National Centre for Arts

IGNCA Lawns, New Delhi

THESIS REPORT
Coordinator : Prof. (Dr.) Jaya Kumar
Guide : Prof. Amit Hajela,
Prof. Shiriesh Malpani
Introduction Program
India is a culturally diverse nation with numerous Site Area
46.319 sqm
traditions, language, arts which have attained recognition (11.45acre)
at international level, nevertheless still there exist a large
treasure of such art forms which are limited within the Max. Permissible FAR 1.2 (55.580 sqm)
bounds of their region/ community. These art forms are
FAR achieved 0.64 (-35775 sqm)
not only the identity of their community but also a heritage
for the nation which needs to be preserved. One way to Max. Ground coverage 25% (11580 sqm)
preserve and spread these art forms is to provide them
required exposure, forward it to new generation and train Parking ECS 2 ECS/ 100sqm
support artists to carry it forward. Thus, way forward in Total ECS requirement 694
this direction could be providing required infrastructure for
growth and promotion. Surface parking requirement 174 ECS (25%)

Basement parking 520 ECS (75%)

Thesis proposition Basement area requirement 16672 sqm.

To design a 'National Centre for Performing and Visual Arts'
in a strong context of Lutyens Delhi. Around 70 years' post- OM ■
■
Museum & Gallery Main theatre
independence. the proposed NCA. Delhi in the context
of such prominent power structures aims to provide an
Cultural info. Centre Concert Hall

■ ■
international platform to all forms of indigenous art forms.
The scheme should reflect upon Indian perception of
spaces and built articulation to honor those art forms.

■
Publicfacilities Indian Theatre

Admin The proposed site for NCA is located along the central
Research Outcomes vista in Lutyens' Delhi at the junction of Rajpath and
Janpath across National Archives. It shares plot with
Inferences Case studies
•
Due to multiple types of artforms with different requirement, -
the spaces needs to be adaptive to cater to such needs as GNCA.
and when arised. A particular typology which works well for
one kind of performance might not be suitable for other.
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Context study
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any public
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National Centre for Arts. New Delhi

Technology SWOT Analysis

Strength

Site is located in Too many trees The NCA can Being one of the
capital city of India scattered non- respond to highest public
which gives required uniformly over the gathering building
I GNCA su ch th a t
exposure to the site makes it difficult along Central Vista,
the two building
project. Also being to provide larger site becomes highly
compliments the
locate d in heart of spaces. sensitive in terms of
functionality of each
city i.e. Lutyens security.
Thick tree cover other.
Delhi has its added
advantages. between site and Working on an
Rajpath obstructs empty site (since
Site is well the view of Central existing buildings
c o n n e c t e d by Vista. are proposed to be
means of public
S e curi ty c on ce rns demolished) has
transport with bus
do not allow direct its added benefits
stop and metro at
view of central vista in terms of site
waking distance.
from open terraces planning.

Design Outcome

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 Declaration

The thesis titled National Centre for Arts, New Delhi is a requisite of
the Bachelors Program in the Department of Architecture, School of
Planning and Architecture, New Delhi - 110002, and was completed by the
undersigned in January - May 2019.

The supervisors were Prof. Amit Hajela (Design ,Research & Technology
Guide) and Ar. Shiriesh Malpani (Design and Research Guide).

The undersigned hereby declares that this design is his original work and has
not been plagiarized in part or full from any source. Furthermore this work
has not been submitted for any degree in this or any other University.

Vaibhav
A/2769/2014
B. Arch 5th year, Section- B
School of Planning and Architecture. New Delhi

National Centre for Arts, New Delhi

 Certificate

We certify that the thesis titled National Centre for Arts, New Delhi by
V a ib h av e nr o l lm e nt no . A / 2 7 6 9 / 2 0 1 4 w a s g u id e d b y u s i n Ja n u a r y - M ay
2 0 1 9 . O n c o m p le tio n o f t he r e p o r t a n d b a s e d o n the d e c l ar a tio n b y t he
candidate herein above, we accept & forward the report to the Department
of Architecture, School of Planning and Architecture, New Delhi.

