Film Institute: Download Now

Documents  Art  Design
Film Institute
Uploaded by bhavya
 0 ratings · 219 views · 160 pages

Document Information 
Original Title
Download
419722698 now
Film Institute

Copyright
© © All Rights Reserved
Available Formats
PDF, TXT or read online from Scribd
Share this document
Facebook Twitter

Email
Did you find this document useful?
Is this content inappropriate? Report this Document

:

A Project report on
DESIGNING FILM INSTITUTE WITH EMPHASIS ON

INTERACTIVE SPACE
Submitted in partial fulfilment of requirement of
National Institute of Technology, Raipur (C.G.)
For
The Degree of Bachelor of Architecture
(2015-2020)
Under the guidance of Submitted by:
PROF.SACHIN SAHU NEHA MAHTO
Department of Architecture Roll no.15122038
Department of Architecture
National Institute of Technology, Raipur (C.G.)
Trusted by over 1 million members
Try Scribd FREE for 30 days to access over 125 million titles without ads or interruptions!
Start Free Trial

Cancel Anytime.

:

ACKNOWLEDGEMENT
It is matter of great privilege to express my gratitude and respect to all those who have
guided me and inspired me during the course of my project.
The report on the thesis work ― DESIGNING FILM INSTITUTE WITH EMPHASIS
ON INTERACTIVE SPACE ‖ is a result of the help, guidance and inspiration, I have got
from various people and the word thankful is nothing for their advice, help &
encouragement at every step.
My first acknowledgement goes to my parents. I am highly grateful for their support, care,
love and concern without which my thesis would have been not possible.
I am highly indebted towards my guide PROF.SACHIN SAHU for his helpful and
valuable suggestions at every stage of the development of this thesis project. His words
and tremendous belief in me motivated me to work all through my thesis. I like to thanks
to my friends Apoorva Nawani , Saumya Tiwari , Kajol Mandpe , Aishwariya lekshmi for
love and support and my beloved juniors Dilendra kashyap , Arpita Bisen & Garima
Dubey for their help to complete my thesis.
And this thanks goes to each and every person who directly or indirectly helped and
believed in me.

:

DECLARATION
I hereby declare that this report Titled ―DESIGNING FILM INSTITUTE

WITH EMPHASIS ON INTERACTIVE SPACE ‖ submitted by me in partial
fulfillment for the Eighth semester of Bachelor of Architecture course of
National Institute of Technology, Raipur, India is a record of my own work.
The matter embodied in this report has not been submitted for the award of
any other degree or diploma.
(Signature of the student)
NEHA MAHTO
(Name of the student)

:

CERTIFICATE
This is to certify that Ms NEHA MAHTO has been allotted the topic ―DESIGN OF
FILM INSTITUTE USING INTERACTIVE SPACE " for her thesis project as partial
fulfilment of tenth semester examination for Bachelor of Architecture course of National
Institute of Technology, Raipur.
This is further certified that she has completed this project work in one semester under my
guidance and supervision.
Guide:
PROF. SACHIN SAHU
This thesis project has been accepted.

External Examiner 1
Head
Department of Architecture External Examiner 2
External Examiner 3

:

CHAPTER 1 ........................................................................................................................20
1.1 FILM ....................................................................................................................... 2
1.2 HISTORY OF INDIAN FILM INDUSTRY .......................................................... 2
1.3 FILM EDUCATION IN INDIA ............................................................................. 3
1.4 FILM INSTITUTE ................................................................................................. 4
1.4.1 COURSE CURRICULUM..............................................................................4
1.5 FILM CITY.............................................................................................................5
1.6 PROCESS OF FILM MAKING ............................................................................. 5
1.6.1 INTRODUCTION ........................................................................................... 5
1.6.2 DEVELOPMENT............................................................................................ 6
1.6.3 PRE-PRODUCTION.......................................................................................7
1.6.4 PRODUCTION ............................................................................................... 7
1.6.5 POST-PRODUCTION ....................................................................................8
1.6.6 DISTRIBUTION ............................................................................................. 8
1.7 FILM SETS.............................................................................................................8
1.7.1 INDOOR SETS ............................................................................................... 9
1.7.2 OUTDOOR FACILITIES ............................................................................. 10
1.8 FILM INSTITUTE WITH FILMSETS ................................................................ 11
CHAPTER 2 ........................................................................................................................12
2.1 INTERACTIVE SPACE.......................................................................................13
2.2 HUMAN DISTANCES ........................................................................................ 13
2.2.1 SOCIAL DISTANCE .................................................................................... 14
2.2.2 PUBLIC DISTANCE .................................................................................... 14
2.3 LEARNING ..........................................................................................................15
2.3.1 TYPES OF LEARNING SPACES................................................................16

:

2.3.2 DESIGN ASPECT OF INFORMAL LEARNING SPACE .......................... 17
2.4 TRANSITION SPACE ......................................................................................... 19
2.5 TRANSITION SPACES IN INDIAN CONTEXT............................................... 21
2.6 HISTORY OF TRANSITION SPACES ..............................................................22
2.7 VARIATION WITH BUILDING TYPE OR SCALE IN INDIA ........................ 22
2.8 COURTYARD AS A TRANSITION SPACE IN INDIAN CONTEXT ............. 25
2.9 ENTRANCE OR THRESHOLD AS A TRANSITION SPACE ......................... 27
CHAPTER 3 ........................................................................................................................29
3.1 BYE LAWS FOR FILM INSTITUTE .................................................................30
3.1.1 DRAWING STUDIOS .................................................................................. 30
3.1.2 LECTURE THEATRES................................................................................31
3.1.3 OFFICE SPACES..........................................................................................32
3.1.4 THEATRE AUDITORIUM .......................................................................... 33
3.1.5 SECONDARY AREAS.................................................................................34

3.1.5.1 MAKE-UP ROOMS AND CHANGING ROOMS ............................................. 34
3.1.5.2 CARPENTRY WORKSHOPS............................................................................. 34
3.1.6 CAFÉ AND KITCHEN ................................................................................. 35
3.1.7 GYM .............................................................................................................. 36
3.1.8 ROOM ACOUSTICS .................................................................................... 37
3.1.9 SOUND ISOLATION ................................................................................... 37
3.1.10 ROOM ACOUSTICS ................................................................................ 38
3.1.11 BLUE SCREEN AND MOTION CAPTURE ...........................................38
3.1.12 ANIMATRONICS .....................................................................................39
3.1.13 MOTION PHOTOGRAPHY STUDIO ..................................................... 40
3.1.14 EQUIPMENTS .......................................................................................... 40

3.1.14.1 CAMERA DOLLY .......................................................................................... 40

:

3.1.14.2 CAMERA JIBS & CRANES ........................................................................... 41

3.2 SET DESIGN PROCESS .....................................................................................42
3.2.1 FACTORS AFFECTING THE SET DESIGN: ............................................ 43
3.2.2 SET DESIGN DEPENDS ON: ..................................................................... 44
3.2.3 CONSTRUCTION SEQUENCE OF SETS: .................................................44
3.2.4 Classification of Outdoor sets in Film City: .................................................. 44
3.3 AREA SPECIFICATION (FORMULATED PROGRAM) ................................. 45
3.4 COURSES OFFERED..........................................................................................47
CHAPTER 4 ........................................................................................................................49
4.1 LITERATURE CASE STUDY 1: FOX STUDIO‘S. SYDNEY, AUSTRALIA . 50
4.1.1 STAGE 1 ....................................................................................................... 51
4.1.2 STAGE 2 ....................................................................................................... 51
4.1.3 SOUND RECORDING STUDIO .................................................................52
4.1.4 WORKSHOPS AND ART DEPARTMENTS.............................................. 52
4.1.5 OFFICE SPACE AND SCREENING ROOMS............................................ 52
4.2 LITERATUER CASE STUDY 2: FILM AND TELEVISION INSTITUTE

INDIA, PUNE ................................................................................................................. 53
4.2.1 BRIEF HISTORY ......................................................................................... 53
4.2.2 LAYOUT.......................................................................................................54
4.2.3 SITE PLAN ................................................................................................... 55
4.2.4 COURSES OFFERED .................................................................................. 56
4.2.5 AREA SPECIFICATION..............................................................................57
4.3 LITERATURE CASE STUDY 3 : IIM BANGLORE (INTERACTIVE SPACE)

57
4.3.1 DESIGN PHILOSOPHY : ............................................................................ 57
4.3.2 DESIGN APPROACH .................................................................................. 58

:

4.3.3 SITE ZONING .............................................................................................. 58
4.3.4 CIRCULATION ............................................................................................ 59
4.3.5 CLASSROOMS ............................................................................................59
4.3.6 LIBRARY ...................................................................................................... 60
4.3.7 STUDENT‘S HOSTEL .................................................................................61
4.3.8 TRANSITION SPACES ............................................................................... 61
4.3.9 RECREATIONAL SPACES.........................................................................64
CHAPTER 5 ........................................................................................................................65
5.1 DATA COLLECTION FOR LIVE CASE STUDY ............................................. 66
5.1.1 INFORMATION (GENERAL INFORMATION OF THE SITE) ...............66
5.1.2 SELF OBSERVATION (INSIDE SITE) ...................................................... 66
5.1.3 SELF OBSEVATION (ABOUT BUILDING) ............................................. 67
5.1.4 SELF OBSEVATION (OUTSIDE SITE) .....................................................67
5.1.5 SELF OBSEVATION (ORIENTATION) .................................................... 68
5.1.6 QUESTIONARIES FOR THE STUDENTS................................................. 68
5.1.7 QUESTIONARIES FOR THE TEACHER................................................... 69
5.1.8 QUESTIONS REGARDING TRANSITIONAL SPACE IN CAMPUS ......70
5.2 LIVE CASE STUDY ............................................................................................ 70
5.2.1 FILM AND TELEVISION INSTITUTE, PUNE .......................................... 71

5.2.1.1 BRIEF HISTORY ................................................................................................ 71
5.2.1.2 LAYOUT ............................................................................................................. 72
5.2.1.3 SITE ..................................................................................................................... 73
5.2.1.4 SURROUNDING ................................................................................................. 73
5.2.1.5 TOPOGRAPHY ................................................................................................... 73
5.2.1.6 TRANSFORMATION OF SPACE...................................................................... 73
5.2.1.7 ZONING OF CAMPUS ....................................................................................... 74

5.2.1.8 COURSES OFFERED ......................................................................................... 75
5.2.1.9 SOUND RECORDING AND EDITING DEPTARTMENT ............................... 75

:

5.2.1.10 BUILDING SYSTEM ...................................................................................... 76

5.2.1.11 RECORDING STUDIO – 9X11m .................................................................... 77
5.2.1.12 SOUND EDITING STUDIOS ......................................................................... 77
5.2.1.13 ACOUSTIC TREATMENT ............................................................................. 78
5.2.1.14 ART DIRECTION AND OLD SOUND DEPARTMENT .............................. 78
5.2.1.15 BUILDING SYSTEM ...................................................................................... 80
5.2.1.16 FILM EDITING AND PROCESSING ............................................................ 80
5.2.1.17 DEVELOPING LAB........................................................................................ 81
5.2.1.18 CHILLING PLANT ROOM ............................................................................ 83
5.2.1.19 SILVER RECOVERY UNIT ........................................................................... 83
5.2.1.20 PRINTING ROOM AND FILM GRADING ROOM ...................................... 83
5.2.1.21 EDITING DEPARTMENT .............................................................................. 83
5.2.1.22 FILM CUTTING CLASSROOMS .................................................................. 84
5.2.1.23 EDITING ROOMS .......................................................................................... 84
5.2.1.24 FLM AND RAW STALK STORAGE VAULTS............................................ 84
5.2.1.25 INDOOR SHOOTING STUDIOS ................................................................... 85
5.2.1.26 BUILDING SYSTEM ...................................................................................... 86
5.2.1.27 CLASS ROOM THEATRE (C.R.T) ................................................................ 87
5.2.1.28 MAIN THEATRE ............................................................................................ 87
5.2.1.29 ANIMATION DEPARTMENT ....................................................................... 88
5.2.1.30 BOOKS LIBRARY AND VIDEO LIBRARY ................................................ 89
5.2.1.31 PAINTING AND CARPENTRY SECTION ................................................... 89
5.2.1.32 RESIDENTIAL FACILITIES.......................................................................... 90
5.2.1.33 RECREATIONAL AREAS AND OPEN SPACES......................................... 91
5.2.1.34 INFERENCES.................................................................................................. 93
5.2.1.35 QUESTIONAIRES .......................................................................................... 94
5.2.2 WHISTLING WOODS INTERNATIONAL, MUMBAI .............................95
5.2.2.1 INTRODUCTION ................................................................................................ 96
5.2.2.2 LOCATION ......................................................................................................... 96
5.2.2.3 SITE ..................................................................................................................... 97
5.2.2.4 PLANNING AND ZONING................................................................................ 97
5.2.2.5 PARKING ............................................................................................................ 98

5.2.2.6 COURSES OFFERED ......................................................................................... 98
5.2.2.7 BLOCK WISE ANALYSIS................................................................................. 99

:

5.2.2.7.1 1. BLOCK – A (ADMINISTRATION BLOCK).......................................... 99

5.2.2.7.2 5.2.2.9 BLOCK B (Auditorium and multipurpose hall ).............................. 100
5.2.2.7.3 5.2.2.10 BLOCK C (Academic)................................................................... 100
5.2.2.7.4 5.2.2.11 BLOCK D (Recreational block)..................................................... 101
5.2.2.8 BUILDING SERVICES..................................................................................... 102
5.2.2.9 CANTEEN FACILITY ...................................................................................... 103
5.2.2.10 INFERENCE .................................................................................................. 103
5.2.2.11 QUESTIONNAIRE ........................................................................................ 104
5.2.3 CENTER FOR ENVIRONMENTAL PLANNING & TECHNOLOGY
(CEPT UNIVERSITY)..............................................................................................105
5.2.3.1 INTRODUCTION .............................................................................................. 105
5.2.3.2 LOCATION ....................................................................................................... 106
5.2.3.3 FEATURES:....................................................................................................... 106
5.2.3.4 DISPOSITION OF BUILDINGS: ...................................................................... 107
5.2.3.5 5.2.3.5 APPROACH........................................................................................... 107
5.2.3.6 PLANNING: ...................................................................................................... 108
5.2.3.7 ENTRANCE: ..................................................................................................... 109
5.2.3.8 BASEMENT ...................................................................................................... 109
5.2.3.9 CENTRAL COURTYARD................................................................................ 110
5.2.3.10 CANTEEN ..................................................................................................... 111
5.2.3.11 STUDIOS ....................................................................................................... 111
5.2.3.12 INDOOR CIRCULATION ............................................................................ 112
5.2.3.13 OUTDOOR CIRCULATION ........................................................................ 113
5.2.3.14 VENTILATION: ............................................................................................ 113
5.2.3.15 SCULPTURE PARK ..................................................................................... 113
5.2.3.16 ACTIVITY CENTRES .................................................................................. 114
5.2.3.17 LANDSCAPE ................................................................................................ 115
5.2.3.18 RAINWATER ................................................................................................ 115
5.2.3.19 INFERENCES................................................................................................ 115
5.2.3.20 DEMERITS .................................................................................................... 116
5.2.4 IIT GANDHINAGAR , GUJRAT...............................................................117
5.2.4.1 INTRODUCTION .............................................................................................. 117

5.2.4.2 DEFINING ARCHITECTURAL FEATURES OF THE ACADEMIC
COMPLEX......................................................................................................................... 118
Start Free Trial

Cancel Anytime.

:

5.2.4.2.1 CENTRAL VISTA AS A ZERO-TO-INFINITY WALKWAY ................. 118

5.2.4.2.2 GATEWAY.................................................................................................. 119
5.2.4.2.3 CENTRAL SPINE ....................................................................................... 119
5.2.4.2.4 COURT OF NATIONS AND LANDMARK TOWER, LAL MINAR ....... 120
5.2.4.2.5 USE OF COURTS ....................................................................................... 121
5.2.4.2.6 LANDSCAPE AND OPEN SPACES OF ACADEMIC COMPLEX ......... 127
5.2.4.2.7 STUDENT HOSTELS ................................................................................. 128
5.2.4.2.8 THE CONNECTING GREENS................................................................... 128
5.2.4.2.9 JAL MANDAPS .......................................................................................... 129
5.2.5 COMPARITIVE ANALYSIS (FILM INSTITUTE) ..................................130
5.2.6 AREA COMPARISON ............................................................................... 132

1. ADMINISTRATION AND RECEPTION................................................................. 132
2. PREVIEW THEATRE ............................................................................................... 133
3. RECREATIONAL AREAS ....................................................................................... 133
4. OTHER FACILITIES ................................................................................................ 133
5. COMMON FACILITIES ........................................................................................... 134
5.3 SITE SELECTION ............................................................................................. 135
5.3.1 SITE PROPOSAL ....................................................................................... 135
5.3.2 SITE LOCATION ....................................................................................... 135
5.3.3 PROPOSED SITE ....................................................................................... 136
5.3.4 REQUIREMENT OF THE SITE ................................................................136
5.3.5 SUPPORTIVE FEATURE IN SITE (FOR SHOOTING LOCATION) ..... 137
5.3.6 SURROUNDING OF THE SITE ................................................................ 138

:

Figure 1: Film direction Figure 2 : Cinematography.............................................4
Figure 3: Village set ..............................................................................................................5
Figure 4: Palace set ................................................................................................................ 5
Figure 5 Process of film making ........................................................................................... 6
Figure 6 : Showing social and personal distance of human ................................................ 13
Figure 7 : Showing transitional space .................................................................................20
Figure 8 Talab used as interaction space ............................................................................. 21
Figure 9 Work Space Plan ...................................................................................................30
Figure 10 Workplace in drawing room and work surface ................................................... 30
Figure 11 Rectangular Lecture Theatre ...............................................................................31
Figure 12 Drawing for circulating view curve .................................................................... 31
Figure 13 Space Required for seats ..................................................................................... 32
Figure 14 Basic Office Furnishings.....................................................................................33
Figure 15 Auditorium Width ............................................................................................... 33
Figure 16 Row width ...........................................................................................................34
Figure 17 Changing room .................................................................................................... 34
Figure 18 Diagonal arrangement of dining tables ............................................................... 36
Figure 19 fuctional Layout for a Small Restaurant ............................................................. 36
Figure 20 Multiple reflections ............................................................................................. 38
Figure 21 Diffuse Reflections..............................................................................................38
Figure 22 2D motion capture to 3D projection....................................................................39
Figure 23 Actions performed by actors ............................................................................... 39
Figure 24 Camera Dolly ......................................................................................................41
Figure 25 Doorway Dolly .................................................................................................... 41
Figure 26 Camera Jib ...........................................................................................................42

:

Figure 27 Crane ................................................................................................................... 42
Figure 28 Fox Studios Australia .......................................................................................... 50
Figure 29 Stage 1 ................................................................................................................. 51
Figure 30 Stage 2 ................................................................................................................. 51
Figure 31 FTII ..................................................................................................................... 54
Figure 32 FTII Building ......................................................................................................54
Figure 33 FTII site ............................................................................................................... 54
Figure 34 FTII Site plan ......................................................................................................55
Figure 35 IIM Bangalore plan ............................................................................................. 58
Figure 36 IIM Bangalore site zoning...................................................................................59
Figure 37 Classroom plan .................................................................................................... 60
Figure 38 IIM Bangalore Library ........................................................................................ 61
Figure 39 Student Hostel Plan .............................................................................................61
Figure 40 Corridor- transition space....................................................................................62
Figure 41 Pergolas ............................................................................................................... 62
Figure 42 Corridor ............................................................................................................... 63
Figure 43 Staircase .............................................................................................................. 63
Figure 44 Playground ..........................................................................................................64
Figure 45 FTII entrance ....................................................................................................... 71
Figure 46 FTII site ............................................................................................................... 72
Figure 47 FTII site plan ....................................................................................................... 74
Figure 48 Sound Recording and editing studio ................................................................... 76
Figure 49 Sound Recording and editing department plan ................................................... 76
Figure 50 Projection of film ................................................................................................77
Figure 51 Sound editing department ................................................................................... 77

:

