LIVE CASE STUDY

CASE STUDY 1: INDIAN MUSIC EXPERIENCE - BANGALORE

Built Up Area : 32,519 sq.ft

City : Bangalore

Type : Experiential Museum for Music

Architect – Architecture Paradigm Pvt Ltd

INTRODUCTION

Indian Music Experience is a site located in Brigade Millenium Rd Jp nagar 7th Phase southern part
of Bengaluru besides its India's first interactive music museum, learning centre for music and a
leading music store.

Indian Music Experience offers to increase the level of cultural engagement in the community by
bringing music closer to people.It serves as a contemporary urban space for students,tourists,who
come to experience,looking for entertaining yet enriching experiences.

The context brings together the idea of Indian music, a museum, a music school, documentation
center and a cultural center located in a cohesive development.Indian music inspires through its
classical structure,variety of instruments,diversity of folk cultures and the medley of popular music.A
setting for understanding it should be inspired from the intensity of Indian music.
BASIC CONCEPT OF THE DESIGN :

The basic concept and the design of this enclosure begins from understanding the classical structure
of music, and develops it along the lines of how raga is constructed in the music, and improvises it
towards an experience that reminds one of musical ideas of rhythm, depth, pitch, volume, texture
and scale.

USER BEVAVIOURS ACTICITY PATTERNS AND THE FORM MAKING :

A grid brings the site under control. Each grid offers a way to understand the site and influences the
relationship between design and the site. The
selection of which grids to use begins setting up
the relationship of the architecture and the site.

The octaves present a clear way of structuring

music with the seven notes spread over 12
semitones and forms the basis of classical Indian
music.

These seven notes provides the framework for

music. The musician decides which notes to

select and in what order to construct the raga.

Similarly, the architect selects different notes[by

representing them as points on the grid inscribed
onto the site]and connects some of them to
define the kind of spaces required.

The Exhibit Area consists of 8 thematic galleries

showcasing various facets of Indian music, an
instruments gallery with over 100 musical
instruments, three mini- theatres, and several
computer-based interactive installations that allow the visitor to experience the process of
music-making. This correspondent has been the Creative Consultant for three of the Key Sections –
Galleries 6, 7 and 9 and Gallery 7 has been his exclusive Content responsibility.

The IME has been conceived as a vibrant music hub for celebrations of India’s unity in spirit and
diversity in creative expression .Visitors to this museum will be able to rediscover their connections
to the living tradition of Indian music.

c. Analysis of visual quality in massing, space making and form making.

The four-storey building of the museum with a covered area of about 4000 square metres has been
built on a plot of about one hectare located in a posh locality of JP Nagar in Bangalore. The piece of
land has been donated by a private developer, Brigade Group, in its sprawling ‘Brigade Millennium
Complex’ of apartments.

The museum accommodates an interactive exhibit area consisting of eight thematic galleries
showcasing various facets of Indian music, an instruments gallery with 250 musical instruments, and
several computer-based interactive installations that allow the visitor to experience the process of
music-making.

A Sound Garden is the second major attraction of the IME. It features musical sculptures including
reeds, chimes, tubular bells, plate gongs and musical stones that introduce visitors to the principles
of sound.

A Learning Centre is yet another important component of the IME. It is planned for delivering
curriculum-based music education and development of music teaching aids for schools. The
Learning Centre consists of five classrooms, a seminar hall and a library to hold music classes,
workshops and lectures on regular basis.

In addition to the above, the IMA comprises a cafe for refreshments and a gift store for music
related memorabilia.
d. User interviews and satisfaction levels.

According to architects, "the design of the museum building follows the curves of the existing
jamun and mango trees on the plot. The curved facade symbolizes the gradual expansion of
Indian music, like flowing raga."

Says Architect Sandeep J. of Architecture Paradigm, “The objective was to create a public
space that showcased and celebrated Indian music. The architectural design responds to
this by organising the three major components of the structure - interactive exhibit galleries,
music school and exit theatre - where the nature of the site with its existing trees remains
well preserved.”

Quantitative study
a .All architectural drawings– Site plan ,Plans ,Elevations ,Sections .

BASEMENT PLAN
GROUND FLOOR PLAN
 FIRST FLOOR PLAN

SECOND FLOOR PLAN

 THIRD FLOOR PLAN

TERRACE FLOOR PLAN

 The entrance to the center is through musical plaza that has a sculptural landscape leading to a
musical experience.

 It climbs downwards to a temporary exhibit space that acts as a semi-formal performance space as
well.Keeping a minimal footprint,the building works over multiple levels that are interconnected by
ramps,steps and a linear void.

 Galleries are kept in the first and the second level,the music school in the upper most level away from
the museum.The ground level serves as a lobby and entry with the temporary gallery in the lower
level.

 The lobby level has the gallery,music store,cafe,music school and movie hall along with an
administrative area.

 The gallery level leading from the lobby level is a gentle ramped neutral space which takes the visitor
up to the gallery level.