Prof. Amit Hajela Ar. Shiriesh Malpani Prof. (Dr.) Jaya Kumar
(Design, Research & Technology (Design & Research Guide) (Coordinator & Studio Director)
Guide)
 A note to the reader

A thesis is a reflection of 5 years worth of hardwork, efforts, failure and dedication.

This one is no different. Sincerest efforts were made to make it worth everything
like it should be. However, there . s no utopia. This report is a small compilation of my
research. findings & design attempts. Most of what I learnt could not be published in
this report. Similarly, its possible that you might find some human errors or some
loose ends in this report even though efforts were made to make it perfect. In
other words. this report is not quite there where it was intended to be. So, if you
find any errors in the report or need some clarification, you can write to me at
[email protected]. I'd try my best to respond whenever possible.

Good luck for your endeavor!

National Centre for Arts. New Delhi

 Acknowledgments

I would like to express my foremost gratitude to my guides Prof. Amit Hajela

and Prof. Shiriesh Malpani for their consistent guidance, motivation and
support in channelizing my thoughts in right direction.

I am also thankful to studio director & coordinator Prof. (Dr.) Jaya Kumar for
helping us organize our research and providing her valuable inputs on the
project.

I'm deeply indebted to my seniors Nayan Jain, Shiva Sah and juniors Nitesh
Maurya, Ayush, Raghav Mathankar, Sundaram Kumar and Divyansh for their
constant and undivided help without whom I'd probably be writing this
acknowledgment an year later. I'd like to extend my thanks to Sandeep Raju,
Naga Gopi & Vaidehi for their timely support.

Finally I'd like to express my deepest gratitude towards my family for their
constant support and motivation and my brother Lakshay for all he did for my
thesis.
Table of contents:

[1] [2] [3] [4]

Introduction Areas of Research & ProgramDevelopment Site Analysis
Case Studies & Analysis
Introduction 20 Typologies for 3U • Key points 76 • Location 86
Need identification 21 performing spaces • Project scope 17 • Accessibility 87
News coverage 22 Design requirements of 31 • Area program summary 78 Conn ectiv ity 87
Intent 24 Auditorium & concert • Detailed area program 79 • Site 88
Proposition 24 halls • Functional diagram 85 • Site Photos 89
Location justification 25 Amphitheater design 35 • Sectional distribution 85 • Survey Plan 90
Project brief 25 requirements • Inferences 85 • Existing site condition 91
Research question 25 Conference hall design 36 • History (site) 92
Aim 26 requirements • Context analysis 93
Object ive 26 • Design requirements of 37 • Central vista analysis 94
Scope 26 Museum & Art gallery • Central vista photos 96
Limitation 27 • Performing Arts 38 • Land use 98
Methodo logy 27 • Visual Arts 44 • Applicable development 98
Challenge 27 • Bharat Bhawan, Bhopal 48 controls
Conclusion 27 • Jawahar Kala Kendra, 52 • Climate 99
Inference 27 Jaipur • Vegetation 100
Research framework • Kala Academy, Goa 56 • Materiality/ texture 102
28 • Rabindra Bhawan, New study
58
Delhi Site attributes 103
Case example: Kamani 67
Auditorium, New Delhi
Case study comparison
matrix
72

0 National Centre for Arts, New Delhi

 [5] [6] [7] [8]
Technology Study Determinants & DesignDevelopment Concept & Design
Directives translation
 S t r u c t u r a l s y s t e m s 106  Project justification 122  Design directives 124 • Response to site 134
 Acoustic requirements 114  SWOT analysis 123
 Design exploration 125 • Response to context 134
 HVAC load calculation 16
 Design stage #1 126 • Response to program 135
 Water requirement 118
 Design stage #2 128 • Response to artforms 135
calculation
 Design stage #3 130 • Drawings 136
Power requirement 120
• Context model 146
calculation
• Model 147
• 3D views 148
• Jury comments 149
 NPTEL online resources 35