Figure 52 Art direction department- first floor plan ............................................................79
Figure 53 Art Direction department- ground floor plan ...................................................... 79
Figure 54 painting and carpentry section ............................................................................ 79
Figure 55 Singly loaded and cantilevered corridor ............................................................. 80
Figure 56 Film editing and processing department .............................................................81
Figure 57 Indoor shooting studio plan.................................................................................86
Figure 58 Indoor shooting building ..................................................................................... 86
Figure 59 Class Room theatre ............................................................................................. 87
Figure 60 Main theatre ........................................................................................................88
Figure 61 Main theatre plan................................................................................................. 88
Figure 62 Books and Video library ..................................................................................... 89
Figure 63 Painting and carpentry section ............................................................................90
Figure 64 Hostel .................................................................................................................. 91
Figure 65 Sitting and interactive spaces ..............................................................................92
Figure 66 Whistling Woods International, Mumbai ............................................................96
Figure 67 Whistling Woods International site .....................................................................96
Figure 68 Planning and Zoning ........................................................................................... 97
Figure 69 Visitor's vehicles .................................................................................................98
Figure 70 Parking ................................................................................................................ 98
Figure 71 Administration Block .......................................................................................... 99
Figure 72 Auditorium Lobby............................................................................................. 100
Figure 73 Auditorium ........................................................................................................100
Figure 74 Academic Block ................................................................................................101
Figure 75 Recreational Block ............................................................................................ 101
Figure 76 Table tennis lounge ........................................................................................... 102

:

Figure 77 Recreational block............................................................................................. 102
Figure 78 Cafe ................................................................................................................... 103
Figure 79 CEPT site ..........................................................................................................106
Figure 80 CEPT site plan .................................................................................................. 107
Figure 81 Approach to admin block ..................................................................................109
Figure 82 Basement ........................................................................................................... 110
Figure 83 Central courtyard............................................................................................... 110
Figure 84 Canteen .............................................................................................................. 111
Figure 85 Large Openings in studios.................................................................................111
Figure 86 Studio Section ...................................................................................................112
Figure 87 Corridor ............................................................................................................. 112
Figure 88 Section showing light ventilation...................................................................... 113
Figure 89 Hussain Doshi gufa ...........................................................................................114
Figure 90 Sculpture park ................................................................................................... 114
Figure 91 Trees in the campus........................................................................................... 115
Figure 92 Inverted channels on the roof ............................................................................ 115
Figure 93 IIT Gandhinagar ................................................................................................ 117
Figure 94 Entrance gateway ..............................................................................................119
Figure 95 Central Spine .....................................................................................................120
Figure 96 Court Samvad.................................................................................................... 122
Figure 97 Court Vidyachaya ............................................................................................. 122
Figure 98 Court Vishwangan............................................................................................. 123
Figure 99 Court Sandhyachaya..........................................................................................124
Figure 100 Court Srujan ....................................................................................................124
Figure 101Court Sammelan ............................................................................................... 125

:

Figure 102 Court Darpan ...................................................................................................126
Figure 103 court Pradarshani............................................................................................. 126
Figure 104 Connections ..................................................................................................... 127
Figure 105 Connection at upper levels .............................................................................. 127
Figure 106 Academic Complex .........................................................................................128
Figure 107 Student Hostel layout ...................................................................................... 128
Figure 108 Landscape layout............................................................................................. 129
Figure 109 Jal Mandap ...................................................................................................... 129
Figure 110 Proposed site location ..................................................................................... 135
Figure 111 Proposed site ................................................................................................... 136
Figure 112 Site surroundings............................................................................................. 138
Figure 113 Water body near site........................................................................................138

:

ABSTRACT
This thesis aims at bringing the gap between professional practice of filmmaking and
theoretically education in film industry, where students can get the equal opportunity and
exposer to showcase their talent in national & international level. A mixed used film
institute where every type of facilities are provided for students. Campus should design
according to the user. Students of the film institute needed to produce film as part of their
sessional , so their basic requirements is shooting area , sets , film departments , etc. . In
film institute campus does focus on every facility but do not consider film sets as an
important part. So in this thesis by the use of interactive space where focused on transition
space of the campus encourages the interaction of the user to infrastructure by the
permanent film sets, which appears like a film set but inside having an institutional . So the
permanent set will be used as institute and when the students needed in their film they can
alter the sets and can use as a film sets. The commercial side of the institute is that there is
screening of the student‘s work that can be seen by the common people and campus can be
the tourist attraction because of different types of sets and screening of the movies.

:

SYNOPSIS
AIM
To design a Film Institute with practice of filmmaking by creating Interactive and
Transitional spaces and improves the Film educational system in terms of creative thinking
and technical knowledge .
OBJECTIVES

Getting all the general information on the process of film making and implement it
while designing.

Collection of the relevant data in terms of design standards, technical requirements,
allied services & their applications.

Selection of an appropriate site for the implementation of developed program & its
analysis.

To study about interactive & transitional space this can be implemented in film
institute.

To study about implementation of film institute with film studio.

To design space this could bring the students closer to the production practice.

To create multifunctional spaces that can be used as a live study in campus.
SCOPE

To design an institute this will full of modern day technologies and would be user
interactive.

To design the building in such a way that all the circulation is very easy & its
connection with all the spaces is facilitated.

To design an Institutional building with Interactive Spaces.

To design an Indoor film Studio.

To create Multifunctional Spaces in Recreational zones.

Designing an Interactive space with emphasis on Landscape & Natural Ventilation.

:

NEED

It‘s a need to improve the production of films in India by developing new ideas,
techniques, infrastructure & methods which will help to cope up the growing & fast
developing need of the industry.

To help match up the international standards.

For implementing these new ideas there would be no better resource than designing
a campus which cater all the need of a Film institute.
CONCLUSION

Provides a wide range of training and experience to the students aspiring in this
field.

It offers courses in Film also facilitates for Post Graduate studies and advanced
research by conducting guest lectures & workshops.

Thus, it will provide a new generation of skilled and talented artists & technicians with
hand on experience on the modern filming techniques such as motion picture and 3D-
animation & also provide new ideas & method for improving the quality of Film
Making.
LIMITATION

Acoustical treatment.

Structural analysis

Detailed Landscape

:

Start Free Trial

Cancel Anytime.

:

CHAPTER 1
INTRODUCTION TO TOPIC

:

1.1 FILM
Film is a story recorded as a set of a moving picture to be shown or broadcasted to the
people either in theatres or in form of DVDs, or from online sources.
Film is a young medium, at least compared to most other media. Painting, literature, dance,
and theatre have existed for thousands of years, but films came into existence only a little
more than a century ago. Yet in the fairly short span, the new corner has established itself
as an energetic and powerful art form. The techniques involved in making of a film are on
a constant improvement with various new types that are coming up such as motion
pictures, animated movies, 3d films etc.
1.2 HISTORY OF INDIAN FILM INDUSTRY

Dhandiraj Govind Phadke inaugurated Indian Cinema with Raja Harishchandra in 1913,
the first film in India to be shot with an entirely Indian crew. Similarly, historical epics,
legendary romances, and filmed biographies, the other principal genres that emerged
before the birth of the Indian talkies, grew in frequency and strength in 1930s and 40s. In
such a way the film industry in India started expanding and hence the Ministry of
Information and Broadcasting decided to set up the FTII in 1960.

Indian Film Industry is consist of different languages in film, major film industry in
our country are : Hindi(BOLLYWOOD)

Punjabi

Bengali

Telugu

Tamil

Malayalam
Present scenario in Indian Film Industry is our country produces the largest number of
films annually , the number of films made being 1500 per year on an average , which is
almost 3 times as much as the number of films made in the US. Yet, the reach of the film
industry is limited to a very small number. The industry needs to reach out to more people
and for this new talent need to get into the industry. This could make newcomers more
optimistic about getting opportunities and contributing to Indian cinema.

:

1.3 FILM EDUCATION IN INDIA
The Education system of filmmaking has taken a backseat, giving students who have the
potential to do well professionally with very few opportunities to get into the actual
filmmaking process. Students are lacking in practical knowledge which is required in their
field of study. Sometimes, they need to unlearn what was previously taught to them to
adapt to the working style in their professional field and start all over again. Making a
more creative environment for teaching, giving them opportunities for a more experiential
way of learning filmmaking and more networking opportunities could be a way which
could take the students a step closer to being successful and to contribute to the Indian
Film Industry.

Film institutes in India are very less as compare to the film produces annually.

Government funded film institute and private institute have a big difference in our
country only 2 governments funded film institute and 1 drama institute in India.

FTII PUNE one the renowned film institute in India established in 1962.

SATYAJEET RAY FILM & TELEVISION INSTITUTE (SRFTI) KOLKATA
established in 1992.

NATIONAL INSTITUTE OF DRAMA, DELHI established in 1959 only acting
school funded by government.

Government should introduce new film institute so talents can get opportunities to
show their work in a national level.

Infrastructure of the institute should designed according to the students
requirements , making films is a part of their curriculum so within a campus they
should have accessibility to the film sets but institute doesn‘t have a permanent sets
, institute only provide indoor film set which somehow didn‘t give that exposer to
the students.

Film institute should have facilities of indoor & outdoor shooting area for the
students.

FTII Pune, governments has started making permanent sets like India gate which is
a good initiative.

SRFTI campus has its own lake and forest inside the campus, where student use
that location in a Films.

:


Collaboration the professional practice with the professional education by
involving experienced professionals to work with the students could prove to be
mutually beneficial to both the parties.
1.4 FILM INSTITUTE
A Film Institute is an educational institution dedicated to teaching aspects of film-making,
including such subjects as film production, film theory, digital media production, and
screenwriting. Film schools also include courses and training in such subjects as television
production, broadcasting, audio engineering, and animation.
Figure 1: Film direction Figure 2 : Cinematography
1.4.1 COURSE CURRICULUM


POST GRADUATE DIPLOMA: 3 years
Direction & screenplay writing
Cinematography
Production design & Direction
Video editing
Visual effects
Recording& Sound design
Acting (2year)

POST GRADUATE DIPLOMA: 1 year
Film screenplay writing

POST GRADUATE CERTIFICATE: 1 YEAR

:

T.V Direction
Video editing
Cinematography
Sound Recording & T.V Engineering
1.5 FILM CITY
A Film City would simply concentrate the services required for filmmaking but
simultaneously provide the flexibility to use the outdoor spaces for shooting purposes
easily. As a filmmaker, once you step into the premises of the Film City, you would be
able to walk out of it with the final print to be screened into the multiplexes. Film city is
consists of indoor shooting space, outdoor shooting space with permanent sets.
Figure 3: Village set
Figure 4: Palace set
1.6 PROCESS OF FILM MAKING
1.6.1 INTRODUCTION
Filmmaking involves a number of discrete stages including an initial story, idea, or
commission, through scriptwriting, casting, shooting, editing, and screening the finished
product before an audience that may result in a film release and exhibition. Filmmaking

:

takes place in many places around the world in a range of economic, social, and political
contexts, and using a variety of technologies and cinematic techniques. Typically, it
involves a large number of people, and can take from a few months to several years to
complete‖. Making of movie consists of complex processes with different individuals or
departments working. All of these individuals and department works together under a film
director and is also known captain of ship. All the processes are divided into five steps
according to their execution i.e.

Development

Pre-production

Production

Post production

Distribution
SCREENPLAY
DEVELOPMENT IDEA PARTNERSANDINVESTORS
KEYTEAMMEMBERS
PRE- CASTLIST LOCATIONSPLAN STAGELIST BUDGET

PRODUCTION EQUIPMENTLIST SHOOTINGPLAN
STORYBOARD. CONTRACTS
V IE
DMO
HAN AN
PRODUCTION ADAILYOUTPUTOFPRODUCTIVETIMEAMOUNTSTO34MIN FIL MM
SPECIALEFFECTS,COMPUTERGRAPHICS
POST- SOUNDEDITING
ROUGHCUT OPENING,BRIDGING,ENDCREDITS
PRODUCTION COLORCORRECTING
FILMSCORE
FILMDISTRIBUTOR
SALE FILMDISTRIBUTION COLLECTIONANDPROFITDISTRIBUTION
COLLECTIONAGENT
Figure 5 Process of film making
1.6.2 DEVELOPMENT
This is the first and the most important step of film making. During this step idea of film is
generated. That may be an original idea or may be derived from somewhere like novels,
story, existing movie but old one. If the movie is derived then permission is taken from the
original creator. After that producer hires a writer, they work together and prepare a

:

synopsis of the story. Here changes are made to the story if there is one. After the
satisfying synopsis a step outline is prepared because synopsis is more like an abstract and
step outline is a detailed form. But step outline don‘t have any kind of dialogue and is just
a detail story of a film. After the satisfying step outline, a 25 to 30 page treatment is
prepared. Treatment contains more stage directions and less dialogue. If felt necessary,
drawings are also attached with it so that one can understand key point of the story. The
next step in the development phase is to arrange the finance necessary for the movie. After
the completion and approval of the treatment producer and screenwriter visits potential
financers to seek the financial help for the movie. After the approval by potential
financers, they sign different contracts and agreements under different financial terms and
conditions. Then a screenplay for the movie is prepared by screenplay writer so that
writing work for the movie is completed and film gets a full story. After this, film proceeds
towards the pre-production phase of film making.
1.6.3 PRE-PRODUCTION
During this phase of film making preparations are made for film making. Cast and crews
are hired, location is finalized and permissions are taken and sets are built for indoor
shooting of the film. To control all these activities and all other activities during film
making and promotions a production office is established which controls all the activities
and does all the paper work necessary during film making. After this a film is pre
visualized using storyboard method for which sketch artists are hired. The process of pre
visualization is done so that actors, directors, makeup artists etc responsible for film
making can get the story clearly. During this phase, a budget plan is drawn up to manage
the budget and cut-off the unnecessary expenditure of the film. After all this, film is ready
for the production phase.
1.6.4 PRODUCTION
Work of film actually starts from this phase. During this phase, raw footage for film is
recorded. More crew members like property master, script supervisor, assistant director etc
are recruited. A typical day of shooting starts with the arrival of technical crew members
like lighting persons, art director, dress super visors etc in a set or location as they have to
prepare set/location for shooting. It may take hours and in some cases it may take days too.
After this, actors arrive in the set/location at the time of their calling. Usually actors are

:

called according to the schedule of shooting on that day. Then they go to the dressing area
and put on their dress and makeup according to scene. They then rehearse with their co-
actors, director, camera man and sound crew. After this when the set/location is ready for
final take all the crew members arrives at the place. Assistant directors then instruct
everyone to be quite. Then he informs sound and camera to be record respectively. After
that director says ―action‖ and actors acts for the final take. When the take is over the
director says ―cut‖ and sound and camera stops recording. If the director decides to take
the additional take whole of the process starts again. Once the director is satisfied the crew
moves to next camera angel or setup. While actors and crew members are taking final shot
in one setup, another group of crew members prepares set/ location for another shot so as
to save the time. When shooting is finished for the scene assistant director declares that the
scene is over and crew members dismantle the set and moves on to next setup. At the end
of the day director approves next day shooting schedule and a daily progress report is sent
to production office. After the completion of this phase it is customary to give wrap up
party by production office to the entire crew and cast for their efforts and hard work.
1.6.5 POST-PRODUCTION
In this phase of film making final touch is given to the movie like assembly of raw
footage, editing and dubbing of dialogue, visual effects etc and finally all sound elements
are mixed and the movie is fully completed.
1.6.6 DISTRIBUTION
In this phase the movie is finally released in cinemas or occasionally to media in the form
of DVD, CD, VHS, Blue ray or direct download from the internet website. The film is
duplicated and distributed to the cinemas as required. Press kits, posters, and other
advertising materials are published and the film is advertised and promoted. After all of
these processes finally the movie enters the market.
1.7 FILM SETS
Film institute generally have indoor shooting space for the students, where sets are
designed by the students and most of the time Films are made in a low budget so they
don‘t go the lavish sets and sets are reused again and again to save time and money.
Types of sets in institute are: 1) INDOOR FILMSET
2) OUTDOOR SET

:

3) ACTUAL SET
4) ARTIFICIAL SET
1.7.1 INDOOR SETS
The indoor facilities are broadly categorized into production facilities, post production
facilities along with the ancillary services.
Types of indoor sets 1) Sound stage
2) Underwater shooting

SOUND STAGE: A sound stage is a very large and secured property designed for
film related constructions and filming. They are built as enclosed, sound-roof
structures with catwalks, rigs and ceiling lights that play a crucial role in film
shooting. These stages aid in the preparation of sets, props and conduct tests and
experiments to finalize a movie s various shots. Apart from the various undesired
’
sounds that one has to overcome during location shooting, a sound stage provides
the framework to work within the perimeter of a soundproof zone and controlled
security. Here the production doesn‘t have to worry abou t the sun s angle or the
’
sudden cloud cover but rely heavily on electricity, lighting and their required
positions. Shooting on a sound stage or studio helps minimize travel time for the
production. It can already serve as multiple locations for the movie. This is done by
simply dividing the very large space into different areas with the right sets and
props for each division. A sound stage also has large entrance and exit points for
easy transferring of very large sets and props. Even smaller studios typically
provide such accessible areas as well. At the same time, these shooting locations
offer the convenience of large parking spaces for the many trucks and trailers used
by the production.

UNDERWATER FILMING:
These studios are a bit special in the sense that they require a water tank within the
studio. The heights of these tanks vary while some studios tend to place these
stages near a natural or artificial outdoor water body in order to take the advantage
of a horizon. Another important factor is the drainage system of these studios and
certain amount of natural light and natural ventilation should also be ensured. One

:

of the comprehensive underwater filming facilities are available in Pinewood

Indomina Studios
1.7.2 OUTDOOR FACILITIES
In a studio complex, there should be ample space for outdoor shooting. Even though film
makers often prefer going out into actual locations for shooting, it is not always easy to
avail that option. To mention a few problems that film makers encounter include massive
crowd control troubles and damage to filming equipment. Just as indoor studios have
certain dimensions within which the shots are taken depending on the set designers‘
expertise to makeover the space; outdoor locations cannot be strictly defined. One of the
major aspects of these spaces should be its flexibility.
Types of outdoor shooting areas : 1) Backlots
2) Artificial sets or natural settings
3) Actual locations
BACKLOTS:
Thus, studio-complexes around the world have a space named as Backlots that can
accommodate massive standing sets. These sets are changed according to the need of the
script and the demand of the film maker.
This area should:


have accessibility via a vehicular road to bring in services to construct sets

be in close proximity to the workshops

be adequately connected to electrical system

preferably have a green background (forests,hils,etc.) on one or more sides

have storage facilities nearby
ARTIFICIAL SETS OR NATURAL SETTINGS:
Along with the backlots, an integrated studio complex can design vast open spaces
resembling dense forests, hills, dams, fountains, paddy fields, Helipads, rail-tracks, straight
and serpentine roads, gardens and other natural settings. Another facility that a film city
can offer its film makers are ready made sets of Village setting, Urban Street, Office
buildings, Jails, Courts, Stations etc. over which the facade can be altered according to the
10
Start Free Trial

Cancel Anytime.

:

film makers liking. The Ramoji Film City, Universal Studios and many other studio
complexes are providing many such on the spot facilities. Creating these sets would mean
giving extra attention to the overall landscape of the site. Ranging from the different types
of trees that would surround this zone, transitions between paved, semi-paved and lush
green spaces should be well organized.
ACTUAL LOCATIONS:
This is the most desirable mode of filming although this increases the cost of a film
manifold. Ranging from seeking permission from the government of different countries to
managing the cast and crew in that location, the essence of that place is always a difficult
task to recreate artificially in a studio complex.
In the recent past, many films have been extensively shot in foreign locations:
Movie Country
Zindagi Na Milegi Dobara Spain

Rockstar Czech Republic
Alexander Morocco
Good Morning Vietnam Thailand
Slumdog Millionaire India
Khoj: The Search Malaysia
Lai tip Paris
1.8 FILM INSTITUTE WITH FILMSETS
This thesis aims to design a film institute that merges the theory and practice of
filmmaking by creating spaces that facilitate experiential learning. A mixed-use program is
introduced with studio and theatres that create a self-sustaining campus. This will also
have a theatre spaces and plazas for the public to experience films as a finished form as
well as in the process of making.
Film institute campus = Outdoor sets + Indoor sets
Artificial sets Sound stage
Backlots
11

:

CHAPTER 2
INTRODUCTION TO THEME
12

:

2.1 INTERACTIVE SPACE
An Interactive space refers to the space where users interact with other users, activity and
environment. Social interaction between student and the nature of their task encourages
informal. Such activities arc conversation, studying, observing, wandering etc. In the built
environment there are spaces where people interact with each other and participate in a
social conversation.
TYPES OF INTERACTIVE SPACE


Functional space

Psychological space
FUNCTIONAL SPACE
A type of space that is produced and created as a result of the interrelationship between
different transition spaces components represented in specific elements.
PSYCHOLOGICAL SPACE
A type of space that is produced as a result of the interrelationship between the built
environment represented by the transition space components and the psychological
constructs inside the space.
2.2 HUMAN DISTANCES
We are now ready to explore the meaning of distance within a specifically human
language .