 The changing levels,volumes and character provide specific setting for static,changing and transitory
experiences in the gallery.
The articulation of materials,form and voids is directed towards a memorable form outside and an
embodied experience of the inside of the museum that is rich in providing a setting for
interaction,learning,teaching,researching and musical engagement.Here,the musical ideas of
rhythm,repetition,depths,volume and pitch appear in form,structure,light and shadow and in surface
articulation of the architecture keeping music as a reference and a balance between heavy and light
materials,space and texture.
PHOTOGRAPHS OF THE SITE :
c.Chart of program

Ticket counter

2.Entrance lobby

3.Permanent exhibition Galleries

4.Classrooms

5.Toilets

6.Open air theatre

7.Store

8.Cafe

9.Restuarant

10.Service area

11.Shop

12.Temporary exhibition area

f .Built v/s Open study .

The museum accommodates an interactive exhibit area consisting of eight thematic galleries showcasing
various facets of Indian music, an instruments gallery with 250 musical instruments, and several computer-
based interactive installations that allow the visitor to experience the process of music-making.

A Sound Garden is the second major attraction of the IME. It features musical sculptures including reeds,
chimes, tubular bells, plate gongs and musical stones that introduce visitors to the principles of sound.

A Learning Centre is yet another important component of the IME. It is planned for delivering curriculum-
based music education and development of music teaching aids for schools. The Learning Centre consists of
five classrooms, a seminar hall and a library to hold music classes, workshops and lectures on regular basis. In
addition to the above, the IMA comprises a cafe for refreshments and a gift store for music related
memorabilia.
g .Zoning study

The museum begins at ground level where an

innovative sound garden prevails under the shade
of trees, the structure craftily woven around these
trees, the evolving edifice fluid, akin to the notes of
a mesmerising musical composition. Various
musical notes emanate from the stone, wood and
metal installations that rest in the sound garden,
inviting the visitor to plunge in and play the tunes or
merely listen to the singing stones, as in the
humming stone.
h .Connector study

3rd floor

Gallery 1

Contemporary Expressions –relive the early days of independent ‘Indie’ rock music in India .

Highlights: Hybrid sounds interactive, Daler Mehndi’s performance costume, auto-rickshaw mini-
theatres
Gallery 2

Living Traditions –basic concepts of Karnatik and Hindustani music.

Highlights: Web of composers interactive, gharana display, musical concepts interactive, Samay
Chakra film

Gallery 3
Songs of the People –various folk and tribal communities of India, their songs and the contexts in
which such songs are sung.

Highlights: Puppet displays, folk art murals, Kaavad box

Gallery 4

Melting pot – Indian music is a confluence of many influences. Interesting and lesser-known stories
about the histories of musical instruments such as the violin and the harmonium.

Highlights – Brass band photo opportunity, leg harmonium display, the story of ‘Nottuswara’

2nd floor

Exhibit Galleries

Gallery 5

Instruments Gallery – A stunning double-height display of over 100 musical instruments from across
the country, along with touch-screen information on their origins, making and playing techniques.

Highlights - Peacock-shaped Mayura Veena, snake-shaped Nagphani

Gallery 6

Songs of struggle – This gallery explores music from India’s national movement, songs of protest and
patriotism in popular culture.

Highlights – Over 35 versions of the song ‘Vandemataram,’ replica of Mahatma Gandhi’s letter to
M.S. Subbulakshmi, patriotic songs from Hindi film across the ages

Gallery 7

Stories Through Song – Since the first ‘talkie’ in the 1930s, music has been an inalienable part of the
movies in India. Landmarks and legends of Hindi film music and diverse influences of various genres
of music in film songs.

Highlights: Thematic memory boxes, film poster photo opportunity, background score interactive

Gallery 8

Reaching Out— From the gramophone to the mobile phone, the way that music has been recorded
and disseminated has evolved. The journey of recorded sound in India and learn about the pioneers
of recording.

Highlights – Rare phonograph and wax cylinder display, gramophone set photo opportunity,
recording studio
Gallery 9

Stars – Featured in this gallery are 100 luminaries of Indian music across various genres, along with
precious memorabilia belonging to the Bharat Ratna musicians of the country.

Highlights: Shehnai of Ustad Bismillah Khan, the tambura of M.S. Subbulakshmi, concert attire and a
shehnai of Pandit Bhimsen Joshi.

i .Open space study

The Sound Garden features musical sculptures that introduce visitors to the principles of sound. The
Learning Centre is at the forefront of delivering high-quality music education at the IME and schools
through its outreach program. In addition, the IME houses various performance spaces such as a
rooftop amphi-theater, a performance theatre and a seminar hall. The IME hosts a variety of public
programs such as music concerts, talks, workshops, seminars, summer camps and others.