List of figures Fig 2.13 Trees acting as noise barrier

NPTEL online resources 35
Fig 2.14 Sound reflection in amphitheatre
Figure Content So ur c e Page Fig 2.15 Sound transmission in amphitheatre NPTEL online resources 35
Fig 1.1 Kathputli (dying artform of India) Go o g l e Ima g e s 21 Conference hall with podium-seating
Fig 2.16 typology Google Images 36
Fig 1.2 Dhokhra Handicraft (dying artform of Go o g l e Ima g e s 21
Fig 2.17 Conference room Go o g l e I ma g e s 36
India)
Fig 1.3 Chhau Dance (dying artform of India) Go o g l e Ima g e s 21 Fig 2.18 Possible routes for art galleries Time Saver Standards 37
Fig 1.4 The NCPA will come up on the sprawling Indian Express 22 Fig 2.19 Viewing angles Time Saver Standards 37
lawns of the Indira Gandhi National Fig 2.20 Viewing angles Time Saver Standards 37
Centre for Arts. Spotlights are best placed in sync with
Fig 1.5 Representational image of performers Financial Express online 23 Fig 2.21 natural light Time Saver Standards 37
Fig 2.22 Viewing angles Time Saver Standards 37
Time Saver Standards 31
Fig 2.1 Auditorium functional layout Fig 2.23 Bomalattam Go o g l e I ma g e s 38
Fig 2.2 Time Saver Standards 32
Auditorium seating design for best Fig 2.24 Shadow puppet Go o g l e I ma g e s 38
viewing Fig 2.25 Glove puppet Go o g l e I ma g e s
38
Fig 2.3 Different typologies in Auditorium Time Saver Standards 32
seating layout Fig 2.26 Chador badoni Go o g l e I ma g e s 38
Fig 2.27 Kathputli Go o g l e I ma g e s 38
Fig 2.4 Curvature for rows of seats Time Saver Standards 32
Fig 2.28 Shadow puppet Go o g l e I ma g e s 38
Fig 2.5 Viewing angles in auditorium Time Saver Standards 33
Fig 2.29 String puppet Go o g l e I ma g e s 38
Fig 2.6 Sectional view of auditorium Time Saver Standards 33
functionality Fig 2.30 Togalu Go o g l e I ma g e s 38
Fig 2.7 Desired viewing angles from balcony Time Saver Standards 33 Fig 2.31 Swang Go o g l e I ma g e s 39
Fig 2.8 Sectional view of auditorium Time Saver Standards 33 Fig 2.32 Tamasha Go o g l e I ma g e s 39
functionality Fig 2.33 Bhavai Go o g l e I ma g e s 39
Time Saver Standards 34
Fig 2.9 Auditorium stage design Fig 2.34 Mudiyettu Go o g l e I ma g e s 39
Go o g l e I ma g e s
Fig 2.35 Dashavatar 39
Fig 2.10 Preferred angle for seat arrangement Time Saver Standards 34
Fig 2.36 Dhaanu jatra Go o g l e I ma g e s 39
Fig 2.11 Greek amphitheatre Go o g l e Ima g e s 35
Fig 2.37 Therukoothu Go o g l e I ma g e s 39
Fig 2.12 Built mass acting as noise barrier NPTEL online resources 35