Figure 6 : Showing social and personal distance of human
13

:

2.2.1 SOCIAL DISTANCE

This distance is generally considered to run from about 1.2 metres to 4 metres. The closer
distance here is that which would be used in polite society under normal circumstances. At
the minimum social distance we can still see each other‘s face clearly but not intimately.
We can carry out conversation at normal voice levels under most conditions. Looking
people straight in the eye and establishing a shared appreciation of eye contact is a
necessity to maintain polite conversation. Larger gestures, such as smiling and nodding the
head, are more frequently used to indicate continuing attention. It is certainly possible at
such distances to know whether someone is listening to you and paying attention, and
probably whether they understand or agree. It is the distance a seminar group might ideally
sit around at to hold their discussions, and is also the distance our military band used to
play their more tricky pieces. As we move beyond this distance the sense of contact with
other people tends to get lost. It is a most important distance to understand in making
many behavioural settings work well.
2.2.2 PUBLIC DISTANCE

This is our final distance, and is generally considered to run outwards from the upper
reaches of social distance. We will therefore call a distance of greater than 4 metres public
distance. At very close public distance we probably find the nearest thing we can to the
human version of the animal flight distance we considered earlier, as we move out to a
distance of 8 metres, the voice must be raised to what we might think of as a theatrical
level. At this larger distance we can see little clear detail on faces; hence the extravagant
makeup used in the theatre. For all these reasons, public distance are normally one at
which we ignore other people in space. However, certain formal settings call for this
distance to be used, and these are usually performances of some kind. Examples include a
business presentation to a group of customers, a lecture to students, a concert, or indeed a
theatrical event. The concert and the theatre offer very clearly defined roles for the
performer. In early theatre the performers even wore masks to indicate their dramatic
character, but of course also to conceal their normal identity. Such events, then, call for
very special behaviour. The lecture or presentation is more difficult for some people to
cope with since it involves the normal personality performing in a very public way. To be
at public distance from a group is to be isolated and vulnerable; some people can be
completely terrified of such a situation, while others seem naturals at it. As an academic I
14

:

see this demonstrated annually as another crop of students grapples with the situation in
seminars, design critics and other such presentations of work to the group.
2.3 LEARNING
The essence of matter, the origins of the universe, the nature of the human mind — these are
the profound questions that have engaged thinkers through the centuries. Until quite
recently, understanding the mind — and the thinking and learning that the mind makes
possible has remained an elusive quest, in part because of a lack of powerful research
tools. The revolution in the study of the mind that has occurred in the last Three or four
decades have important implications for education. As we illustrate, a new theory of
learning is coming into focus that leads to very different approaches to the design of
curriculum, teaching, and assessment than those often found in schools today Equally
important, the growth of interdisciplinary inquiries and new kinds of scientific
collaborations have begun to make the path from basic research to educational practice
somewhat more visible, if not yet easy to travel. Thirty years ago, educators paid little
attention to the work of cognitive scientists, and researchers in the nascent field of
cognitive science worked far removed from classrooms. Today, cognitive researchers are
spending more time working with teachers, testing and refining their theories in real
classrooms where they can see how different settings and classroom interactions influence
applications of their theories. What is perhaps currently most striking is the variety of
research approaches and techniques that have been developed and ways in which evidence
from many different branches of science are beginning to converge. The story we can now
tell about learning is far richer than ever before, and it promises to evolve dramatically in
the next generation. For example: .Research from cognitive psychology has increased
understanding of the nature of competent performance and the principles of knowledge
organization that underlie people‘s abilities to solve problems in a w ide variety of areas,
including mathematics, science, literature, social studies, and history. Developmental
researchers have shown that young children understand a great deal about basic principles
of biology and physical causality, about number, narrative, and personal intent, and that
these capabilities make it possible to create innovative curricula that introduce important
concepts for advanced reasoning at early ages.
15

:

2.3.1 TYPES OF LEARNING SPACES


INFORMAL LEARNING SPACES
In any institution building there are spaces which are riot designed to learning but
play an active role on the overall learning environment. Spaces other than the
classrooms. lecture halls, auditoriums, labs, studios are also an essential part for
arty institution for a healthy creative and positive learning environment, apart from
these formal spaces there are informal spaces like gardens, courtyards, corridors,
staircases which also help in the overall growth and mental ability of the students.
If these common spaces or the transition spaces are designed carefully for more
active role other than there basic purposes of reaching from Place to another a
whole new environment can be invented and rediscovered.

The concept and importance of informal learning space, which in the subjected of
the present research has be discussed by sever author. Brown (2003) indicated that
informal learning spaces are any spaces outside the classroom that can be used for
learning.

According to Brown (2003), these include faculty offices, hallways, plazas,
courtyards. Dormitories and food service areas become the important element to
create informal learning spaces. The importance of informal learning space is
discussed by Brown (2003) More learning‗s taking pace outside of class time than
ever before. With increased emphasis teamwork any group projects, students are
learning in small groups outside the classroom as they accomplish work related to
their courses, the current teaching and learning methodology require informal
learning spaces. Johnson and Lomas (2005) maintain that learning that is social
requires feedback and interaction among participants. So, a learning space should
enable learners to get know each other and engage in dialogue, work on group
outside the class projects, interact in a variety of ways. In relation to this. Wilson
and Randall (2010) maintains that universities must be more innovative and
Creative in the ways that they utilise, reconfigure or build new learning spaces in
order to meet the expectations of to morrow‘s students. Learning spaces should be
students-centred which should provide the necessary technology to meet student
and subject needs (JISC, 2006). The informal earning space must be flexible in
term of the time that the space can be used by students. The use must also be
16

:

flexible, that is the space must provide with conducive seating facilities with food
and beverage served in the area and equipped with pervasive information
technology facilities (Acker & Miller, 2005).
2.3.2 DESIGN ASPECT OF INFORMAL LEARNING SPACE

The learning space design should encompass from real to virtual learning space (Brown,
2006). Thus, the informal learning spaces also need to be equipped with access to network
connections as well as spaces that facilitate group interaction. According to JISC (2006),
there are several design requirements of learning space, namely a space design should able
to motivate learners and promote learning as an activity; support collaborative as well as
informal practice, provide a personalised and inclusive environment; and flexible in the
face of changing needs .
FORMAL LEARNING SPACE


Classrooms: general-purpose spaces that is centrally scheduled and accessible to all
campus users.

Teaching labs (not included in these guidelines): Specialized spaces (by virtue of
their furnishings and technical infrastructure requirements) typically assigned to a
specific department, discipline, or program.
INFORMAL LEARNING SPACE


Space where students spend time learning outside of formal learning spaces.

Unlike formal learning spaces, informal learning spaces cannot be as easily
categorized, as there are many possible configurations and capacities, ranging in
size from a few square metres (e.g., a bench outside a classroom) to hundreds of
square metres (e.g., a centralized student commons).
Design of formal and informal learning environments involve many elements, including
acoustics, lighting, heating/Ventilation/air-conditioning (HVAC), furnishings, audio-visual
(Ay) systems, and the application of building codes and universal design and sustainability
principles. Well-designed learning spaces can improve learning in several ways:

intelligibility of information presented; student engagement with the material, the
instructor, and other students; student and instructor morale; and the physical well-being of
students and instructors.
17

:

Use of transition spaces as an informal learning space like corridors, staircases, lobby,
atriums, garden, courtyards and parking lots.
Seating and social interaction spaces for the student and teacher interaction in different
environment of the campus.
For the informal learning spaces there should be hidden surveillance points for the teachers
to monitor the students in angled planning and from an elevated level.
Five general design principles for learning spaces include:
1. Interaction: encourage interactions between participants to enable active and

collaborative learning (e.g., student to student, student to Instructor, instructor to
instructor, including easy interaction with wheelchair users and other people with
disabilities).
2. Technology: provide appropriate technology to support diverse, enriched, and flexible

learning experiences.
3. Environment: design a sustainable and healthy learning environment.
4. Flexibility: design a flexible environment that will support a range of current and future
pedagogies and learning styles.
5. Location: locate learning spaces to provide opportunities for effective zoning and
access.
Interaction: encourage interactions between participants to enable active and collaborative

learning (e.g., student to student, student to instructor, instructor to Instructor, including
easy interaction with wheelchair users and other people with disabilities).
An important predictor of student success is the opportunity for engagement, including

meaningful interactions amongst and between students and instructors. As a result,
learning spaces will serve to facilitate these interactions and minimize any related barriers.
Key examples include:
1. Furniture that is moveable and supports collaboration and student group work.
2. Participants can move around the room easily, interacting with smaller groups, the
whole group, or individuals. Instructional processes can occur anywhere in the room.
3. Appropriate acoustics for a wide range of activities including ―single voice to whole
group‖ and ―multiple groups‖ and so that all participants can effectively hear each other.
18

:

Interaction in college
Interaction of participants:
Teacher to Teacher = formal/informal
Teacher to students=formal/informal
Teacher to staff = Formal
Teacher to parents = Formal
Student to student = Formal/informal
Student to staff= Formal/informal
Staff to Staff = Formal/informal
Type of interaction in Film institute :

USER TO USER INTERACTION USER TO SPACE INTERACTION
individual to individual User to location (formal )
individual to group User to location (informal)
group to group Location modification
individual to culture
2.4 TRANSITION SPACE

If we look at the definition of a transition space, it is a space of experience between
the inner and the outer worlds; an intermediate or a third space. It is understood as
a ‗buffer zone‘ or a passa ge from inside to outside. They act as both a buffer space
and a physical link. Other than being functional as circulatory routes for the
building, the designs of these spaces is considered very important by building
designers for reasons of aesthetics, health and comfort, and as exit routes in the
event of an emergency.

Another feature in this architecture is the subtleness in the transition — instead of a
sudden and abrupt change from inside to outside and open to closed, a range of
intermediary spaces fall in between the two extremes. A transition space not only
acts as a link between open and closed spaces, but also is a link between private
and public areas; serves as a delicate transformation between the public and private
domains of urban residential buildings.
19

:

Figure 7 : Showing transitional space


The transition space, therefore, is neither wholly private nor public, neither external
nor internal. It can be defined as an indefinite zone, which is defined by the
relationship of the existing extreme zones (internal v/s external and private v/s
public)

A transitional space, be it open or semi-enclosed, is an important element of the
abode in the Indian context. It should be viewed in its plurality. At one level, it is
an architectural solution to the problem of connecting the residence to the street or
the public premise. On the other level, it is full of social meanings signifying
welcome, auspiciousness and prominence. This integral in-between realm is also an
indirect form of passive control that shapes people‘s behaviour on a day to day
basis.

Transition spaces generally consist of: entrance foyers, corridors, buffer zones,
lobbies and other transitory areas which are used inside a building, but then again
are not occupied at all times. Such spaces have a different impact on people who
are passing through them than the areas which are outdoors or fully indoors.

These transition spaces or the thresholds in architecture (a building or its premise)
can be created by the change of light, a change of sound, a change of direction , a
change of surface, a change of level, perhaps by gateways which make a change of
enclosure and above all with a change .
20
Start Free Trial

Cancel Anytime.

:

2.5 TRANSITION SPACES IN INDIAN CONTEXT

In Indian architecture, the transition spaces play a very significant role, especially
in residential buildings. The transition spaces marked the boundaries of the living
space. They played a role in both dividing and connecting the inner and outer
space: the gate, the door, the threshold. These spaces were richly decorated and
ornamented to highlight the transition space.

In Indian architecture, the typology and nature of the transitional spaces have been
changing with time. They vary in scale, usage and connection. The earlier cities
were dense; hence the transitional spaces were tight and mostly bound by all sides,
creating a sense of space and comfortable scale. As settlements grew, they became
more planned and organized; hence, the transitional spaces were organized and no
more acted as left out spaces. Visual expression became a very important aspect of
such spaces. With modern age came the functional use of these spaces. These
enable equal distribution of physical benefits.

Also, in Indian architecture, design elements contribute a lot to transition spaces.
There are colonnades, aisles, courtyards, water bodies, openings like doorways,
pathways, grounds, patios, gardens, trellis, pergolas, foyers, lobbies etc. If there is
no defined space then confinement by some of the above elements makes the space
functional and sensible; or a transitional space. For example, the Anup Talao in
Fatehpur Sikri provides a very elegant transition from the inside ( Khwabgah
complex) to the outside. The central platform in the talao serves as a nice
interaction space as well as a quite space.
Figure 8 Talab used as interaction space
21

:

2.6 HISTORY OF TRANSITION SPACES

Indian architecture, the very ancient civilizations like Mohenjo-Daro and Harappa
were expertly built as an advanced civilization, as compared to the ancient
Mesopotamia and Egypt. If we study the city planning here, you will find a well
thought planned city with the interplay of transition spaces. The utter size of the
city, its provision for public buildings and all the basic amenities itself proposes a
high level of social infrastructure. The separation of the residential and market area
provided a transition from the private areas of the city to the more busy and public
parts. The transition was very clear in the plan.

The shift from a freely self-evolving city and open spaces to a strategically planned
environment took place during the Renaissance; where in the city was
preconceived and planned. There was a gradual increase in scale of transition and
open spaces. The transition spaces existing between two buildings were also mostly
bigger and focussed on spatial effects, views and volumes. Visual expression
became important in such spaces. For example, in the renaissance city of Palma
nova built by Scamozzi in 1593, the streets all had same widths, 46 ft. this type of
formalizing or urban streets and spaces led to a formal setting of transition spaces
as well.

Within the city, there was a clear distinction between different zones based on
importance. This created a new structure of hierarchy between the relationship of
transition spaces and the streets (primary and secondary). The monumentality of
buildings also enabled a sense of transition and a space.

The modern spaces, however, brought to forefront the physical and functional
aspects of buildings and their setting.

The transition spaces were now used as a means to provide light, air and ventilation
and enable sufficient access to open spaces. This led to detached housing. The
requirements of such transition spaces were incorporated in house designs to ensure
good individual living conditions, which also benefited to the requirements of the
space.
2.7 VARIATION WITH BUILDING TYPE OR SCALE IN INDIA

The traditional homes in India (mostly havelis) have some of the spatial and
decorative elements in common, irrespective of the region where they are located.
The names of these elements may also vary according to the region but their
22

:

function and character are accepted as indispensable to domestic architecture , just

as the zenana (women’s quarter) was essential for the reasons of purdah and
distinct from the mardana (restricted to men). These elements would be, namely,
the threshold (transition at a point), the courtyard, the hearth, etc.

In traditional Indian architecture, a transition space was treated in two very
different manners, with different levels of importance. The function of the space
was same though; a transitory area.

The difference can be clearly seen in two different types of buildings, a temple and
a residence.

Indian temples are one of the best places to study ‗transition spaces‘ in Indian
context. In one plan only we are able to see the different levels, scales and points of
transition. The transition that happens is not only physical but is also
psychological, because of the experience you gain. In a temple, the transition space
holds a spatial typology of procession and is very prominent. It doesn‘t go without
noticing. This transition space, acting as a passage leads to or is served with a
destination, which in itself is very grand. The journey to the destination becomes a
procession or a ritual. This is how the procession takes place
Figure 10: Courtyard inside the haveli

Figure 9: Threshold of the haveli

The very first transition happens when we enter in the temple through the giant
Gopuram. Then we come to Sabhamandapa that is connected to Mandapa through
a colonnade (here the colonnade is acting as a transition space). Then the
Antaralaya between the Mandapa and Garbhgriha stands as another transition
space. Garbhgriha is again protected by Pradakshina path one more form of
transition space.
23

:


There is hierarchy of transition spaces here; there is a series of physical and
spiritual transition elements which one is required to experience before entering
into the God‘s adobe. A pe rson entering into a temple mentally gets prepared for
his actual confrontation to almighty, through this journey. He can‘t directly enter to
Garbhagriha as he cannot achieve that level of devotion required to enter in a
shrine. He develops it slowly through transcendent travelling of his own self.
Figure11: Layers of transitional space

But, in a residence or a house, the element of grandness is not there. The transition
space is not very noticeable and is subdued by the other elements. Also, there is not
a particular destination inside a house. Hence, the passage is only from inside to
outside or there is a transition from the house to the spaces around it.

Here, the scale also stands important in differentiating the two spatially different
and functionally similar transition spaces. The scale of the space is flexible in terms
of its outlines as its limit is based on the requirement of the dweller and not the
space.

At a macro level if we look at a residence and its premise, there are different levels
of transitions going on. First is at the threshold of a house. At the threshold also,
there are two different scenarios. One is where the wall stands separating the inside
and the outside, clearly defining the private and the public. A completely different
transition of spaces is happening at the gate. Here, the gate and the area around
gate are acting as a transition space. The sharp distinction by the wall is softened at
the gate. It acts as a semi private area. Second is a house where there is no built
boundary wall or a gate per say, then the verandah acts as a transition space. It
becomes a spatial sequence from the interior to the exterior and from there to a
public space i.e. the street. The entrance space also, as a transitional zone, is an
important concept in the cultural study of any traditional house form. A transitional
24

:

space, open or semi-enclosed, can be thus called an important component of the

dwelling in the Indian context. It should be viewed in its plurality. At one level, it
can be seen as an architectural solution to the problem of connecting the dwelling
to the street. At another level, it is full of social meanings symbolizing welcome,
auspiciousness and status. This important and necessary in between realm is also an
indirect passage that controls and shapes the behaviour of people on a day to day
basis.
2.8 COURTYARD AS A TRANSITION SPACE IN INDIAN CONTEXT

Internal open spaces are other subjective elements in all types and scales of
domestic architecture. These internal open spaces, or courtyards, had become the
key organisational element in buildings or all types and scales; from small scale
urban house to large bungalows and palaces.

A courtyard is a medium to establish a controlled yet direct connection from the
inside to the outside or vice versa. And being a transition space, from inside to
outside, courtyard act as a very functional interaction space. Another reason for the
courtyard to function so well is that it is a semi private space and is devoid of any
public intrusion. This transition space actually serves various levels of privacy.
Apart from interaction, a wide range of household activities could extend into these
inside open transition spaces; these become the breathing area of domestic
architecture.
Figure 12 : Interior Courtyard of Nellukutta
25

:

Other than being just a transition from inside to outside and vice versa, these spaces

are designed to respond to the climatic conditions and sometimes the cultural needs
of communities. They also contribute to the spatial quality of the space by bringing
a subdued light and creating a calm environment.
The courtyards serving as an open transition space if often bounded by semi open

verandahs along its periphery. The completely closed private rooms open into these
verandahs which lead to the courtyards producing a spatial organisation based on
the hierarchal system of spaces ranging from closed to open. This spatial sequence
results in intermittent flow of activities responding to the needs of the dweller.
The courtyard would provide space for ventilation and thus fewer openings were

required on the façade facing the street or an exterior area. This would enable
privacy. These open, yet protected spaces became the heart of Indian living.
Terraces with similar type and function also started to come up, which would serve
as an inside open space (courtyard) but at a different level or height.
There weren‘t many changes observed in the general form of courtyards. However,

there were changes in the materials, articulation or ornamentation of the enclosing

elements, scale, proportion or the complexity of the plan. These factors depended
on the kind of building and the user.
The scale of the courtyards were according to human proportions to make it a more

comfortable and habitable space. In bigger houses also, the number or the
complexity of the courtyards would increase, not the size; sometimes even a series
of courtyards were created with a hierarchy of open and closed spaces. This feature
of a courtyard makes the transition fluid and not too dramatic.
In Indian settlements with dense fabric, courtyard enables porosity and provides for

lung spaces. Courtyard like spaces between houses also provide for an interactive
transition spaces at a public level. Narrow streets open into these open transition
spaces which can be used as public gatherings.
26

:

Figure13: Courtyard in Jaipur
2.9 ENTRANCE OR THRESHOLD AS A TRANSITION SPACE


The threshold or the transition space is the space along which one approaches the
building prior to actually entering inside. This point or space serves as an
introduction to the building and preconditions our mind for the kind of activities
inside. The idea of a threshold is one which is constant in architecture, an
ambiguous moment that defines the inside and outside. Without the threshold,
almost no transition spaces would have been possible in architecture. There would
have been a single continuous space. The threshold therefore has a dual purpose, of
separating as well as linking the two completely different realms. 19 Therefore, we
can say that for the creation of transition spaces, thresholds serves as an intrinsic
element of architecture.
Figure 14: Entrance of Buland Darvara
27

:

An entrance or a thresholds best expresses the most significant transitional


relationship between two distinct realms; the inside and outside, private and public
or open and closed. Whether it is a single distinct entrance to the city, through a
fort wall, or a hierarchal order of spatial layers with a series of in between realms,
the most significant aspect which remains is ‗transition‘.
This complexity of transition as an element varies through space and time.