The profile of the site suggests a composition of a linear mass along the south western
boundary as the ‘ground ’, and an assembly of primary objects in the foreground as the ‘figure’. This
analogy of ‘figure’ and ‘ground’ works well as a device by which one could organize the program –
the linear mass houses the primary circulation and services (the ‘servant ’), and the objects house
the galleries , (the ‘served’).
CASE STUDY 2 : BANGALORE INTERNATIONAL CENTRE (BIC)
Architects: Hundredhands

Area: 4420 m² -(50,000 SQ FT)

Year: 2019

Project type : Mixed use public facility

Manufacturers: Saint-Gobain, Serge Ferrari, Coverings, Ferco, Sunworld

Project cost : 17 crores

Client : Bangalore International Centre.

INTRODUCTION:
The Bangalore International Centre (BIC) is a neutral, non-profit, member and donor-
supported public institution founded to enhance dialogue and foster ideas across cultures,
religions, regions, societies, and economies. It offers programs that expose decision-makers
and citizens to diverse fields and points of view. These events are free and open to all.
Therefore the created public space serves as both a spill out/pre-function for a 185-seat
auditorium, two seminar rooms, an art gallery, a library, and a restaurant and as a flexible
place for congregation, smaller performances, art exhibitions, etc. Organized behind a glass
facade and framed by three-story concrete portals, this public life of the building is revealed
and celebrated.

BASIC CONCEPT:

The main motive for the existence of Bangalore international centre was to provide a
space for informed discussion and an platform for the public discourse to share their
views on various topics and an cultural engagement.
DESIGN MAKING OF THE BANGALORE INTERNATIONAL CENTRE

The design strategy was based on

four principals: - The public
function of the building was to be
found in the architectural
expression. - By breaking up the
building with a void along the
second floor the scale of the
surrounding fabric was sensitively
addressed. - The various program
components were distinct in
terms of massing and easily discernible in terms of circulation through the building. - Landscape
strategies were used to mitigate the odors from the nearby storm-water drain. The location of the
site beside a municipal park, army lands and adjoining the city’s storm-water channel (nala)
determined the design of the landscape.
The Bangalore International Centre's main entrance faces the park and leads into a double-height
foyer space.
This foyer acts as a holding area for the auditorium and also houses the circulation connecting each
of the centre's storeys.

A large perforated brick wall which wraps around the

ground-floor restaurant, setting it apart from the
concrete of the rest of the structure and providing a
backdrop for the foyer. This brick wall continues up to
the building's second storey, where an oculus
provides views down to the floor below.

Analysis of visual quality in massing, space making and form making:

The various program components were

distinct in terms of massing and easily
discernible in terms of circulation through
the building. - Landscape strategies were
used to mitigate the odors from the nearby
storm-water drain.

Due to the high programmatic built

requirements and associated services, the
amount of open space available was
limited.

The landscape looked beyond the site & aesthetics, to function as a public amenity as well as to
contribute towards environmental remediation. The building has been submitted for a GRIHA 5 Star
certification.
In addition to this, ample gardens serve the internal spaces on the ground floor and the terrace
offers additional spaces for gathering
under a large solar roof.

In 2012, the BIC invited proposals

through an open competition for its new
facility and our proposal was adjudged
as the winner from a pool of 90 entries.

Central to the scheme was a public

space elevated to the second floor and
visible from the street.

The extension and elevation of this public space announced the agenda of BIC to be a
democratic institution, where public participation was its core concern.

User interviews and satisfaction levels:

Architect and founder of Hundred Hands, Bijoy Ramachandran says, “What you encounter as you
come into this building, is that it is surprisingly generous, given the paucity of space on the sides.
It's much larger than one would imagine in a building of this size.

It's because of the wonderful support from BIC that we could remove a lot of the program that
once occupied much of the public space. The public space of this building has become, really, the
life of the institution, apart from the auditorium of course.”

The BIC auditorium retains an air of formality in its red seats, but once the lights are dimmed, the
thrust stage makes every talk, panel discussion, book launch and performance more intimate.
Bijoy about the intriguing circular structure in the foyer linking the ground and the first levels,
and he says, “It serves as a visual connection between the foyers on both levels. Given the
rigorous expression of structure (through the exposed columns, beams and ceiling articulation)
the curved brick wall and this object (referred to by us as the oculus) serve as counterpoints.”

“Our intent,” says Ravichandar, “was to create a space that was inclusive, not elitist. It needed to
meld with the neighbourhood in terms of scale and size, and must not be something that makes a
definitive statement, stands out or spoils the residential character of the neighbourhood.
Secondly, we needed to bring the outdoors in. So, when I'm inside the building, I need to feel I'm
outside. In my mind, Bijoy has delivered this in a very, very big way.”

Quantitative study
a .All architectural drawings– Site plan ,Plans ,Elevations ,Sections.

Ground Floor Plan

 First Floor Plan

Second Floor Plan

Third Floor P

Roof Plan
 SKETCH OF THE PLAN

SECTIONS:

Section A
Section B

Axonometric view
Elevation

Rendered Elevation
PHOTOGRAPHIC DOCUMENTATION :