OM Nation al Centre for Arts, New Delhi

Fig 2.38 Rasleela Google Images 39 Fig 2.65 Jabro Google Images 42
Fig 2.39 Krishna parijatam Google Images 39 Fig 2.66 Oja pall Google Images 42
Fig 2.40 Koodiyattam Google Images 39 Fig 2.67 Ranapa Google Images 42
Fig 2.41 Bagurumba Google Images 40 Fig 2.68 Purulia chaau Google Images 42
Fig 2.42 Bhangra Google Images 40 Fig 2.69 Hagalu Vesha Google Images 43
Fig 2.43 Bihu Google Images 40 Fig 2.70 Jaggahalige Google Images 43
Fig 2.44 Cham Google Images 40 Fig 2.71 Onapottam Google Images 43
Fig 2.45 Dalshone Google Images 40 Fig 2.72 Padhar Google Images 43
Fig 2.46 Gaudiya nritya Google Images 40 Fig 2.73 Pulikkali Google Images 43
Fig 2.47 Sattriya Google Images 40 Fig 2.74 Thirayattam Google Images 43
Fig 2.48 Gnungmala Google Images 40 Fig 2.75 Sohrai Google Images 44
Fig 2.49 Giddha Google Images 40 Fig 2.76 Patachitra Google Images 44
Fig 2.50 Rumtek chaam Google Images 40 Fig 2.77 Chalchitra Google Images 44
Fig 2.51 Bahuwa Google Images 41 Fig 2.78 Gond Google Images 44
Fig 2.52 Khukuri Google Images 41 Fig 2.79 Kangra Google Images 44
Fig 2.53 Deodhani Google Images 41 Fig 2.80 Kohbar Google Images 44
Fig 2.54 Kathak Google Images 41 Fig 2.81 Madhubani Google Images 44
Fig 2.55 Gombhira Google Images 41 Fig 2.82 Madhubani Google Images 44
Fig 2.56 Kagyed Google Images 41 Fig 2.83 Mandana Google Images 44
Fig 2.57 Jhumar Google Images 41 Fig 2.84 Miniature Google Images 44
Fig 2.58 Pandav nritya Google Images 41 Fig 2.85 Madhubani Google Images 45
Fig 2.59 Nati Google Images 41 Fig 2.86 Maru gurjara Google Images 45
Fig 2.60 Namgen Google Images 41 Fig 2.87 Pahari Google Images 45
Fig 2.61 Yak chaam Google Images 42 Fig 2.88 Patachitra Google Images 45
Fig 2.62 Khatok chenmo Google Images 42 Fig 2.89 Phad Google Images 45
Fig 2.63 Raibenshe Google Images 42 Fig 2.90 Pichwai Google Images 45

Fig 2.64 Ho ajina Google Images 42 Fig 2.91 Pithora Google Images 45
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Fig 2.93 Thangka Google Images 45 classics-bharat-
Fig 2.111 Longitudinal section of Bharat Bhawa n b ha va n-c ha rle s-c orr ea 51
Fig 2.94 Warli Google Images 45
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Fig 2.95 View of Bharat Bhawan, Bhopal Google Images 46
case-studies/1867/
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Fig 2.96 View of Jawahar Kala Kendra, Jaipur Google Images 46
Fig 2.112 View of Jawahar Kala Kendra, Jaipur Jaipur-india 52
Fig 2.97 View of Kala Academy, Goa Google Images 47 http://www.
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Fig 2.98 View of Rabindra Bhawan, New Delhi Schematic plan of Jawahar Kala Kendra, icaawsaem-strikaiel:/kiseozd/ra-
Fig 2.99 View of Rabindra Bhawan. New Delhi Google Images 47
Fig 2.113 Jaipur Jaipur-india 52
Fig 2.100 View of Bharat Bhawan, Bhopal Google Images 48 http://www.
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Axonometric sectional view of Bharat c l a s s i c s - b h a r a t - bhavan-

Fig 2.101 Bhawan charles-correa 48 Fig 2.114 behind planning of Jaipur city Jaipur-india 53
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Fig 2.102 Entrance of Bharat Bhawan Author 49 archinomy.com/
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Fig 2.103 View from courtyard of Bharat Bhawan Author 49 jawahar-kala-kendra-
Fig 2.115 Plan of Jawahar Kala Kendra. Jaipur Jaipur-india 53
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Fig 2.104 Plan of Bharat Bhawan
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Fig 2.105 Functional relationship in Bharat Bhawan bh.van-charges-coffea 50
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Fig 2.106 View of Bharat Bhawan Author 50 Axonometric view of every zon e in j awahar -ka la- ke ndra -
Fig 2.117 Jawahar Kala Kendra, Jaipur jaipur-india 54
Fig 2.107 View of Bharat Bhawan Author 50
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Fig 2.108 Structural grid in Bharat Bhawan Author 50 archinomy.com/
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c l a s s i c s - b h a r a t - bhavan- Fig 2.118 View of Jawahar Kala Kendra, Jaipur jaipur-india 55
Fig 2.109 Sectional view of Bharat Bhawan charles-correa 51
Fig 2.119 View of Kala Academy, Goa Google Images 56
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Circulation flow diagram of Bharat

com/791942/ad- Fig 2.120 Plan of Kala Academy, Goa Google Images 56
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Fig 2.110 Bhawan charles-correa 51 Functional relationship in Kala Academy,
Fig 2.121 Goa Google Images 57