Entrances are often, in many cultures, not in direct contact with the exterior space,
to achieve privacy. On the other hand, there are many examples, where a single
door serves as the only link between the outside and the inside realms. And in yet
another form, an entrance may be the medium (transition space) through which one
is introduced to the inside space
28

:

CHAPTER 3
BYE – LAWS FOR FILM INSTITUTE
29

:

3.1 BYE LAWS FOR FILM INSTITUTE
3.1.1 DRAWING STUDIOS
EACH SPACE REQUIRE 3.5-4.5 SQM ,

DEPENDING ON SIZE OF DRAWING
TABLE.
Figure 9 Work Space Plan
Figure 10 Workplace in drawing room and work surface
30
Start Free Trial

Cancel Anytime.

:


Circulation routes should be > 1.2m wide, and clear space between selves at least
1.3-1.4m wide.

The area required for a simple reading work place is 2.5sqm , for PC or individual
work place more than or equal to 4sq.m.

Room height should be more than or equal to 3mts.
3.1.2 LECTURE THEATRES
Figure 11 Rectangular Lecture Theatre
Figure 12 Drawing for circulating view curve
31

:


Usual sizes for lecture theatres are 100,200,300,400,600,800 seats.

Theatre up to 200 seats have ceiling height of 3.50m and are integrated into
departmental buildings , if larger they are better in a separate building.

Standard minimum size for a rectangular shaped lecture theatre: 0.2-0.25 sq.m/seat.
For trapezoidal shape: 0.15-0.18sq.m/seat.

0.60sq.m needed per student including all spaces in lecture theatres, in small
lecture theatre it can be 0.80-0.95 sq.m.

Escape route for 150 people – 1.5m

25 seats per aisle.
Figure 13 Space Required for seats

3.1.3 OFFICE SPACES
32

:

Figure 14 Basic Office Furnishings
3.1.4 THEATRE AUDITORIUM

Size of auditorium: an area of at least 0.50 sq.m per spectator s to be used for
sitting spectators.

Length of rows: A max of 16 seats per aisle. 25 seats per aisle is permissible if one
exit door of 1m width is provided per 3-4 rows.

Exit , escape routes: 1m wide per 150 people.
Figure 15 Auditorium Width
33

:

Figure 16 Row width

3.1.5 SECONDARY AREAS
3.1.5.1 MAKE-UP ROOMS AND CHANGING ROOMS
Figure 17 Changing room

3.1.5.2 CARPENTRY WORKSHOPS

Space required for scenery workshops in medium theatres is 4-5 times the area of main
stage. Always install workshops on level whether In or outside the theatre.

The painting room area must be sufficient to allow two large drops.

The carpenter‘s shop is subdivided into bench and machine rooms. It has wooden
floors and a connected wood store for 3-10 productions.

The upholstery room is about 1/10 the size of painting room.

The workshop should be grouped around the studio. The surface area should be as
for the shorter studio width and height according to the height plus 2m
34

:

Figure 18 Workshop
3.1.6 CAFÉ AND KITCHEN

To be able to eat comfortably , one person requires a table area of around 60cm
wide by 40cm deep.

Although an additional 20cm of space in the centre for dishes and tureens is
sometimes desirable, an overall width of 80-85cm is suitable for dinning table.

Round tables or tables with six or eight sides, with a diameter of 90-120cm are
ideal for four people and can also make one or two more dinners..

Any function or conference room should have movable furniture to allow
flexibility of use.

The kitchen ,storerooms , delivery points , toilets and other service areas should be
grouped around the dining room, although toilets can be on another floor.
35

:


The ceiling height of a dining room should relate to the floor area less than 50sq.m
2.50m , >50sq.m ,2.75m ; >100sq.m , >3m; above or below galleries > 2.50m

The minimum width of escape routes is 1m per 150 people.
Figure 19 Diagonal arrangement of dining tables
Figure 20 fuctional Layout for a Small Restaurant
3.1.7 GYM

For 40-45 users a room size of at least 200sq.m is needed .

Clear room height for all rooms should be 3m. For an optimum double-row
arrangement of machines , the room should be at least 6m wide.

The minimum room size of 40sq.m is suitable for 12 users
36

:

3.1.8 ROOM ACOUSTICS

The term “room acoustics” refers to the physical shape and material composition
of a particular room and how those properties affect the acoustic environment of
the space.

Primary concerns in the realm of room acoustics include: reverberation time (decay
of sound), even sound distribution and lateral sound reflections (envelopment of
sound) and the presence of unwanted sound reflections or echoes.

Practice rooms should be relatively ―dry‖ so that a student can hear his
instrument‘s articulation and intonation without being coloured by the room‘s
resonance.

The classroom acoustic character should be ―neutral‖, that is very pleasing for a
speaker to instruct in and for a student in a back row to hear. The studios,
depending on the particular instrument being taught are usually more ―live‖
acoustically.

But if also used for lecture it should have the ability to be changed acoustically to a
―dry‖ space so that speech can be understood.

The rooms should be rectangular with the ratio of approx. 1 : 1.1.

Walls should be non-parallel. Rooms should be flat floor with portable risers as
required.

A wood , sound reflective floor is ideal.

Heights or rehearsal rooms should be in the 24 to 26 Ft.
3.1.9 SOUND ISOLATION

Sound isolation concerns issues relating to the isolation of the spaces from
unwanted external and internal noises.

The sound isolation of practice rooms, studios and classrooms is of paramount
importance in a music facility.

Room to room isolation should be of sufficient value so that one student or instructor is
not distracted by another in an adjacent room.
37

:


Performance spaces, studios and ensemble rooms generally require the highest level of
isolation, followed by practice rooms and then classrooms.

Isolation from the exterior should be sufficient so that vehicular, aircraft, and student
traffic will not interfere with the music practice/instruction process .
3.1.10 ROOM ACOUSTICS

Primary structures of room :

Parallel planar surfaces should be avoided, to prevent directionally oscillating
echoes due to multiple reflections.

Providing projections in the walls, at angles greater than 5 degrees , avoids parallel
surfaces and allows diffuse reflection to occur.

The ceiling serves to conduct the sound into the back part of the room and must be
shaped accordingly.
Figure 21 Multiple reflections
Figure 22 Diffuse Reflections
3.1.11 BLUE SCREEN AND MOTION CAPTURE

Motion capture ,motion tracking are terms used to describe the process of recording
& translating that into a digital model.
38

:


It is used in military, entertainment ,sports & medical applications. In filmmaking
it refers to recording actions of human actors & using that information to animate
digital character models in 2D or 3D computer animation.

In motion capture sessions, movements of one or more actors are sampled many
times per second, although with most techniques (recent developments from wet
use images for 2D motion capture and project into 3D) motion capture records only
the movements of the actor, not his/her visual appearance. This animation data is
mapped to a 3D model so that the model performs the same actions as the actor.
Figure 23 2D motion capture to 3D projection
Figure 24 Actions performed by actors
3.1.12 ANIMATRONICS

Animatronics is the use of electronics & robotics in mechanized puppets to
simulate life. It is mainly used in moviemaking, but also in theme parks & other
forms of entertainment.
39

:


The technology behind animatronics has become more advanced & sophisticated
over the years, making the puppets even more realistic and lifelike. Animatronics
for film productions are used to perform action on camera in situations where the
action involves creatures that do not exists, the action is too risky or costly to use
real actors or animals, or the action could never be obtained with a living person or
animals. The technology has advanced to the point that puppets can be made from
their living counterparts.
3.1.13 MOTION PHOTOGRAPHY STUDIO


Motion control photography is a technique used in still and motion photography
that enables precise control of & optionally also allows repetition of camera
movements.

It can be used to facilitate special effects photography. The process involves
filming several elements using the same camera motion & then composing the
elements into a single image.

Motion control camera rigs are also used in still photography with or without
composing, for example in ling exposure of moving vehicles.

Common applications of this process include shooting with miniatures, either to
compose several miniatures or to compose miniatures with full-scale elements.
3.1.14 EQUIPMENTS
3.1.14.1 CAMERA DOLLY

A camera dolly is specialized piece of film equipment assigned to create smooth
camera movements. The camera is mounted to the dolly and the camera operator
and camera assistant usually ride on it to operate the camera

The dolly operated by a dolly grip who is dedicated technician

There are riding dolly‘s and also dolly‘s that support only the camera, so that the
operator needs to walk alongside. Any dolly that is compact in size when set on
floor wheels is called a ―doorway dolly‖.
40
Start Free Trial

Cancel Anytime.

:

Figure 25 Camera Dolly
Figure 26 Doorway Dolly
3.1.14.2 CAMERA JIBS & CRANES


In cinematography, a jib is a boom device with a camera on one end, and a
counterweight on the other. Properly balanced using the counterweight, the camera
can move through an extended arc. A jib permits the camera to be moved
vertically, horizontally, or a combination of the two.

Difference between a jib & a crane is that crane carries a camera & its operator,
while a jib carries a camera only.
41

:

Figure 27 Camera Jib
Figure 28 Crane
3.2 SET DESIGN PROCESS
The design process will be developed from the initial breaking down of

- scripts/text,
- developing of concepts and visualizing,
- storyboarding,
- producing working models
- final construction drawings
- Material
- Colour Composition
- Lighting
- Working with other Departments
- Flexibility in Sets & thoughts.
42

:

- Estimation
3.2.1 FACTORS AFFECTING THE SET DESIGN:

• Lines & Dots
Motion picture film contains millions of grains of picture information in each frame. A
clumsily attached doorknob plate will be about two inches wide on the face of an average
television screen, but can be eight feet in diameter on a thirty-foot-wide motion picture
screen.
• Different Perceptions
Generally, colors show up brighter and more saturated on camera than they look to the eye.
A guiding rule is to choose paint tones that are a step down in saturation from the color
you want perceived on the tube or screen.
• Camera-working
Light reflected from an object is focused by the camera lens onto the face of the picture
tube. The picture tube translates the light, dark, and color variations into electronic
information that is sent to the camera control equipment.
• Behaviour of illuminated objects
When choosing colors, textures, and forms, chose the definite and direct, which tells its
story at a glance.
• The production Stage
Stages come in many sizes, shapes. and locations, the choice of which depends on the
production's need.
• Acoustics
The stage must be sound proof if sound recording is to be done.
• Lighting Design
Suspend platform above the sets and fasten the lighting instruments to the hanging
platforms.
• The Stage Floor
43

:

The cyclorama is usually painted to match the floor, creating a horizon less effect.
• Aspect Ratio-angle of vision
Motion picture film k rmats take in a wider. more horizontal field of vision than video
camera do. Wide-screen formats commonly use a 2.35:1 ratio.
• Close-ups & wide shots
Cameras make a scene look more spacious than it appears to the eye.
• Camera Forces
Camera forces us to look at a confined area we tend to examine that area with more
focused interest.
3.2.2 SET DESIGN DEPENDS ON:

• Location
• Co-ordination
• Selection of materials
• Props
3.2.3 CONSTRUCTION SEQUENCE OF SETS:

• Levelling of the site.
• Excavation for the foundation
• Basic frame work of columns & beans
• Base floor or plinth
• Walls, partitions & concealed wiring
• Plaster of Paris work.
• Painting & finishing work
• The props
3.2.4 CLASSIFICATION OF OUTDOOR SETS IN FILM CITY :
44

:

Landscape: - Streetscapes: Public amenities: Other

-Fountains -High rise streets -seating areas Miscellaneous sets:
-Water bodies -village sets -Restaurants -Airport Set
-Pedestrian bridge -townscape sets -Public Plazas -Library set
-Gazebos / pavilion -Town squares -Open-air-theatre -Railway Station set
-Sculptures plazas -Shopping -Central Jail set
-Street -Historic sets -Multipurpose Sets
-Outdoor lighting -Hospital set
-Bank set
-Temple set
3.3 AREA SPECIFICATION (FORMULATED PROGRAM)

ADMINSTRATION BLOCK TOTAL AREA = 350 SQ.M
NAME QUANTITY AREA

PUBLIC Entrance foyer with waiting area 1 50 sq.m
AREAS •Reception counter 1 25 sq.m
•Public toilets (Gents + Ladies) 2 60 sq.m
OFFICE Director‘s office (waiting , P.A, 1 50 sq.m

AREAS toilet) 1 25 sq.m
•Secretary‘s Office(waiting room) 1 50 sq.m
•Conference room 1 40 sq.m
•VIP Lounge -8 people 1 60sq.m
•Staff Room‘s (with toilets) – 10 1 15 sq.m
People 1 15 sq.m
•Estate office -2 People 1 20 sq.m
•Purchase Section – 2 People
•Account Section -2 People
FILM PROCESSING DEPT. TOTAL AREA = 35 SQ.M

INDOOR SHOOTING TOTAL AREA = 1490 SQ.M
NAME QUANTITY AREA

FILM Printing Room 1 30 sq.m
PROCESSING Processing Room 1 5 sq.m
DEPARTMENT
INDOOR Studio 1 1 825 sq.m
45

:

SHOOTING Studio 2 1 475 sq.m

Guest Room / Rest 4 20 sq.m
Rooms 4 20 sq.m
Green room+ Toilet – 8 2 15 sq.m
ppl/each
Toilets ( Gents + Ladies )
PREVIEW THEATRE TOTAL AREA = 850 SQ.M
NAME QUANTITY AREA
PREVIEW Entrance lobby 1 80 sq.m

THEATRE Office – 2 People 1 20 sq.m
Public toilets 2 50 sq.m
(Male/Female) 1 10 sq.m
Ticket counter 1 650 sq.m
Theatre – 400 capacity 1 15 sq.m
(green room, backstage, 1 25 sq.m
projector room)
Store Room
Canteen
FILM THEATRE TOTAL AREA = 1860 SQ.M
FILM NAME QUANTITY AREA

DEPARTMENT
SOUND •Sound Editing Rooms 1/room 5 20 sq.m
RECORDIND & •Control Room 1 30 sq.m
ENGINEERING •Final Mixing Room and dubbing 1 100 sq.m
DEPTARTMENT •Sound Recording Studio 1 100sq.m
•Store Room 1 30 sq.m
•AC Plant & Power Room 1 50 sq.m
•Classroom Theatre 16 ppl 2 50 sq.m
•Toilets(Gents + Ladies) 2 25sq.m
EDITING Editing Rooms – 1 person/room 10 15 sq.m

DEPARTMENT •Editing Classrooms 1 100 sq.m
•Store Room 1 50 sq.m
•Classroom Theatre 16 ppl 1 50 sq.m
•Toilets ( Gents + Ladies ) 2 25 sq.m
46

:

CINEMATOGRA Motion Photography Room 1 100sq.m

PHY •Classroom Theatre 16 ppl 2 50 sq.m
DEPARTMENT •Toilets ( Gents & Ladies ) 2 25 sq.m
DIRECTION Classroom for Screenplay Writing 16 1 75 sq.m

DEPARTMENT ppl
ART DIRECTION •Classroom Theatre 16 ppl 2 50 sq.m

DEPARTMENT •In-charge room 1 25 sq.m
WORKSHOP& Carpentry Hall 1 450sq.m

PROPERTY •Metal Workshop 1
STORE •Property Store and material store 1
•Painting Section 1
TOTAL BUILT-UP AREA = 12,512.5 (With Circulation)
NAME QUANTITY AREA

PARKING Open Air Theatre (500 cap) 1000sq.m
150 two wheelers As per
75 four wheelers Design
BUILDING •Common Toilets ,Stores 250 sq.m

SERVICES ,AHU, A.C plant ,
Electric Sub Station
Circulation 30 % 2887.5 sq
TOTAL BUILTUP AREA =12,512.5 (With Circulation)
3.4 COURSES OFFERED
A. Administration Zone
B. Academic Zone
C. Preview Theatre
D. Recreational Zone
E. Residential Zone
F. Open Spaces
G. Building Services
The courses offered for the Film Department are as follows:
47

:

1.Direction
2.Cinematography
3.Sound Editing TWO YEAR POST GRADUATE COURSE
4.Video Editing
5.Acting
6.Art Direction
7.Animation and Computer Graphics ONE YEAR COURSE
8.Screenplay Writing
ALL THESE COURSES ARE TWO YEAR GRADUATE COURSES WITH INTAKE
OF 15 STUDENTS.
48

:

CHAPTER 4
LITERATURE CASE STUDY
49

:

4.1 LITERATURE CASE STUDY 1: FOX STUDIO’S. SYDNEY, AUSTRALIA

Fox studios Australia has quickly become one of the worlds most sought after
studio facilities since opening on May 1998.

It‘s a studio complex on a spacious 13.2 hectare (32 acre) site; the studio features
eight stages, production offices and workshops, alongside the creative community
of over 60 independent businesses.

Due to history of the site, there is mix of new and old buildings and a beautifully
established landscape that creates a sense of proportion and space. This diversity of
landscape lends itself to opportunities for exterior filming. Stages ,offices and other
facilities are housed in a combination of purpose built and heritage buildings.

The adjacent precinct offers a retail complex, including shops, cafes and restaurants
, lush parklands, sporting facilities and entertainment venues.
Figure 29 Fox Studios, Australia
50
Start Free Trial

Cancel Anytime.

:

4.1.1 STAGE 1
Figure 30 Stage 1

Area – 3,535sq.m

Dim – 86x41.1x20m

Soundproofing – sound reduction of 35dB

Lighting grid – slung below building trusses as required.
4.1.2 STAGE 2
Figure 31 Stage 2

Stage 2 is the largest of the purpose built stages. Built in 1998, the stage provides
over 32,000sqft of floor space, and almost 50‘ to the underside of the grid.
51

:


The ground floor office area provides star rooms, cast rooms, a makeup room plus
a large extra makeup area, greenroom, storage areas, kitchenette, toilets and
showers

Stage 2 is provided with a pit, which can be flooded ,or used to provide extra depth
to the sets.

Whole set is air conditioned.

AREA – 3,007sq.m

Dimensions – 64.4x46.7x14.7m

Sound Proofing – reduction of 50dB

Pit – 12x18x3m deep

pit can be flooded and has removable cover
4.1.3 SOUND RECORDING STUDIO


The track down scoring stage is located within the Entertainment quarter. At
440sqm with 10m high ceilings, the main hall can comfortably hold over 100
musicians.

Tasmanian oak Floating timber floor

Approx1.8sec reverb time.

Rear pyramidal diffusing panels.
4.1.4 WORKSHOPS AND ART DEPARTMENTS


Building 29 – construction workshop 1750 sq.m 18,830sq.ft

Building 34 – crafts shop – 35,000sq.ft building 34 was completed in January 2007
and is equipped with three large work spaces providing productions with max
flexibility.

Building 36 – Art department = 2,760sq.m 29,700sq.ft

Building 37 – Costume department it considers 4 individual area. Two large
workshop areas, offices
4.1.5 OFFICE SPACE AND SCREENING ROOMS


Fox studios has over 35,00 sq.ft of office space spread throughout the site. Offices
ranges in size from large open plan production offices 3,432sqft (320sq.m). To
small individual office area 269sq.ft (25sq.m).
52

:


Located on site are two THX rated screening rooms. Screening room 1 seats 50,
and screening room 2 seats 25.

The track down scoring stage is located within the entertainment quarter. At
4,800sq.ft with 30‘ high ceilings, the main hall can comfortably hold over 100
musicians and includes a 5.1 monitoring control/mix room.
4.2 LITERATUER CASE STUDY 2: FILM AND TELEVISION INSTITUTE
INDIA, PUNE
Name: Film and Television institute of India
Location: in the premises of the Prabhat studios, law college rd. Pune
Area: Presently 22 acres in use and 34 acres for future expansion.
Date of commencement: Year 1961
Client: ministry of Information and Broadcasting
Foreign collaboration: Member of international Liaison centre for cinema and television
school (CILECT)
4.2.1 BRIEF HISTORY

The FTII was established by the government in 1960 under the Ministry of
information and broadcasting.

