL SHAPESbreaks the monotony andnatural light is taken fromtbein, Woodea FLEXIBLE Urban Art Museum : ‘The skylight over the shells and along the baysand edges forms the “YELLOW POOL OF LIGHT”. To avoid the direct sunlight on paintings wooded vertical blinds are used & controlling devices. "The entry is foi af.0/ meter wide gate.Theartlicial lighting is done bylamps placed in the wallleslab and is directed towardsthe exhibit The images ofbuildings trom old Bhopal are Gus ‘Comensed inthe galleries of urban at:The modern att section is sprea over thee levels‘The lowest a level is plus88.2 and houses the TRAVELLING exlubitions, While the upper level plis90.2 houses the PERMANENT MUSEUM OF MODERN ART.78 RANGMANDAL is a professional repertory which has at its disposal a fully equipped indoor auditorium, Antarang, an open air threatre Bohirang, with a spectacular location on the lake, and a studio theater Abhirang. Itowns an impressive theater library and data bank VAGARTH is the centre of Indian Poetry. 1 aims to collet and preserve the ancient and contemporuy poetry in Indian languages, whether in the spoken, viritten or inthe printed form, Vagarth’s library consists of more then 13,000 books. These include book of poetry in Indian languages, English translations of poetry in ‘oveign languages. works on poetics, literary criticism and culture. Rare manuscripts of some renowned, Indian poets, hundreds of audi and video recordings of reading in Bhar! Bhavan by significant Indian poets are ako collected in Vagasth’s archives. ANAHAD is the center for classical, folk and tribal music. Anahad, aspires to preserve the tradition and promote its immense contemporary creativity in all its ory and diversity ‘The chiet activity of Auba is organizing pecformances of classical and folk music amd dance. 1 organizes several series of music concerts, ‘Anhad possess an archival collection of bout 2000 hours of audio anu video recordings, books on music and dance and over a 100 long ‘laying records of foreign music to aid reference and research. NIRALA SRIJANPEETH is the chair or creative writing instnuted in Bharat Bhavan by the government of Madhya Pradesh, the ‘incumbents have been writers ofrepute including Nirmal Verma, Dilip Chit, Krishan Sobati, Kedarnath singh, Krishna Baldev Vaid, Kamalesh, Ramanath Tripathi, Vinod Kumar Shuk, Ramesh Chandra Shaha and Manzoor Ehtesham. ASHRAM tas hosted artists and writers of national eminence, Mallikarjun Mansur, Blavesh Sanyal, Namver Singh, Nirmal verma, Zia ‘Mobiuddin Dager and Ambadas have lived in residence al Bharat Bluvan' Ashram. (CHHAVE is recently opened center for classical cinema,79 ANALYSIS Plus Points = (Material eonomy. Extensive use of local material like BASODASTONE & ALANGA for ‘masonry and external wallThese have a lowrejection factor of 33%. (b)Space Ezonomy:The positioning ofeakimns on a square grid of 9.2x9.2 mur, gives « large column free space. (oiEnergy Economy. Horizontal spread receives maximum solargains of #0% of the roofis covered wth lawn and savesextensive use ofanifcial energy [Negative Points : (a) Maintenance High cost of maintemance of the terrace gardenisalackingfactor 40%ofthe annual repair bill goes for thispurpose 40% is spent on water proofing of roof, skylights, onwalls, floors, star and expansion joins, (b) Restricted Future Expansion, With covering entive horzontalspace available if the- need arrive for expansion there & ao space leflfor this purpose. Existing exhibition area cannot be expanded due tomaximaum horizontal coverage80 ‘Kerala kalamandalam, Jocation :thrssur kerola Area : 32 acre Founded in 1930 by renowned poet Padmabhooshan Vallathol Narayana ‘Menon along the banks of the river Nila in the Cheruthuruthy village of ‘Thrissur District, Kalamandalam is an immortal name in the extra map of the world. Kalumandatam is stictly a residential center of teaming. \eteran teachers and talented students are its inestimable wealth, Por art- recitals hold in Kalamandalam and outside, artiste-teachors and students participate koothambalam ‘The performing area Waiting arca/ kamatie music room ‘The theatre consists of a main entrance infront * ‘of which a flat po, used to announce a Resins. Performance. “staff 25 "The raised stone entry steps of flanked by “Total strength 700 students ‘hand carved stone panels 3ladies hostel designed according traditional kerala Hon = eye haan tie capacity of 600 people Kari class room stone column with hand carved stone dance “Wied for larning varibus art fortes poses, bussed on classical posture i «= green room and toilet facilites Library wooden stage Sill shop CENTER FOR PERFORMING ARTS Shand =: + 070901162 | Xm Sex PSAP