The studios of Prabhat Film Company were available for sale and govt. acquired
these studios for housing Film Institute.

This was a great advantage as the existing facilities of a full-fledged film studio
became available.

The institute was converted into an autonomous society in 1974.

Today the FTII is considered as a centre of excellence not only in India but also in
Asia and Europe. Films are made by the students of the institute are entered in
festivals both in India and abroad. Many of them have won National and
International awards.

The alumni of the FTII have penetrated all corners of the Indian film and television
industry. Example-Subhash Ghai, Mani Kaul.
53

:

Figure 32 FTII
Figure 33 FTII Building
4.2.2 LAYOUT
A wide tree lined avenue leading from the main gate to far end of the site where the
shooting areas are located, divides the site in to two halves with building situated on both
sides of the road.
Figure 34 FTII site
54

:


The site is located in Pune 193kms. Away from Mumbai which is the main
production centre of film industry.

It is situated on a very busy law college road in the old campus of prabhat studios.

It occupies about 22 acres of land and has acquired 35 acres of land for expansion
adjoining the present site. The site is long narrow about 240 meters along. Its
breadth is 360 meters along its depth.

Site has an access only from the side which is along the law college road.
4.2.3 SITE PLAN
Figure 35 FTII Site plan

The site is divided along the lateral axis and forms 3 zones.

The zones at the extreme ends consist of residential buildings and huge open spaces
in the front.

The remaining zone, which forms the centre consists of the administration and
academic dept. This is the main institutional area of the campus.

The residential buildings have the maximum advantage of the spaces.

Since all the institutional buildings are part of the same zone, the movement during
working hours gets convenient.

As the vehicular access cuts through the pedestrian zones, the pedestrian movement
gets disturbed, thus making it uncomfortable.
55

:


The institutional zone is further divided into-film wing and television wing. The
film wing lies on the northern part of the campus, while the T.V wing is on the
south side.
4.2.4 COURSES OFFERED
POST GRADUATE DIPLOMA: 3 years
Direction & screenplay writing
Cinematography
Production design & Direction
Video editing
Visual effects
Recording& Sound design
Ac ting(2year)
POST GRADUATE DIPLOMA: 1 year
Film screenplay writing
POST GRADUATE CERTIFICATE: 1 YEAR
T.V Direction
Video editing
Cinematography
Sound Recording & T.V Engineering
56

:

4.2.5 AREA SPECIFICATION
Admin block Production Residential block
Academic block Sound Recording & Editing Dept. Girls hostel

Classroom (110ppl) Recording studios Boys hostel
Computer Room Editing rooms Director‘s residence
Offices Classrooms Common mess for
Staff (x12) Electronic laboratory boys and girls
Meeting room Staff room Common rooms and
Library Control & projection room game rooms
Director‘s office Film Processing Laboratory Staff quarters
TV Studios Black and white films
Master Control room 35mm film and 16mm film
Make-up & Costume Recording Studios
room Attached with a control room
Theatre Projector room is placed just
Conference room above the control room.
(40ppl) Indoor Shooting Studio
Video editing rooms Shooting space x 2(studio)
Storage
Prabhat museum.
Staff rooms
Guest rooms
Make-up rooms
Toilets
Master Control Room
4.3 LITERATURE CASE STUDY 3 : IIM BANGLORE (INTERACTIVE
SPACE)
ESTABLISHED :1973
LOCATION : Bangalore , Karnataka.
SITE AREA : 100 acres
ARCHITECTS : Balakrishna Doshi, Stein
and Bhalla designed the academic area and student hostels; faculty housing was designed
by Kanvinde
4.3.1 DESIGN PHILOSOPHY :

 He strongly believed it to be a "place of learning" and the idea that he followed
was ―an open space in which the classroom sense must be all over , outside as
57

:

well as inside the building, and in which there would be no restriction to the
exchange of ideas."

Doshi wanted in his project to make each portion distinct and yet wanted to provide
overall identity to create institutional character.
Figure 36 IIM Bangalore plan

4.3.2 DESIGN APPROACH

System of major corridors for movement along which other activities are
connected.

Within these areas between the corridors he created courts for extended activities.

Indoor and outdoor spaces under pergolas with tendrils of vegetation woven
through them.

No single axis dominating the scheme.

Structure should not dominate the landscape, and that locally available material
must be used.
4.3.3 SITE ZONING

Site is divided into two halves :
58

:


-Northern for staff housing
- Southern for educational block

Educational block includes administrative and library block and dormitory spaces
to southern side.

The library cum computer center is the focal point of the academic complex.

Faculty blocks are three storied and classrooms are arranged in clusters around a
central open space.
Figure 37 IIM Bangalore site zoning

4.3.4 CIRCULATION

Vehicular movement is well integrated with zoning of various activities.

Pedestrian movement dominating within academic complex and students
dormitories.

Network of corridors linking together all volumes, courtyards, and external spaces.

Three entrances provided:
First main entrance access to staff housing and educational spaces,
Second, a small entrance to staff housing alone.
Third, service entry from southern side of road
4.3.5 CLASSROOMS
59

:


Organized in a cluster of two or three around open courts and semi-open spaces
interlinking them.

Consists of an open court covered by a skylight with classroom on either side.

Numerous openings which give natural light and ventilation.

Establishes a good relationship between the outdoors.
Figure 38 Classroom plan

4.3.6 LIBRARY

Entrance set back 5m giving an interactive space.

Natural lighting achieved by creating atriums and light wells at intervals.

Each individual area is visually connected to the central atrium thus holding them
together.

Stairs have triangular abutment surmounted by a skylight breaking the monotony
of the building
60
Start Free Trial

Cancel Anytime.

:

Figure 39 IIM Bangalore Library
4.3.7 STUDENT’S HOSTEL


The hostel block is located behind the school area in close vicinity to the canteen
and the library.

The landscaping in the open courtyards gives a pleasant settings and this gives
good view to the students.

A long corridor connects al the blocks and interconnected diagonally
Figure 40 Student Hostel Plan
4.3.8 TRANSITION SPACES


The major transition spaces incudes the corridors. The corridors were termed as
Covered Pedestrian Street which is the important feature of the whole complex.

The long and spacious corridor though integrating and essential part of design, it
occupies 48 percent of the buildup area of the bolding.
61

:

It

is known as the NORIH SOUTH PERGOLA.
It is a semi open transition space.
Further forming the main spine of the main block which opens up to courts and

buildings.
Figure 41 Corridor- transition space
Figure 42 Pergolas
Figure 43 steps
62

:

Figure 44 Effect of Shade and Light
windows are shaded by concrete eves.


Shade and light effect makes dramatic views.


Corridors of column beneath concrete pergolas create a rhythmic progression of


light and shadow.

Staircase are monumental, airy and light.

Figure 45 Corridor
Figure 46 Staircase
63

:

4.3.9 RECREATIONAL SPACES


The outdoor playground is a large circular space for sports and other activities.

The Outdoor amphitheater is where all the graduation Ceremony takes place.

A smaller amphitheater is found behind the auditorium in the middle Of the Class
rooms.
Figure 47 Playground
Figure 48 Ground in front of Porch
Figure 49 Roads covered with Green Spaces
64

:

CHAPTER 5
SITE SELECTION & LIVE CASE STUDY
65

:

5.1 DATA COLLECTION FOR LIVE CASE STUDY
5.1.1 INFORMATION (GENERAL INFORMATION OF THE SITE)

NAME OF THE PROJECT

LOCATION

ARCHITECT

CLIENT

DATE CONSTRUCTION COMPLETED

TOTAL SITE AREA

BUILT-UP AREA

PROJECT HISTORY/BACKGROUND

CAPACITY

FACILITES

TOTAL NO. OF PARKING

SIGNIFICANCE AND UNIQUENESS

LIMITATION OF PROJECT

MAJOR ATTRACTIONS ON SITE & OFF SITE

TOTAL NO. OF DEPARTMENT

INDOOR FILM SHOOTING

OUTDOOR FILM SHOOTING AREA

SETBACKS

LANDSCAPING AREA

CONNECTIVITY OF RESIDENTIAL AND ACADEMIC DEPARTMENT
5.1.2 SELF OBSERVATION (INSIDE SITE)


BUILDING TYPE-______________________________________________

BUILDING STYLE-_____________________________________________

BUILDING FORM-_____________________________________________

BUILDING MATERIALS USED-_________________________________

BUILDING ENVELOPE-________________________________________

PLINTH-______________________________________________________

ROOF TYPE AND CONSTRUCTION-_____________________________

ROOF TYPE & CONSTRUCTION FOR INDOOR SHOOTING –
_______

MATERIALS & CONSTRUCTION FOR SET DESIGN-______________
66

:


COLOR OF BUILDING-________________________________________

OTHER FINISHES DONE-_____________________________________

LANDSCAPING-_____________________________________________

PARKING-___________________________________________________

CIRCULLATION IN SITE -_____________________________________

TRANSITIONAL SPACES -____________________________________
5.1.3 SELF OBSEVATION (ABOUT BUILDING)
ACADEMIC ADMISTRATIVE PREVIEW RECREATIONAL RESIDENTIAL

BLOCK BLOCK THEATRE AREA AREA
No. of classes Entrance lobby& Construction Landscaping Girls hostel

No. of capacity method Types of outdoor Boys hostel
students in Toilet(M/FE) Acoustically shooting Faculty room
each class No. of staff & treated Guest room
No. of room Area Parking
department Conference room Capacity Playground
Rooms under VIP Lounge Projector Recreational
each Offices area areas
department Green room
Camera used
5.1.4 SELF OBSEVATION (OUTSIDE SITE)


HOW IS THE SITE LINKED WITH THE MAIN ROADS AND FAMOUS
SQUARES

MODES OF TRANSPORT TO APPROACH THE SITE

EXISTING LANDUSE OF THE ADJACENT PROPERTIES

EXISTING BUILDING AROUND THE SITE

ANY TYPE OF OFF-SITE NUISANCE WHICH IS AFFECTING THE SITE

ANY TYPE OF WATER BODIES IN AND AROUND THE SITE

SAFETY AND SECURITY MEASURES ON THE SITE

THE VEHICULAR AND PEDESTRIAN CIRCULATION INSIDE THE SITE

REASON BEHIND THE FORM AND HOW IT MERGES WITH THE
SURROUNDING

DOES THE STRUCTURE COMPLIMENTS THE PERMANENT SETS

DOES IT SATISFIES THE BASIC REQUIREMENTS OF TRANSITIONAL
SPACE

IS IT DISTURBING/HARMING THE NATURE AT ANY MEANS
67

:


PROPER MAINTENANCE OF SITE AT VARIOUS LEVELS

DIFFERENT SUPPORTING SPACES

MICROCLIMATE CONDITION

TOPOGRAPHY

SOURCE OF ELECTRICITY ON THE SITE

SOLID WASTES BY SET DESIGN
5.1.5 SELF OBSEVATION (ORIENTATION)
S.No. ARCHITECTURAL SITE CLUSTER UNIT NOTE

FEATURES LEVEL LEVEL LEVEL
1 VENTILATION
2 AIR MOVEMENT
3 LIGHT SOURCE
4 WATERBODY
5 SLOP
6 LANDSCAPE
5.1.6 QUESTIONARIES FOR THE STUDENTS


Which area of the campus you like most?
__________________________________

Which time you interact with your friends?
__________________________________

In which part of the campus do you like to interact with the teachers apart from the
class ?
____________________________________

What genre of the movie you produce?
_____________________________________

How genre of the movie affects the set design?
_____________________________________

What do you prefer Indoor OR outdoor shooting?
____________________________________

What type of set design for Indoor shooting?
_____________________________________

What is the construction technique for making reusable sets?
_____________________________________
68

:


What are outdoor spaces used as a film set in your campus?
_______________________________________________

What type of cameras used while making film?
_____________________________________________

Minimum space required for movement of camera?
______________________________________________

How much time you get for making a Film?
______________________________________________

What types of set you prefer for film, actual site or designed by Set designers?
_______________________________________________

How many people required for making one film?
_______________________________________________

How the sets are different for the film department students & T.V
department?__________________________________

How the circumstances are different making films in public places & studio?
____________________________________________________
5.1.7 QUESTIONARIES FOR THE TEACHER


Total strength
Boy‘s _____________ Girls ___________

Any Bye laws for Film institute by Ministry of Broadcasting of India
__________________________

Presently in India only 2 governments funded institute, how many should be
funded by the government according to you?
__________________________________________________________________

Is there any difference in education system in government institute & private
institute?
___________________________________________________________

How helpful for the students to provide permanent set inside the campus itself?
____________________________________________________________

What decide the budget of the Film?
_______________________________________________________________

How much time the department provides them to complete a Film?
________________________________________________________________
69

:

5.1.8 QUESTIONS REGARDING TRANSITIONAL SPACE IN CAMPUS


Types of transitional spaces in campus?

Transitional spaces used by students?
As a hangout place
As an indoor & outdoor shooting area

What timing that spaces used?
As a hangout place
As a shooting area

How the space transferred as a set?

How many people gather in time?

Minimum space required for gathering people?
5.2 LIVE CASE STUDY
I have done case study of four institutes and tried to find out the role of interaction spaces
and their influence in the overall learning environment of the campus. This case study has
considered the inter relationships of the faculty and the students and how much is there
involvement for a successful interaction space design.
1. Film and television institute, Pune
2. Wishling Wood institute, Mumbai
3. Centre of environmental planning and technology , Ahemdabad
4. IIT Gandhinagar
This case study involved a photographic documentation, personal interviews with the
students and teachers and a survey on various interaction spaces and transitional space in
the institution campus.
70
Start Free Trial

Cancel Anytime.

:

5.2.1 FILM AND TELEVISION INSTITUTE, PUNE
Name: Film and Television institute of India
Location: in the premises of the Prabhat studios, law college rd. Pune
Area: Presently 22 acres in use and 34 acres for future expansion
Date of commencement: Year 1961
Client: ministry of Information and Broadcasting
Foreign collaboration : Member of international Liaison centre for cinema and television
school (CILECT)
5.2.1.1 BRIEF HISTORY

The FTII was established by the government in 1960 under the Ministry of
information and broadcasting.

The studios of Prabhat Film Company were available for sale and govt. acquired
these studios for housing Film Institute.

This was a great advantage as the existing facilities of a full-fledged film studio
became available.

The institute was converted into an autonomous society in 1974.

The FTII is considered as a centre of excellence not only in India but also in Asia
and Europe. Films are made by the students of the institute are entered in festivals
both in India and abroad. Many of them have won National and International
awards.

The alumni of the FTII have penetrated all corners of the Indian film and television
industry. Example-Subhash Ghai, Mani Kaul
Figure 50 FTII entrance
71

:

Figure 51 Way to FTII
5.2.1.2 LAYOUT

The site is located in Pune 193kms. Away from Mumbai which is the main
production centre of film industry.

It is situated on a very busy law college road in the old campus of prabhat studios.
Figure 52 FTII site
A wide tree lined avenue leading from the main gate to far end of the site where the
shooting areas are located, divides the site in to two halves with building situated on both
sides of the road.
72

:

5.2.1.3 SITE

It occupies about 22 acres of land and has acquired 35 acres of land for expansion
adjoining the present site. The site is long narrow about 240 meters along. Its breadth
is 360 meters along its depth.

Site has an access only from the side which is along the law college road.
5.2.1.4 SURROUNDING

FTII is sandwiched between two housing societies on north and south of the site.

The law college road, which is the access road is a very busy road.

The other buildings which from the context of the institute are the National film
Archives of India , Law college, Bhandarkar institute, SNDT college for girls , etc.
5.2.1.5 TOPOGRAPHY

The site in average has a slope of 1:35 .

The slope is from west to east which helps in drainage sanitation systems.
5.2.1.6 TRANSFORMATION OF SPACE
73

:

5.2.1.7 ZONING OF CAMPUS

The site is divided along the lateral axis and forms 3 zones.

The zones at the extreme ends consist of residential buildings and huge open spaces in
the front.

The remaining zone, which forms the centre, consists of the administration and
academic dept. This is the main institutional area of the campus.

The residential buildings have the maximum advantage of the spaces.

Since all the institutional buildings are part of the same zone, the movement during
working hours gets convenient.

As the vehicular access cuts through the pedestrian zones, the pedestrian movement
gets disturbed, thus making it uncomfortable.

The institutional zone is further divided into-film wing and television wing. The film
wing lies on the northern part of the campus, while the T.V wing is on the south side
Figure 53 FTII site plan

Total area of the plot – 71,005 sq.m

Total built up area – 23,957 sq.m

Internal roads – 6,630 sq.m

Open spaces area – 40,418 sq.m
74

:

5.2.1.8 COURSES OFFERED

The courses offered by the film wing are as follows

Direction (Three year post graduate diploma courses)

Cinematography (Three year post graduate diploma courses)

Audiography (Three year post graduate diploma courses)

Editing (Three year post graduate diploma courses)

Acting (Two year post graduate diploma courses)

Art direction (Two year post graduate diploma courses)

Animation and computer graphics ( One year certificate course)

Screenplay writing
All courses above intake of 12 students , of which 2 are foreign students , while intake
capacity for acting is 20 students.
5.2.1.9 SOUND RECORDING AND EDITING DEPTARTMENT


This is a new building set up 7 years ago exclusively for sound recording and sound
editing purpose.

The microphones used in the location are very sensitive and catch the desired as well
as undesired sounds on site. Thus all sounds involved in the scene need to be dubbed
or re-recorded. Also desired background music is recorded after the shoot.

The department includes studios for re-recording, effect recording, sync & non-sync
dubbing, background music etc.

The department building houses the following functions,
- Recording studios – 3
- Editing rooms – 2
- Classrooms – 2
- Electronic library – 1
- Staff room – 1
- Stores – 1
- Control and projection room – 2
- Toilets
Total built-up area of the building 1,059sq.m
75

:

Figure 54 Sound Recording and editing studio
Figure 55 Interior view having Waffle Slab
Figure 56 Sound Recording and editing department plan
5.2.1.10 BUILDING SYSTEM


It is a RCC frame structure with cavity walls all around for better sound insulation.

All the studios, lab and class rooms are air conditioned, which is a centralized system.

The A.C plant for the building is placed adjacent to the building.
76

:

5.2.1.11 RECORDING STUDIO – 9X11m


A recording studio is totally sound and dirt proof. Cut off lobbies are provided at the
entrance of every studio, where footwear is removed.

The recording studio includes a projection screen along with recording machines.

The studios are attached with a control room which is completely sound isolated and
can hear only the sounds recorded by the recording machine.

A projector room is placed just above the control room from where the edited film is
projected and viewed while recording.

The projection of the film can also be controlled from the control room making it
convenient
Figure 57 Projection of film

5.2.1.12 SOUND EDITING STUDIOS

Size of and editing studios is 9x6

These studios need not be sound proof but they have to free of dust and dirt
Figure 58 Sound editing department
77

:

5.2.1.13 ACOUSTIC TREATMENT


All studios are air conditioned (centralized system).

The acoustical treatment of the studios be such that there is no reverberation of sound.
Reverberation time should not be more than 1 sec and ideally it should be 0.8sec.

Studios have a false ceiling of depth 700mm, accommodating all electrical services.
The ceiling consists of perforated acoustic panels which absorb sound.

Flooring is soft carpet.

Up to the height of 1.2m wooden panels are fixed which absorb the low frequency
sound.
5.2.1.14 ART DIRECTION AND OLD SOUND DEPARTMENT


This building housed the sound dept. before the new building was constructed.

It is a two storied building which now consists of the dept. of art direction on the
ground floor and first floor still has old recording studio.

The department consists of -
- Faculty room – 1
- Office room – 1
- Classroom – 2
- Computer lab – 1
Total no of students – 12
Total area – 328 sq.m

Total staff – 5. out of which 3 are faculty members and 2 are assistants.

The upper floor consists of a recording studio, control room, projector room, and
store.

Being an old building there is no centralized A.C facility. Three window units are
placed in the recording studio, but they have to be switched off during recording
due to the excessive noise.
78

:

Figure 59 Art direction department- first floor plan
Figure 60 Art Direction department- ground floor plan
The painting section and the carpentry section situated in the south campus are

used for special classes

These sections being quite far off from the dept. causes inconvenience.

A garden has been developed in the backyard of the building.


Also there is an open space in the front used for socializing.


Figure 61 painting and carpentry section
79

:



The building , constructed in the 1960s ,is a load bearing structure with brick piers and
brick wall.

Brick arches from façade of the buildings, with Manglore tile sloping roof.

The 80ft long corridor on the upper floor is cantilevered and singly loaded.
Figure 62 Singly loaded and cantilevered corridor
5.2.1.16 FILM EDITING AND PROCESSING


The building is located in the north campus and consists of both, the film processing
laboratory and film editing dept.

The laboratory is operational for processing of the black and white films only.

This is the only institute in the country which has a laboratory of its own.

The lab is equipped with two developing machines. One for 35mm film and other for
16mm film.

The film processing consists of the following spaces –
- Dark room with developing machines – 2
- Chilling plant room – 1
- Silver recovery room – 1
- Maintenance room – 1
- Printing room – 1
80
Start Free Trial

Search
Cancel Anytime.
Download now 

:

- Film grading room -1


The developing room is on the first floor, the chilling plant is on the ground floor
and the silver recovery unit on the second floor.

Total ground coverage of lab – 925sq.m
Figure 63 Film editing and processing department
5.2.1.17 DEVELOPING LAB


The size of the machine is 3x1.2m
What is Scribd? 

The laboratory accommodates two such dark rooms, along with tables for assistant
staff and a dark corridor of 2m width at the back which leads to the toilet.

The entrance to the lab is at the first floor level, through a cut-off lobby.
Millions of titles at your fingertips

Negative of the film is developed i.e. converted into a positive film, which is


developed in dark room.
Home Only ₹299/month.

Books Cancel anytime. Documents
Audiobooks
The developing takes places in 3 stages, out of which the first two have to be

carried in completely dark room conditions.
Read free for 30 days
Learn more
81

:

Figure 64 First Floor Plan
82

:

5.2.1.18 CHILLING PLANT ROOM


The chemicals used for developing need to be maintained at a temp. of 22*C.

These chemicals are chilled in this room at then sent upstairs for use.

There are total 3 chilling units in this room (15x9), out of which one is out of order.
Space required by one unit is 3x2.5m.

There is also a maintenance room of 6x5m and a tour of size 3x5m.
5.2.1.19 SILVER RECOVERY UNIT


This unit is placed on the second floor.

It has to be kept separately, as it produces silver nitrite

The space required for this unit is 2x3m with flooring of terracotta tiles. Since
highly concentrated acids are used, RCC flooring gets destroyed, but kota stone is
an ideal material used for this purpose.

Floor consists of a store 6x5m for storage of acetic acid barrels and other
chemicals.

On this floor too there is also a lots of wastage of space.
5.2.1.20 PRINTING ROOM AND FILM GRADING ROOM


These two rooms are on the first floor, same floor as the developing laboratory.

Once the film is developed, it‘s taken to the grading room (3x6) where light value
of each and every frame is checked on a checking table.

The film after checking is then brought to the printing room (3x6m), where the
magnetic film(sound film) and the film are printed together.

Initially a rush print is developed for editing. This edited film is then re-recorded in
the sound dept. and then brought back to the lab for final printing .
5.2.1.21 EDITING DEPARTMENT


Editing dept. is placed in the same building as the lab.

This dept. is supposed to be totally dust and dirt free. So the footwear is removed in
the lobby.

Here the rush print is viewed and the unnecessary scenes are cut and film is taped
back manually.
83

:


The dept. consists of the following
- Film cutting classrooms – 3
- Film editing rooms – 15
- Faculty rooms – 1
- Staff room – 1
- Store – 3
Total ground coverage of editing dept. – 460 sq.m
5.2.1.22 FILM CUTTING CLASSROOMS


There is a classroom (12x15m) on ground floor and the first floor for manual
cutting.

12 student work at a time in a classrooms and so the room is equipped with 12
cutting tables.

The size of the cutting table is 1x2m, which has a hanging bin attached to it, for
putting in waste prints.

The tables are placed on the sides of the room with an central aisle of 2m.
5.2.1.23 EDITING ROOMS


There are 7 editing rooms on the ground floor on the sides of the classrooms. While
there are 4 on each first and second floor.

The size of each editing room is 3x6m.

Here the film is viewed and editing sequence is marked on the editing machine.

Size of machine is 2x1.2m
5.2.1.24 FLM AND RAW STALK STORAGE VAULTS


Both these rooms are placed on the ground floor of the film processing and editing
department.

The temperature of the room for the film storage is supposed to be maintained at 12
– 15 degree Celsius.

The film storage is of size 9x6m and the study films from the year 1962 are stored
in this room. The arrangement is also done year wise.
84

:


The arrangement of the racks is back to back. The size of one shelf is
120x30x25cm. The aisle width between two racks is 1.2m.

A cooling machine is installed on the ceiling which has a depth of approx. 600mm.
Also air tight door is provided for maintenance of temperature in both the vaults.

Another vault is provided for raw stalk i.e. blank films ready for use.
5.2.1.25 INDOOR SHOOTING STUDIOS


There are 2 indoor shooting studios in the campus, both are placed on the north
side.

The studio I complex consists of the following
- Shooting space
- Storage
- Prabhat museum
- Staff room – 12 nos
- Guest rooms, make-up rooms , toilets etc.
Total ground coverage area – 870sq.m


The structure consists of 3 bays one with all the staff room, guest room etc. while
the central bay is the shooting space and the last bay is storage and the museum.

Ground floor consists of 12 staff rooms of 3x6m each. Above these rooms are guest
rooms, rest rooms, make-up rooms and toilets for the shooting unit and actors.

On the other side of the studio there is a storage for the set material and prabhat
museum.

The museum was set up in 1995 for preserving materials of museum value
inherited from prabhat studios.

The studio is 39x21m in size. There aisles of 2.5m on both the sides with
mezzanine floors on them.

These floors are used for storage and easy access to the lights and other fixtures.

Studio II is adjacent to the studio I, which is smaller in size (13x24m). It does not
have any aisles or mezzanine floor for storage.
85

:

Figure 65 Indoor shooting studio plan
Figure 66 Indoor shooting building


Both studios are very old, constructed in the period of 1940s.

It‘s a long span structure with brick piers (600x600mm) placed 3m c/c.

The roof is pitched with a roofing of fiber crete sheets (1.5x0.75m) and corrugated
A.C sheets on top.

The roof is supported by steel truss with steel rafters and purlins.

The max. height of the studio I is around 16m and studio II is 10m.

The mezzanine floors inside are supported on steel stanchions with wooden planks
just placed on them.
86

:

5.2.1.27 CLASS ROOM THEATRE (C.R.T)


It is situated neat boy‘s hostel & adjacent to the outdoor shooting area.

CRT has a capacity to accommodate about 80 people at a time and its size is
20x8m.

It is sufficient for lecture delivered to the entire student body by a lecturer. It
becomes somewhat congested when used for get-together of present and ex-
students.

It is not connected to all department of the institute (except for direction) since all
the department share this hall.

The room serves as a small auditorium as a class room and also as a small
gathering place. Hence it requires proper natural as well as artificial lighting. The
lighting is satisfactory, but the natural lighting is not very adequate.

No special attention has been paid to reduce the glare from the large west facing
window.

The projection room is situated in a small barely wide enough.

There are 6 rooms for professors and other staff adjoining the CRT.
Figure 67 Class Room theatre
5.2.1.28 MAIN THEATRE


The auditorium is situated in one of the old studios of prabhat studios, so it has got
no defined elevation. It is used for performing as well as screening.

Presently the capacity of the auditorium is 250 which would be insufficient for an
increased number of students.

Also the space is found to be inadequate to accommodate a large number of people
on special events like drama or movie programme which are usually kept open for
outsiders and ex-students.
87

:


A camera department is attached to the theatre which consists of stores and
maintenance rooms for different types of cameras.
Figure 68 Main theatre
Figure 69 Main theatre plan
5.2.1.29 ANIMATION DEPARTMENT


The department consists of a classroom and a computer laboratory.

Computer graphics department is included on a mezzanine floor of size 5x5m.

The classroom size is 9x9m , which have working tables along with light tables for
each student. Total number of students is 10-15.
88

:


The department is being run since 10 years and is still not well equipped. The space
given is also not sufficient and it is one of the most neglected departments of the
institute.

But keeping today‘s scenario in mind, animation is as important as a film.
5.2.1.30 BOOKS LIBRARY AND VIDEO LIBRARY


There is a separate library for video tapes. The size of the library is 9x4m.

There is a common book library for film and TV students.
Figure 70 Books and Video library
5.2.1.31 PAINTING AND CARPENTRY SECTION

The painting section is housed in the old canteen building. The painting section occupies
only a part of the building while the remaining space has become a dump yard.

The size of the painting section is 12x10m and all the set-up of a set is done here.
Also workshops of the art direction students are held here.

Carpentry section is adjacent to the east arm of the main building and both of them
are interconnected.

The size of the carpentry section is 12x7m and size of the store for planks is
10x6m. There is a separate service entry for this section.
89

:

Figure 71 Painting and carpentry section
5.2.1.32 RESIDENTIAL FACILITIES


The campus includes Girls and Boys hostel and Directors residences.

The intention of having the director‘s residence in the campus itself is that the
students can have free access and informal discussion with him in various aspects
of film making.

The boy‘s hostel is located very near to the canteen.

All the rooms are placed along singly loaded corridor overlooking into open space.

The toilets and the staircase are provided at the two ends of the building.

It houses a common mess for boys and girls at the junction of two arms of the
building, which is very inconvenient.

The girls hostel is located near the entrance, near director‘s residence.

The rooms are placed along a doubly loaded corridor, and only the south facing
rooms overlook into open space.

Both the hostels include common rooms and game rooms and also place for warden
to stay.
90
Start Free Trial

Cancel Anytime.

:

Figure 72 Hostel
5.2.1.33 RECREATIONAL AREAS AND OPEN SPACES


Canteen is placed behind the boys hostel accessed pathways passing through lots of
trees.

The canteen has indoor capacity of 50 and outdoor capacity of 30.

The film storage is next to director‘s office, which has got burned by accident and
films stored in it were lost. This structure was then converted into a Gymnasium,
but this place is found to be insufficient for all the equipment's to fit.

There is a swimming pool at the rear end of the site. It is only used for leisure
purpose but also for shooting purpose. Chambers are provided around the pool for
underwater shooting.

There is a sports ground at the entrance of the campus. It is also used for shooting
purposes
91

:

Figure 73 Canteen

Open spaces form an important part of any film institute

These open spaces serve outdoor shooting locations for students as well as
professionals.

Thus the treatment of such open spaces, or landscape designing is of equal
importance.

The ratio of the built spaces versus the open spaces of the campus is almost 1:2 .
There is a lot of forest area and since the campus is the part of a hill there are
abundant shooting locations.

Lots of shade giving trees are planted all around the campus and also huge sports
ground is provided

Many sitting and other such interactive places are also provided.
Figure 74 Sitting and interactive spaces

Parking is another important aspect of the open space utilization.

The parking is all surface parking.

The visitor‘s parking is at entrance for only 4 four wheelers and 20 two wheelers.
92

:


There is no specific area allotted for parking. The staff vehicle are parked at the edge
of the road or at available open space.

The generator vans or the service vehicles are parked near the studio.
Hostel parking is provided near the hostel blocks with temporary sheds for 4-two wheelers
LOCATION MODIFICATION IN CAMPUS( SHOTS FROM MOVIES)
5.2.1.34 INFERENCES

Workshops building is near to TV studios thus provide a better service.

Studios are placed in a row one after the other by introduction of a tar road, which
serves the two studios and the other departments nearby.

Film processing lab is near to the studios and other departments which is one of the
basic needs of planning the film production units.

The vehicular and pedestrian movements should be separated properly.
93

:


Administration departments, staff rooms are distinctly located thus causing less
interaction between them.

There is lack of recreational spaces.

The auditorium is partly isolated from the main activity area thus apart from the
integrity of campus.

The main studios have no direct contact with the outdoor shooting areas. Also the
workshop and property store are placed on the opposite sides of the road.

Covered parking can only take four cars which is very inadequate. No provisions
for covered parking for visitors thus very inconvenient for them. The visitors have
to park their vehicles beneath the tree shadow in front of the gate security office.

The auditorium is not have any special provisions of parking hence all the vehicles
get parked on the road next to it during time of shoes, causing traffic congestion
problems.

The sport ground is not much used by the students for any programme or function
and not even for sports. Hence their design purposes not fully satisfy.

Also the animation department is the most neglected department which is a very
upcoming technology today and should be given equal importance.

Lack of proper future planning has led to lot of redundant spaces and also the
available spaces are insufficient.
5.2.1.35 QUESTIONAIRES

Which area of the campus you like most?
Canteen, Old pond & open ground

Which time you interact with your friends?
Mostly lunch time and after college

In which part of the campus do you like to interact with the teachers apart from the
class?
Mostly in studios while shooting

What genre of the movie you produce?
All type of genre

How genre of the movie affects the set design?
Yes, genre of the movie affects the set design

What do you prefer Indoor OR outdoor shooting?
Both depends on the what type of crowd is .
94

:


What type of set design for Indoor shooting?
Flexible sets, all are removal

What is the construction technique for making reusable sets?
Modular type

What are outdoor spaces used as a film set in your campus?
Ground, old pond, swimming pool, forest area, residential block , L- block

What type of cameras used while making film?
Dolly camera , track , stand

Minimum space required for movement of camera?
Track width 60cm , 1mt to 1.5 mt

How much time you get for making a Film?
1 month

What types of set you prefer for film, actual site or designed by Set designers?
Indoor film shooting

How many people required for making one film?
Around 10 ppl

How the sets are different for the film department students & T.V department?
Film sets are realistic while T.V sets are not that focused on set
5.2.2 WHISTLING WOODS INTERNATIONAL, MUMBAI

NAME: WHISTLING WOODS INTERNATIONAL
LOCATION: Film city, Goregaon east, Mumbai.
AREA: Presently 4 acres in use and 20 acres for future expansion.
DATE OF COMMENCEMENT : Year 2005
CLIENT: Subhash Ghai
ARCHITECT: Ar.Atul Desai
INTERIOR DESIGNER : Ar.Amla Seth
FOREIGN COLLABORATION : Film Academy, Australia.
95

:

Figure 75 Whistling Woods International, Mumbai
5.2.2.1 INTRODUCTION

Whistling Woods International is an Institute set up in year 2005 by very famous
director Subhash Ghai.

The institute offers not only the theoretical practical training required.

The institute is located in the film city and is set up in affiliation with film city.

The institute is placed adjacent to the Adlabs, which are colour developing lab.

Therefore the institute does not have a film processing lab of it own, but films are
given to Adlabs.

Also the biggest advantage of the film city campus in terms of shooting locations
and infrastructure , but also the professionals visiting the campus
5.2.2.2 LOCATION
Figure 76 Whistling Woods International site
96

:

5.2.2.3 SITE

The access to the site is from the north and the building is entered from the south.

The site is located on a hilly area and it slopes upwards from north to south.

The slope is around 1:8m. So the entrance of the building is at the first floor level
and the rear entry from the north is at ground floor level.
5.2.2.4 PLANNING AND ZONING


It is not a campus but is one structure as a whole

The structure is divided in 4 blocks namely –
A. Administration
B. Auditorium and multi-purpose hall
C. Academic
D. Recreational

Whole building is based on radial planning.

All these blocks overlook into a courtyard ,which is accessed from the ground floor
level.

Similar to the FTII campus, this building is also planned with east-west orientation.

But this court cannot be accessed from recreational block directly, which is a
negative point.
Figure 77 Planning and Zoning
97

:

5.2.2.5 PARKING

The biggest drawback is that there is no specific parking provided. All the vehicles
area parked in the sun and no shade is provided.

The 2 wheelers are parked on the west side, adjacent to the structure.

Visitor‘s vehicles are parked along the road on the south in front of the building.

The service vehicles, vans, buses, etc. are parked on the open space on the south
side of the site.
Figure 78 Visitor's vehicles
Figure 79 Parking
5.2.2.6 COURSES OFFERED

The institute offers two year courses, with an intake capacity of 15 students per course.
The courses offered are as follows,

1. Acting
2. The art of technique of animation
98

:

3. Business of film and television
4. Cinematography
5. Direction
6. Editing
7. Screenwriting
8. Sound recording, design and music production
Out of which only animation course has an intake of 35 students?
5.2.2.7 BLOCK WISE ANALYSIS

5.2.2.7.1 1. BLOCK – A (ADMINISTRATION BLOCK)

The administration block is a G+4 structure.

It is a circular building with central atrium and all the floors having corridors which
look into the atrium.

The entry is at first floor level which consists of reception ,waiting lounge, pantry,
meeting room.

The second floor consists of cyber café, faculty lounge ,conference rooms.

The third floor consists of the faculty rooms and the president‘s room. And the
fourth floor consists of Subhash Ghai and Megha Ghai‘s cabin.

The ground floor which opens out into the courtyard consists of the admission
department , accounts office marketing, mail room and waiting lounge.
Figure 80 Administration Block
99

:

5.2.2.7.2 5.2.2.9 BLOCK B (Auditorium and multipurpose hall )


The auditorium has a big lobby and can be accessed directly from outside.

The capacity of the auditorium is 250 people.

There are two multi-purpose halls on this floor. The size of the hall is 6x9m and
height is 6m.
Figure 81 Auditorium Lobby
Figure 82 Auditorium
5.2.2.7.3 5.2.2.10 BLOCK C (Academic)


The academic block comprises of 2 floors, with 13 classrooms on each floor.

There are around 450 students in the institute.

The functions accommodated in this block are as follows,
- Level 1 editing lab
- Level 1 sound recording lab
- Pre-production lab.
- Music room
- Audio visual rooms.
100
Start Free Trial

Cancel Anytime.

:

- Lecture halls

The classrooms are placed along a singly loaded corridor overlooking into the
courtyard.
Figure 83 Academic Block
5.2.2.7.4 5.2.2.11 BLOCK D (Recreational block)


Block D and A are connected through a bridge on first floor level.

The building has a cut out at the centre which keeps the first floor very well lit.

A table tennis game is kept in this central space along with the students lounge.

The other recreational activities provided are, coffee shop, and gymnasium, also
there is a facility of ATM.

There is a film studio and a TV studio on the ground floor along with changing
rooms. The size of both the studios is 12x18x12m

The second floor consists of the Animation dept. The department provides 1
computer lab, 2 studios and 2 light table‘s room. Each room is facilitated for 35
students.

Ground floor consists of the service area with AHU units, maintenance rooms,
stores, central machine room.
Figure 84 Recreational Block

101

:

Figure 85 Table tennis lounge

The ground floor also consists of the level 2 and 3 of sound recording and editing
acting workshop and the foundation hall (A.V room).

The courtyard can‘t be accessed from the ground floor of this block.

Music mixing and sound recording rooms are completely sound proof along with
the control room.

The editing rooms are equipped for 15 students with computer tables. The sound
recording rooms do not have big screen for viewing and the size is around 4x4m.
Figure 86 Recreational block

5.2.2.8 BUILDING SERVICES

The rooms which need to be totally sound proof are provided with double glazing
glass doors. While the walls are cladded with thick foam boards with perforated
wooden panels fixed on them.
102

:


All other service rooms are accommodated in the Block D.

Whole building has centralized air conditioning system and the AHU unit and the plant
is placed in Block D.
5.2.2.9 CANTEEN FACILITY


Whistling woods international operates both a large cafeteria and a café on a
campus. These are open throughout the day and evening. Offering a welcoming
and social atmosphere where students can meet and relax.

The cafeteria , with a beautiful outdoor terrace overlooking the national park ,
serves breakfast and buffet lunch and dinners with additional vegetarian and non-
vegetarian options.

The café, located next to the studio complex, serves a variety of snacks and
sandwiches.
Figure 87 Cafe
5.2.2.10 INFERENCE

The spaces provided are adequate and there is no wastage of space. Also there is a
scope for future development.

One of the good points of this institute is its integrated planning and the inner
connection of all the blocks.

Covered and non-covered links are taken care of considering the climate of
Mumbai.

The segregation of all the functions is achieved very well in the design.

But the issue is the parking for staff and visitors are not segregated.

Open spaces and recreational spaces should be more in number

Being wedge shaped rooms, the functioning is proper.
103

:

5.2.2.11 QUESTIONNAIRE
1. Do you want campus inside the city or outside the city?
The place is good, but some problems like transportation and women safety is must as it‘s
a deserted place from rest of the city.
2. Does campus requirement and facilities complete the need of students?
More recreational spaces and open space required. High end
Equipment required. A student‘s lounge required.
3. Accommodation facilities?
No campus hostels, they provide hostel/flats through brokers and agents outside the
campus.
4. What you feel about the design and architecture of the building?
Design is good, light and ventilation is perfect, but not in basement.
5. Difference between govt. institute and private institute?
We get placements here directly from the film industry. Way of teaching is better than
govt. institute.
6. Which area of the campus you like most?
Canteen, Old pond & open ground
7. Which time you interact with your friends?
Mostly lunch time and after college
8. In which part of the campus do you like to interact with the teachers apart from the
class?
Mostly in studios while shooting and canteen
9. What genre of the movie you produce?
All type of genre
10. How genre of the movie affects the set design?
Yes, genre of the movie affects the set design
11. What do you prefer Indoor OR outdoor shooting?
Both depend on the type of crowd.
12. What type of set design for Indoor shooting?
Flexible sets, all are removal
13. What is the construction technique for making reusable sets?
Modular type
14. What are outdoor spaces used as a film set in your campus?
Forest area and basketball court
15. What type of cameras used while making film?
Advanced technology are used in institute
104

:

16. Minimum space required for movement of camera?

Track width 60cm , 1mt to 1.5 mt
17. How much time you get for making a Film?
1 month
18. What types of set you prefer for film, actual site or designed by Set designers?
Indoor film shooting
19. How many people required for making one film?
Around 10 ppl
20. How the sets are different for the film department students & T.V department?
Film sets are realistic while T.V sets are not that focused on set
5.2.3 CENTER FOR ENVIRONMENTAL PLANNING & TECHNOLOGY

(CEPT UNIVERSITY)
NAME: CENTER FOR ENVIRONMENTAL PLANNING & TECHNOLOGY
LOCATION: Gujarat University area, Ahmedabad
AREA: 12.5 acres
DATE OF COMMENCEMENT : 1962
ARCHITECT: B.V. Doshi

The free plan concept of Corbusier is adopted with space underneath it which is
active and multi-functional, designed for sun protection and exposure to breeze.

The site is located in the Kasturbhai Lalbhai Campus in Navrangpura, a western
suburb of Ahmedabad

It is roughly rectangular, with extensions on the eastern side at the northern and
southern ends for vehicular parking and on the southern side.

The general slope is towards the north- western corner.

Feasibility The site is 6.7 km from Ahmadabad railway station, 6.9 km from
Ahmadabad Bus stand and 11.8 km from Ahmadabad airport.
105

:

5.2.3.2 LOCATION
Figure 88 CEPT site
Context-(surrounding area)

The site is surrounded by A wide arterial road on the western side

Smaller public approach road on the northern side

Cricket field on the eastern side

Internal access road on the southern side.
5.2.3.3 FEATURES:

The school building is set back 100 ft. from the main road and shielded
by trees to create a serene atmosphere inside the campus and is hardly
visible from the main road.

Emphasis on open flexible spaces with hardly any doors.

Creation of a proper working environment facilitating faculty and
students to have free scope to learn and teach anywhere.

Exposed local materials for low cost, easy expansion and maintenance.

The design is intended to be close to nature and experiment the
designing skills, play with levels etc. Since the land was earlier a brick
kiln, the site was undulated and gave opportunity to play with levels.
106

:


There are inclined skylights on top of the studios, perpetually letting in
natural light into the spaces.

The studio spaces have bay spaces facing the exterior, creating semi-
private spaces which are yet totally open to the exterior - spaces where
the individual can be alone with nature even in the environment of a
studio.
5.2.3.4 DISPOSITION OF BUILDINGS:


The buildings are placed orthogonally with respect to the sides of the site and
hence along the cardinal directions.

A look at the plan will reveal the predominance of the north- south direction in the
general organisational scheme of the site as well as its component buildings.

The placement of the buildings themselves spread out and interspersed with loosely
held open spaces characterised by terrain features and greenery which creates a set
of inter connected, flowing spaces which may be traversed by several combinations
of paths taken thus conveying a sense of continuity and openness.
5.2.3.5 5.2.3.5 APPROACH


Main access on the northern side

Two entrances on the southern side

Two entrances on the western side

Wide spanning, multiple storeyed usually in transverse groupings narrower
spanning, single storeyed, vaulted, usually not combined.
Figure 89 CEPT site plan
107

:

5.2.3.6 PLANNING:

The built form starts with a pair of parallel walls. The basic component of the
buildings of CEPT is a derivative of a pair of parallel, load-bearing walls,
supporting a flat floor-slab.

The repeated occurrence of parallel-walled structures in the buildings of the
campus can be observed.
Figure 90 Central Court

The overall planning has been done around the central court with built masses on
sides and green on one side which gives the campus noise protection from traffic.

Architect has included uneven contours into the plan transforming a drawback into
a delightful experience of space.

The whole building is very simple and architectural elements are expressive of
their functions.

The spaces created by volumes and voids are visually exciting.

The building has simple horizontal lines and merges beautifully with the site.

The building is two-storeyed with a split level basement.

The building design incorporates the thermal comfort and natural sensibly.
108

:

5.2.3.7 ENTRANCE:

The entry to the complex is through a long axis which ends up in facing a
blank wall. One is forced to turn, go down a flight of brick paved steps and
turn then again to enter the main wide flight of steps rising up ever so
slowly towards the framed entrance to the library. On the right side is the
double storeyed studio block perpendicular to the axis of the library.

The main administrative block is approached by an informal and indirect
approach thus emphasizing the change in direction and the informal nature
of the campus.
Figure 91 Approach to admin block

There are small structures of the wood workshop and the TV room, which
helps in containing space.

The building forms are arranged around a courtyard which can be accessed
from all the sides with open spaces flowing into each other through well
designed transition spaces.

The entry to the individual buildings provided from the common court
around which the buildings are arranged.

Vehicles are restricted to the parking space provided at the periphery while
the campus is pedestrianized.
5.2.3.8 BASEMENT

The basement is a multipurpose space. It is a very active space of the campus.
109

:


On one side of the basement rising contours can be seen, and on the other side steps
towards the central courtyard. Thus the north and south walls have been avoided.

Numerous activities are performed here like cultural programs, fests and
exhibitions, indoor games etc.
Figure 92 Basement
5.2.3.9 CENTRAL COURTYARD


The central court is a combination of paved and unpaved areas, shaded by trees in
certain areas.
Figure 93 Central courtyard


All entrances are linked to the courtyard by pedestrian pathways.

Hence the courtyard is an area of heavy circulation and interaction.

The courtyard has grown organically with the addition of informal seating Court
has large unpaved area, lacking in grass or vegetation. Cultural activities, reading,
games, meetings etc. all happen here.
110
Start Free Trial

Cancel Anytime.

:

5.2.3.10 CANTEEN

The canteen is on the corner of the axis of the studio block.

There are external built in seats which encourage discussions and which over the
years have evolved into the most active vibrant part of the entire campus.

Both students and faculty sit around this space, chatting.

This space is a true reflection of the spirit and culture in the campus with a great
atmosphere of interaction, informal discussions and learning.
Figure 94 Canteen
5.2.3.11 STUDIOS

The studios have large openings which open into the greenery outside.

Panels at the sides help the students to put up the important and useful sheets.
Figure 95 Large Openings in studios
111

:

Figure 96 Studio Section

All the studios are above one another, along with the adjacent lecture rooms.

There are common interaction zones between the studios of different years.

The studios are designed keeping in mind the climatic needs and comfort of its
users.

The building section and double height studios are well conceived to facilitate air
flow.

The building is oriented along the E-W axis with openings on N and S and thick
walls are provided on the east and west to keep off the hot sun.
5.2.3.12 INDOOR CIRCULATION


The circulation within the building is very complicated with lots of level changes
and staircases at different level.

The corridors are less and short length.

All the places within are visually interconnected.
Figure 97 Corridor
112

:

5.2.3.13 OUTDOOR CIRCULATION


The circulation with in this campus is pedestrianized.

The vehicular access is restricted along the periphery of the campus.

There are lot of trees within the enclosed spaces from where all the building are
accessed which provide ample shade and comfort.
5.2.3.14 VENTILATION:

The parallel walls, forming an open tube of space are predominantly aligned North-
South, effectively closing off the East and West sides.

The north side is heightened to allow more north light in while the south side is
kept low to shield from the harsh direct radiation.
Figure 98 Section showing light ventilation


This results in a configuration with a double height north side and a single height
south side.

Such difference in heights in section leads to a combined volume, emphasising the
directionality set out by the parallel walls in plan.
5.2.3.15 SCULPTURE PARK


The campus is also has magnificent sculptures.

sculpture park is situated in the southern part of the campus.
113

:


The ―Hussain Doshi Gufa‖ forms another locus of the campus designed by B. V.
Doshi in collaboration with eminent artist M. F. Hussain.
Figure 99 Hussain Doshi gufa

Figure 100 Sculpture park
5.2.3.16 ACTIVITY CENTRES

The nodes/hub of activity of the campus have been identified as following:
1. Central court
2. Canteen
3. The school of interior design plaza
4. The earth mounds
5. The basement
The basic factors that contribute to spaces that have actively evolved to be the activity
centres of the campus are Activities: eating, recreation, contemplation Comfort: shade, air
movement, Informality of space, extroverted spaces
114

:

5.2.3.17 LANDSCAPE

The campus is full of neem trees, which were planted over the years since the
initial phase makes hot Ahmedabad climate cooler.
Figure 101 Trees in the campus


The trees provide a perpetual changing pattern of light and shade.

There are many interconnecting pathways with brick paving and terracotta tiling.
There are also small plants within the building and plotted plants at places.

The steps in fact become external activity hubs with students using the levels for
reading, organising informal discussions, performances or even for simply lazing
around.
5.2.3.18 RAINWATER
Inverted channels are provided on the roof with large water spouts at the end. These stand
out in the building form as a visual feature.
Figure 102 Inverted channels on the roof

5.2.3.19 INFERENCES

Simple structure of parallel brick walls, concrete beams & floors that is extendable
& easy to maintain.

An open place with hardly any doors. No feeling of restriction to the exchange of
ideas & free scope of teaching & learning anywhere.
115

:


More use of interaction & transition areas like corridors, galleries & courts &
foyers throughout the campus.

Structural obstruction free ground makes the spaces multi-functional & active zone
in campus.

Building looking inward makes the environment livelier.

Circulation is so easy to make all buildings easily accessible.

The informal interaction spaces with trees & seating make them relaxing & calm

There has to be a feeling of no restriction to the exchange of ideas and thoughts
through an informal environment.

A thrust has to be given on the provision of flexible spaces which can be used in a
multifunctional manner.

A strong interconnectivity amongst spaces is required, making the school an ‗open space
with hardly any doors‘.

A proper working environment has been created which facilitates faculty and students to
teach, learn and interact anywhere.

Local materials have been used, essentially to reduce the installation and
maintenance costs.

CEPT, Ahmedabad is good example of blend of nature with the built-up. There is a strong
connectivity between the building blocks.

The buildings essentially ‗merge with the surrounding ‗to provide a unique
ambience.

Recessed windows provide protection from the hot sun, while angled windows
assure that maximum light reaches the interiors.
5.2.3.20 DEMERITS

The loose soil in the central courtyard is unpleasant to walk on and makes the
atmosphere very dusty.

Even though the entry for school of architecture is spacious and well ventilated, it
is too dark at the day time also.

There is no ramp at the entrance making it difficult for the physically challenged
people to enter the building.

In many places spiral stairs are used widely and are uncomfortable for daily use.
116

:


Studios at the southern part of the building have the problem of glare because of
sunlight.
5.2.4 IIT GANDHINAGAR , GUJRAT

NAME: IIT Gandhinagar
LOCATION: Gandhinagar
AREA: 400 acres
DATE OF COMMENCEMENT : 2008
ARCHITECT: Space Design Consultants
Figure 103 IIT Gandhinagar
The guiding principles of the campus development have been

An ambience that attracts visitors and conveys to them that they are on a university
campus unlike any they have visited before.

Functional convenience for the academic community for mutual interaction,
learning and research.

Low energy and resource consumption, as well as minimal upkeep and low
maintenance costs.

IITs, as well as the response to the IIT goals and objectives on the whole. Many of
the vision statements of the IITs have ―to serve the nation‖ as a goal; this led to the
idea of a central movement ―spine‖,

Buildings are primarily of a mixed use-- lectures, classrooms and offices-- with
lecture hall complexes at two end nodes. These mixed types are meant to create
interest and variety in the academic areas.
117

:


The geometry of each building was derived to emphasize the linearity of the spine,
which in turn was defined as the ―hub of activity‖, offering a variety of
experiences. Each laboratory building was defined with a forecourt before
connecting to the central spine.

Public outdoor spaces are interspersed, with a combination of shade, shadows and
light.
5.2.4.2 DEFINING ARCHITECTURAL FEATURES OF THE ACADEMIC

COMPLEX
Figure 104 Academic Block – Ground Floor Plan

5.2.4.2.1 CENTRAL VISTA AS A ZERO-TO-INFINITY WALKWAY

The architects for the Academic Complex initially proposed a ―Zero -to-Infinity -
Path of Indian Glory‖ walkway to celebrate Indian inventions and achievements.

The intent is to develop it to celebrate Indian achievements from the ancient era
such as the concepts of zero and infinity along with the entire number system,
Ayurveda medicine, navigation systems, dams, chess, universities and planned
cities to present day achievements including Pentium chips and Higgs boson
particles.
118

:


This walk is intended to run along the green Central Vista, running through the
centre of the campus, where it will be most visible to students, faculty and visitors.
5.2.4.2.2 GATEWAY

The experience at entry to the campus is conceived at two levels.

The Entry Gateway for the academic campus, where parasols will be situated above
the academic buildings to provide a strong visual link that guides the visitor until
the Arrival Court.

Then there is a second level of gateway which opens and guides the visitor into the
buildings. The academic spine continues to guide the entrance and the eye up to the
Nation‘s Court, which acts as an urban marker.
Figure 105 Entrance gateway
5.2.4.2.3 CENTRAL SPINE


A central spine of the Academic Complex is intended to provide visual continuity
throughout the complex.
119

:

Figure 106 Central Spine


This will formally/informally demarcate predominant entry areas, concentrated
interaction zones, hubs supporting formal and informal interactions as well as
recreational activities. +l

The spine will help to better define the gateway to the entire academic complex, as
well as the gateway to the student hostels.

The spine will act as an invisible thread binding all the activities of the academic
campus, delineating clear paths for vehicular and pedestrian movement,
accessibility, transition zones, event zones and spill-over zones.

The spine will connect important courts such as Court of Nations, Samvad
(interaction), Darpan (reflections), and Sammelan (assembly).

Various activities will be inserted along the spine, such as book kiosks, vending
kiosks, small outlets at strategic positions, random seating areas, and different floor
textures to increase the vibrancy of the spine space.
5.2.4.2.4 COURT OF NATIONS AND LANDMARK TOWER, LAL MINAR


Court of Nations was conceived with the background of a tower as a reference
point on campus.

Since the entire Master plan envisaged predominantly low-rise buildings,
orientation within the campus becomes critical. The idea of a landmark tower
emerged from this premise.
120
Start Free Trial

Cancel Anytime.

:

Figure 107 Landmark Tower


A conscious decision was made to have an urban reference marker within the
academic area, a marker visible from any part of the site as well as the city of
Gandhinagar. With an identifiable and unique form different from the rest of the
buildings around, visitors will be able to continually orient themselves within the
campus.

It was further conceptualized as an urban landmark tower, as a ‗tower of light‘ to
guide and contribute to the development of the nation‘s resources.
5.2.4.2.5 USE OF COURTS

There are nine courts that lead off from the academic spine, each with its own unique
character and Sanskrit name. Refer to Figure 16 for the location of each. The following is
an explanation of each in terms of its spatial character, meaning of its name and its design
expression:
SAMVAD (DIALOGUE)
Meaning – The use of the term samvad for the space highlights the centrality of

dialogue in the educational process.

Spatial Character - A central nodal space that offers visual connections to the entire

academic building.
Design Expression – Space Frame to create shade, planters with built-in seating to

facilitate interaction, organization of planters to facilitate dialogues in various-sized

groups.
121

:

Figure 108 Court Samvad
VIDYACHAYA (SHADE OF KNOWLEDGE)

Meaning – Education and research as a process of continuous progress with our

predecessors providing the encouragement and direction through their research.

Spatial character – A transitional space in proximity to the classroom complex that

terminates in the Samvad Court.

Design Expression – The Avenue is planted with neem trees. The botanical name

of neem, Azadirachta indica, is derived from azad drachta i hind, meaning ‗Indian
tree of freedom‘. The tree cover provides an appropriate connection between the
entry and the central open space.
Figure 109 Court Vidyachaya
122

:

VISHWANGAN (COURT OF NATIONS)

Meaning – Learning at IITGN is about widening one‘s horizons from an identity

that is Indian to a sense of identity that is global. It is being both a global as well as
a local citizen.
Spatial character – The main entrance area for the students coming from the

hostels.
Design expression - The court has a reinforced concrete wall as a backdrop with an

inscribed logo of IITGN. The petals of the flower of the logo seem to be
simultaneously flying away as well as returning. The courtyard has three pillars,
representing the pillars of knowledge. There are the symbols of intellect (pradnya),
creativity (pratibha) and inspiration (prerana) represented respectively by the
symbol of the goddess Saraswati, the Buddhist lotus indicating spontaneous
generation and the Zen symbols of enso (freeing the mind).
Figure 110 Court Vishwangan
SANDHYACHAYA (EVENING SHADOWS)

Meaning – A place for reflection as an important part of the learning cycle

(Experiment – Experience – Reflect – Conceptualize).
Spatial character – The space opens out on the vista of the river that is also in the

direction of the setting sun.

Design Expression – A set of steps at seating height looking out onto the

promenade and beyond to the ravines. The steps, rather than closing onto
themselves, remain linear looking at the horizon.
123

:

Figure 111 Court Sandhyachaya
SRUJAN (IDEATION)
Meaning – Ideation as a creative process happens through a variety of stimuli.

Divergent thinking is one of the powerful techniques of enhancing creativity.

Spatial character – The space near the canteen.

Design Expression – An informal environment, where group interactions happen in


a relaxed atmosphere for promoting divergent thinking. The design of the space is
of an informal character with Michelia champaca (joy perfume) trees.
Figure 112 Court Srujan
SAMMELAN (MEETING)
Meaning – A meeting of minds is what sammelan is all about.

Spatial character – It is the space outside the lecture theatre complex. It is small

area with comparative seclusion from the spine.
124

:


Design Expression – An open space connecting to the stilted area and giving
opportunities for forming and un-forming fluid groups for interaction.
Figure 113Court Sammelan
VISHRAM (PAUSE)
Meaning – A pause in the day, in the mind with possibilities of subsequent

rejuvenation.
Spatial Character – The space near the canteen opening onto the promenade. This

is the one Court not yet constructed (March 2017).

Design Expression – Visually shielded from the Vishwangan by pillars of

knowledge, it is a space that is designed with an amphitheatre descending into the

ravines. Horizontal lines dominate, making it a place to relax.
DARPAN (MIRROR)
Meaning – A mirror that reflects one‘s own image as well as reflec ting the world.

In a metaphoric sense, the library as a repository of knowledge is about seeing

yourself in the world of knowledge.
Spatial Character – A nodal space to act as a link with the future library building.

Design Expression – A dry water body with water jets, where seating areas create

the required pause on the way to the library.
125

:

Figure 114 Court Darpan
PRADARSHANI (EXHIBITION)
Meaning – A place for exhibiting, reaching out to connect by showing what one

can do. Outreach will not only be between the outside world and IIT but inter- and
intra- departmental as well.
Spatial Character – Interstitial spaces between two buildings.

Design Expression – A paved space to facilitate exhibition activities


Figure 115 court Pradarshani
CONNECTIONS AND BARRIER FREE CIRCULATION


The entire campus has been conceived as a barrier-free campus for differently
abled people with connections between all buildings and ramps at various entry
points.
126

:


Connections between buildings were consciously designed at the ground level to
create some cover over the central spine, to allow people to cross between
buildings without exposure to heat or rain.

In addition, there are some connections between buildings at the upper levels to
facilitate ease of movement for faculty and research students.
Figure 116 Connections
Figure 117 Connection at upper levels

5.2.4.2.6 LANDSCAPE AND OPEN SPACES OF ACADEMIC COMPLEX
The Academic complex has been designed by Mitimitra Consultants Pvt Ltd, and is
designed around a Central Spine with a series of courts. The open spaces were designed in
a manner so as to give a meandering and exploratory character and promote interactions.
127

:

The landscape sub consultant for the Academic complex was M/s Swati Sahasrabudhe,
Pune.
Figure 118 Academic Complex

5.2.4.2.7 STUDENT HOSTELS
The student hostels were designed by M/s HCP Design Planning and Management Pvt.
Ltd., 6 hostel blocks are designed as a single hostel community centred around a vibrant
hostel street.
Figure 119 Student Hostel layout
5.2.4.2.8 THE CONNECTING GREENS

Between the Central Vista and adjacent faculty housing, student hostels and sports area
128

:

Figure 120 Landscape layout
5.2.4.2.9 JAL MANDAPS

Strategies for water harvesting and conservation are integral to the Master plan. An
important feature of the water conservation system is the collection of rooftop rainwater
into pipes that feed into several underground water tanks located throughout the campus.
The capacity of the tanks range from 628 to 1413 cubic metres.
Figure 121 Jal Mandap

129

:

5.2.5 COMPARITIVE ANALYSIS (FILM INSTITUTE)

CRITERIA FTII WHISLING FOX STUDIO INFERENCE
WOODS
1. Location Pune, Mumbai, Sydney,

Maharashtra Maharashtra Australia
2. Site area Around18 acres Around 22 acres Around45 acres
3. Means of Access from Access from Access from Minimum entry

access eastern side (law northern side western and points to the
& collg rd.)Only 1 (main rd) 2 entry eastern side site so that
entry points entry point to points to the (cook security is
the campus campus. Both rd).Multiple maintained.
entries on the entry points are Separate entry
same side provided to the for service road
campus is a good
option for
circulation.
4. Zoning Circulation is Circulation is Circulation here Circulation in
and through the through the runs through the the site should
circulation central axis. vertical axis. centre of the be simple.
Academic and Academic & campus. Bldg Vehicular &
residential areas allied areas are located on pedestrian
are staggered on staggered on both eastern side. movt. If
both sides. Open sides. Open areas Most of the areas separated
areas provided provided at front are commercial. works well.
at front & rear side. Staggered
side. zoning should
be properly
done, like all
academic
bldgs.. Are
close to each
other.
More open
spaces should
be provided.
5.Volumetric All the old Administration Whole academic Rather than
study bldgs. being being the main area has been having a single
load bearing are bldg. is given clubbed upto in a huge block ,
less in volume. more imp. This is single block. staggered
The new G+4 & all others This block blocks with
buildings are G+2. stands out as a different
dominate them large volume on volumes create
site interesting
patterns in the
built mass.
6.Climate As the building The buildings The building East – west
130
Start Free Trial

Cancel Anytime.

:

compatibility are in west – east here are oriented centrally air- orientation of
orientation most in east – west conditioned very the building
of the areas are orientation . So less openings helps to keep
shaded the inner have been the movt. Areas
throughout the courtyard remains provided. Other shaded.
day. Avenue of shaded whole climate Use of
tress along the day. compatible techniques to
road reduce the techniques not cut down heat
heat. there. gain from sun
should be used
while planning.
7.Structural The institute is The whole Here the RCC framed
system not been built at academic building building is a structure Is a
a single time. is RCC framed RCC framed better option,
Buildings have structure. Only structure. Lot of as it gives the
been added as the bridge glass curtain flexibility of
per requirement. between Block A walling has been form in the
Hence ,some & Block D is a done on the design.
buildings are fabricated outer facades. Use of glass
load-bearing structure with facades to
while the newly glass curtain wall. minimized for
built ones are Indian climatic
RCC framed. conditions
8. Building The service here The service such Here as the As far as
services are located in as AHU‘s , institute being possible
that respective chilling plant , located in the services should
block where it is power rooms are same building, be clubbed for
required. As all located in the the services were ease of
the departments stilts of Block D. easy to handle. maintenance
are separate the An attempt has The services
sevices could been made to club here are clubbed
not be clubbed. maximum in the basement
services together. of the building.
9.Area In film institute

analysis , the area for
recreational
activities in
more than for
academic area.
Large no. of
open spaces are
to be provided
for outdoor
shooting
purpose.
10.Openspac Being a very old Landscaping of No such open
e usage institute , there the entire campus spaces are
are some is yet to be done. available.
heritage The site of the
131

:

structures that campus being

exist. The sloping. This
students do use feature can be
these elements used for creating
for outdoor spaces which
shooting. would benefit the
The students.
combination of
new and old
structures
together create a
great ambience.
11.Parking No specific Parking is spread Ample parking Parking
facility planning has all over the space is been facilities should
been done to campus. Each reserved be worked out
cater the parking specific complex very well as
needs. Covered or area has got its they affect the
parking is own parking pedestrian
provided near space, which in movements
the security for a case is working, inside the
maximum of 4 because each campus.
cars. Vehicular space or zone has
access is its own entry and
restricted for exit. No shaded
outsiders, and parking.
there is no space
to park the
vehicles outside
the main gate.
Although the is
a small parking
for 2 wheelers,
but it doesn't
complete the
need of parking.
5.2.6 AREA COMPARISON

1. ADMINISTRATION AND RECEPTION
DISCRIPTION FTII WII AREA TAKEN
Entrance Foyer 25 sq.m 75sq.m 50sq.m

Reception - 50sq.m 25sq.m
toilets 30 sq.m 40sq.m 40sq.m
Director‘s Cabin 50 sq.m 60sq.m 60sq.m
132

:

Secretary‘s Cabin 30 sq.m 25sq.m 25sq.m

Dean‘s Cabin 30 sq.m 30sq.m 30sq.m
Conference - 75sq.m 50sq.m
Staff Room 30 sq.m 60sq.m 60sq.m
Estate Office 10 sq.m - 15sq.m
Purchase Section 10 sq.m - 15sq.m
Account‘s section 20sq.m 10sq.m
2. PREVIEW THEATRE
Entrance Lobby - - 80sqm

office - - 25sqm
Public Toilets 30sq. 20sq. 50sqm
Ticket Counter - - 10sqm
Auditorium(300cap) 500sq. 600sq. 650sqm
Store Room 40sq.m 40sq. 50sq.m
AHU - 35sq. 40sq.m
canteen - - 60sq.m
3. RECREATIONAL AREAS
Library 150sq.m 200sq.m 350 sq.m

cafeteria 100sq.m 150 sq.m 100sq.m
Internet Cafe - 150 sq.m Combined
Multipurpose Hall - 100 sq.m with
library
(for indoor games)
150sq.m
4. OTHER FACILITIES
RecordingStudio - 100sq.m 100 sq.m

SecurityCabin 30sq.m 20sq.m 15sq.m
133

:

CanteenFacility 100 sq.m 150 sq.m 200sq.m

Director‘s 50sq.m - -
Bungalow
Staff Quarters 100 sq.m - -
Block
100 sq.m - 80 sq.m
Guest suites
5. COMMON FACILITIES
DubbingTheatre 100sq.m 120sq.m 100sq.m

AV Studio 20sq.m 40sq.m 50sq.m
ClassroomTheatre 70 sq.m 60 sq.m 75 sq.m
RehearsalHalls 100sq.m - 100sq.m
CarpentryWorkshop 100sq.m 150sq.m 100sq.m
Metal Workshop 60 sq.m - 150sq.m
Property Store 100sq.m 80 sq.m 100sq.m
Material Store 80 sq.m 80 sq.m 80 sq.m
134

:

5.3 SITE SELECTION
5.3.1 SITE PROPOSAL
5.3.2 SITE LOCATION
Figure 122 Proposed site location


SITE: Located in Atal Nagar, Raipur

Proposed in film city (46.49 hectare) 114.8 Acre
135

:

5.3.3 PROPOSED SITE
Figure 123 Proposed site

Film institute total Area: 25Acres


Type of Land use: Recreational Area & Commercial retail zone

Lack of Acting Schools in India despite India is largest Producer of Films.

Site proposed in inside the proposed Film city which helps students know more
about the professional field and opportunity to learn.

Site proposed in sector 38, which is in isolated area & both urban location and
village location near the site.
5.3.4 REQUIREMENT OF THE SITE
Use Maximum Maximum Height (m) Other Controls

Premise Ground FAR
( Plot Coverage (%)
Sizes)
College 30 1.20 15 In case of educational

institutions, the total area of the
plot shall be divided in (i)
College building area (40 %), (ii)
playfield (40%), (iii) Parking area
(10%) and (iv) Residential and
hostel area (10%). The maximum
ground coverage and FAR shall
Be calculated only on the area
meant for building activities i.e.
(i) and (iv).
136

:

5.3.5 SUPPORTIVE FEATURE IN SITE (FOR SHOOTING LOCATION)
SUPPORTIVE SUPPORTIVE
FEATURES FOR THE FEATURES FOR
SITE (URBAN ZONE) NAME THE SITE(RURAL NAME
ZONE)
LAKE LAKE VIEW KANDAVA VERANACULAR KANDAWA VILLAGE
JANJH LAKE , SINDH LAKE,
HOUSES KURRU
BLUE WATER PACHEDA 2
HIGHWAY
NH6 POND LAKE VIEW KHANDAWA
UNKNOW PONDS
TEMPLE SITLA MANDIR ROAD(NOT KUTCHHA ROAD
MAULI MATA MANDIR DEFINED)
DURGA MATA MANDIR
GURU GHASI DAS TEMPLE
SANDANI DARBAR SHOPS SAHU STORE
DAYS KIRANA
KAMLESH KIRAAN
HOSPITAL SANJEEVNI HOSPITAL MANDIR HUMAN MANDIR
KRISHNA MANDIR
JAIT KHAM TEMPLE
STADIUM SHAHEED VEER NARAYAN
SCHOOL INSIDE THE VILLAGE
SINGH INTERNATIONAL
CRICKET STADIUM
INSTITUTE IIM PLAYGROUND INSIDE THE VILLAGE
HNLU
IIT
SCHOOL KPS AGRICULTURE PRIMARY AGRICULTUTE
AGARWAL PUBLIC SCHOOL LAND COOPERATIVE TRUST
ADARSH INTERNATIONAL
SCHOOL

PARK JUNGLE SAFARI
MUKTANGANJ , MM FUN CITY
, ENERGY PARK
TRANSPORTATION AIRPORT
BUS- STOP
KENDRI STATION
137

:

5.3.6 SURROUNDING OF THE SITE
Figure 124 Site surroundings
Figure 125 Water body near site
Figure 126 Open land
138

:

5.3.7 REFERENCE
1. Unlu, A. et al, An Evaluation of Social Interactive Spaces in a University Building,

3rd International Space Syntax Symposium, Atlanta, pp.46,
2. 2001.
3. Harle', N. Roles and meanings of transitional spaces: Some aspects for
consideration. Arch. & Comport. /Arch. and Behav. Vol. 9. No. 3, 1993.
4. Srivastava, A. Transition: a spatial translation. MSc Thesis, University of
Cincinnati. pp.5, 2007.
5. Fahmy, R. Geometric shape and orientation throughout transition spaces, case
study: Local Art Museum. MSc Thesis, Cairo University, pp. 29,
6. 2009.
7. Pitts, A. C. and J. b. Saleh. Building Transition Spaces, Comfort and Energy Use.
25th Conference on Passive and Low Energy Architecture.
8. Dublin, 2008.
9. Wiechel, D., Utilizing Interstitial Space to Encourage Interaction in The Learning
Environment, Ms.S. thesis, Ball State University, pp.2-3,
10. 2002.
11. Synder, J., Catanese, A., Introduction to architecture, New York, Mograw-Hill,
pp.46, 1979.
12. Mcclure, W., Bartuska, T., The Built Environment: a Collaborative Inquiry into
Design and Planning (2nd ed.), Wily & Sons, Canada,
13. pp.46,181, 2007.
14. Gary, T., Environment Behavior Studies. In: Introduction to Architecture,
MoGraw-Hill, New York, pp.51-53, 1979.
15. Blanchard, A., Virtual Behavior Settings: An Application of Behavior Setting
Theories to Virtual Communities, Journal of Computer
16. Mediated Communication V9 (2), International Communication Association, 2004.
17. [11] Eisenman, P. Blurred zones : investigations of the interstitial: Eisenman
Architects, 1988-1998. New York Monacelli Press cop. In, Srivastava,
A. (2007). Transition: A Spatial Translation. MSc Thesis, University of
Cincinnati, pp.3, 2003.
18. Anonymous. (1992). The Vernacular Architecture of Rajasthan. Retrieved
November 2015, from Archinomy: http://www.archinomy.com/case-
studies/1992/the-vernacular-architecture-of-rajasthan
19. Associates, C. C. (n.d.). Bharat Bhavan. Retrieved from Ebuild:
http://ebuild.in/bharat-bhavan-bhopal
20. Bhatt, R. (2001). Indianizing Indian Architecture: A Postmodern Tradition.
Traditional Dwellings and Settlements Review, 43-51.
21. Bhonsle, K. D. (2010). Thresholds in Architecture. Architecture- Time Space &
People, 30-36.
22. Co., B. B. (n.d.). Bharat Bhavan :: Introduction. Retrieved from A Multi Art
Complex - Bharat Bhavan: http://bharatbhawan.org/index.html
23. Curtis, W. J. (1988). Balkrishna Doshi- An Architecture for India. Ocean
Township, Monmouth County: Grantha Corporation.
24. Deshmukh, S. (2009, 10 14). Transition Spaces. Retrieved 9 2015, from INFINITY
Architecture: http://shwetadeshmukh.in/2009/10/14/transition-spaces/
139

:

25. Detail, D. (2013, April 24). Beyond mere aesthetics, Architecture is about life.

Retrieved from Designer + Builders: http://www.designerplusbuilder.com/beyond-
mere-aesthetics-architecture-is-about-life/
26. Development, A. I. (2013, September 25). Aranya Housing Project . Retrieved from
Architecture In Development:
http://www.architectureindevelopment.org/project.php?id=401
27. Infratech, N. (2014, February 5). Nalukettu Architecture of Kerala. Retrieved
November 2015, from Home Sweet Home:
http://nestinfratech12.blogspot.in/2014/02/nalukettu-architecture-of-kerala.html
28. Kaza, K. (2010). The Otla: A ‗Free Space‘ in Balkrishna Doshi‘s Aranya
Settlement. Unitec New Zealand School of Architecture.
29. Kent, S. (1990). Domestic Architecture and the Use of Space: An Interdisciplinary
Cross-Cultural Study. Melbourne: Press Syndicate of the Universit of Cambridge.
30. Khan, H. U. (1987). Charles Correa. London: Concept Media Ltd. with
Butterworth Architecture.
31. Kolamkar, A. (2012, May 20). Aranya Low Cost Housing . Retrieved from
SlideShare: http://www.slideshare.net/ankita224/aranya-low-cost-housing
Dissertation | UNDERSTANDING TRANSITION SPACES | 2015
32. Page 33 of 33
Books
1. Chiara, Joshep De. and Callender, John Hancock ―Time Saver Standards for Building
Types ‖
2. Marshall Long ―Architectural acoustic‖
3. Bousmaha Baiche, Nicholas Walliman ―Neufert Architect‘s Data‖
Thesis Report
FILM AND TELEVISION INSTITUTE -THESIS BOOK – BY SAGAR DILIP SAOJI
(YEAR 2016)
140
Share this document

    
You might also like

:
film city case study
Mohit Sharma
Mumbai Case Study

Priya Shanmathi
Ramoji Film City

Mukesh Ramchandani
Magazines Podcasts
Sheet Music
:
SYNOPSIS.........23-01-18
Himani Gupta
Bollywood Museum
Tanish Rao
B.arch Synopsis Format

Sinzzzzzz
Cinema Of India Design
Thesis Implementation
:
Reviving River Yamuna an
Actionable Blue Print for a
Blue River
Mrigank Vats
Vancouver Convention
Centre Case Study
Nandini S
film institute of gujarat

introduction
Hetvi Asmani
BYE LAWS FOR FILM

INSTITUTE.docx
Arunraj
:
film city
Abdul Sakur
CASE STUDY-pragati
Maidan
Camilla Fernandez
Show more
:
About Support
About Scribd Help / FAQ
Press Accessibility
Our blog Purchase help
Join our team! AdChoices
Contact us Publishers
Invite friends
Gi`s
Social
Scribd for enterprise Instagram
Twitter
Legal
Facebook
Terms Pinterest
Privacy
Copyright
Cookie Preferences
Do not sell or share my personal

information
Get our free apps
Books • Audiobooks • Magazines • Podcasts • Sheet Music •

Documents • Snapshots
Language: English
Copyright © 2023 Scribd Inc.

:

Film Institute: Download Now

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Film Institute: Download Now

Uploaded by

Copyright:

Available Formats

Documents  Art  Design

 0 ratings · 219 views · 160 pages

Share this document

Did you find this document useful?

Is this content inappropriate? Report this Document

DESIGNING FILM INSTITUTE WITH EMPHASIS ON

Under the guidance of Submitted by:

PROF.SACHIN SAHU NEHA MAHTO

Department of Architecture Roll no.15122038

Trusted by over 1 million members

Start Free Trial

I hereby declare that this report Titled ―DESIGNING FILM INSTITUTE

(Signature of the student)

(Name of the student)

PROF. SACHIN SAHU

This thesis project has been accepted.

1.1 FILM ....................................................................................................................... 2

1.2 HISTORY OF INDIAN FILM INDUSTRY .......................................................... 2

1.3 FILM EDUCATION IN INDIA ............................................................................. 3

1.4 FILM INSTITUTE ................................................................................................. 4

1.4.1 COURSE CURRICULUM..............................................................................4

1.5 FILM CITY.............................................................................................................5

1.6 PROCESS OF FILM MAKING ............................................................................. 5

1.6.1 INTRODUCTION ........................................................................................... 5

1.6.4 PRODUCTION ............................................................................................... 7

1.6.5 POST-PRODUCTION ....................................................................................8

1.6.6 DISTRIBUTION ............................................................................................. 8

1.7 FILM SETS.............................................................................................................8

1.7.1 INDOOR SETS ............................................................................................... 9

1.7.2 OUTDOOR FACILITIES ............................................................................. 10

1.8 FILM INSTITUTE WITH FILMSETS ................................................................ 11

2.1 INTERACTIVE SPACE.......................................................................................13

2.2 HUMAN DISTANCES ........................................................................................ 13

2.2.1 SOCIAL DISTANCE .................................................................................... 14

2.2.2 PUBLIC DISTANCE .................................................................................... 14

2.3 LEARNING ..........................................................................................................15

2.3.1 TYPES OF LEARNING SPACES................................................................16

2.3.2 DESIGN ASPECT OF INFORMAL LEARNING SPACE .......................... 17

2.4 TRANSITION SPACE ......................................................................................... 19

2.5 TRANSITION SPACES IN INDIAN CONTEXT............................................... 21

2.6 HISTORY OF TRANSITION SPACES ..............................................................22

2.7 VARIATION WITH BUILDING TYPE OR SCALE IN INDIA ........................ 22

2.8 COURTYARD AS A TRANSITION SPACE IN INDIAN CONTEXT ............. 25

2.9 ENTRANCE OR THRESHOLD AS A TRANSITION SPACE ......................... 27

3.1 BYE LAWS FOR FILM INSTITUTE .................................................................30

3.1.1 DRAWING STUDIOS .................................................................................. 30

3.1.2 LECTURE THEATRES................................................................................31

3.1.3 OFFICE SPACES..........................................................................................32

3.1.4 THEATRE AUDITORIUM .......................................................................... 33

3.1.5 SECONDARY AREAS.................................................................................34

3.1.7 GYM .............................................................................................................. 36

3.1.8 ROOM ACOUSTICS .................................................................................... 37

3.1.9 SOUND ISOLATION ................................................................................... 37

3.1.10 ROOM ACOUSTICS ................................................................................ 38

3.1.11 BLUE SCREEN AND MOTION CAPTURE ...........................................38

3.1.12 ANIMATRONICS .....................................................................................39

3.1.13 MOTION PHOTOGRAPHY STUDIO ..................................................... 40

3.1.14 EQUIPMENTS .......................................................................................... 40

3.1.14.2 CAMERA JIBS & CRANES ........................................................................... 41

3.2.1 FACTORS AFFECTING THE SET DESIGN: ............................................ 43

3.2.2 SET DESIGN DEPENDS ON: ..................................................................... 44

3.2.3 CONSTRUCTION SEQUENCE OF SETS: .................................................44

3.2.4 Classification of Outdoor sets in Film City: .................................................. 44