National Centre for Arts. New Delhi

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Fig 2.122 Structural grid in Kala Academy, Goa Google Images
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Structural system of Rabindra Bhawan,
Fig 2.123 Plan of Kala Academy, Goa Google Images 57 habibrahman_thesis_
Fig 2.134 New Delhi by hiral_jadeja 65
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Fig 2.126 Delhi 59 Fig 2.137 Balcony plan of Rabindra Bhawan by_hiral_jadeja 68
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by_hial_jadeja Fig 2.141 Stage bar system download.php 69
Fig 2.130 Section of Rabindra Bhawan, New Delhi
https://issuu.corn/ ram- 62 Section of Kamani Auditorium, New
htt ps ://
rahman/docs/ habib kamaniauditorium.org/
rahman thesis_
Fig 2.142 Delhi download.php 69
by_hiral_jadeja
Fig 2.143 Auditorium light system 70
63 Google Images
https://issuu.com/ ram-
Zonal analysis of Rabindra Bhawan, New rahman/docs/ Fig 2.144 View of Rabindra Bhawan. New Delhi Google Images 72
Fig 2.131 Delhi habibrahman_thesis_
Fig 2.145 View of NCPA, Mumbai
Fig 2.132 Google Images 72
64
Massing of Rabindra Bhawan, New Delhi by_hiraljadeja Fig 2.146 View of Bharat Bhawan, Bhopal Google Images 72
httpsifissuu.com/ ram-
Fig 2.147 View of Kala Academy, Goa
rahman/docs/ Google Images 73
habib_rahman_thesis_ Fig 2.148 View of Jawahar Kala Kendra, Jaipur
Fig 2.133 Facade elevation and section by_hiraljadeja 64 Google Images 73
Fig 2.149 View of SUPVA, Rohtak Google Images 73
Fig 2.150 View of MoMA, New York Go o g l e Ima g e s Nursery between IGNCA Kala Nidhi and 89
73
Fig 4.11 Rajpath Author
Fig 2.151 Plan of Rabindra Bhawan, New Delhi Go o g l e Ima g e s 72 89
Fig 4.12 View of IGNCA Kala Nidhi from Rajpath A ut ho r
Fig 2.152 Schematic plan of NCPA, Mumbai Go o g l e Ima g e s
72 89
Fig 4.13 View of southern face of site Author
Fig 2.153 Plan of Bharat Bhawan, Bhopal Go o g l e Ima g e s 72
Small dargah built in buffer between site 89
Fig 2.154 Plan of Kala Academy, Goa Go o g l e Ima g e s
73 Fig 4.14 and Rajpath A ut ho r
Fig 2.155 Plan of Jawahar Kala Kendra, Jaipur Go o g l e Ima g e s
73 Land between site and Rajpath is often 89
Fig 2.156 Plan of SUPVA. Rohtak Go o g l e Ima g e s 73 Fig 4.15 used as parking A ut ho r

Fig 2.157 Plan of MoMA. New York Go o g l e Ima g e s 73 Vehicular entry to buffer with board
Fig 4.16 reading 'No Parking' Author 89
Fig 4.17 Site Survey Plan I GNC A o f f i c e 90
Fig 3.1 Area distribution pie chart for NCA A ut ho r 77
Fig 4.18 Site vegetation cover I GNC A o f f i c e
91
Fig 3.2 Function connection for NCA Author 85
Fig 4.19 Storm water & sewer pipeline I GNC A o f f i c e 91
Fig 3.3 Function distribution for NCA A ut ho r 85 91
Fig 4.20 Street lamp & poles I GNC A o f f i c e

book 'Concepts &

Location of Zone-D8 in Delhi map where Respones' by Razia 92
Fig 4.1 site is located Author Fig 4.21 Original scheme of Lutyens Delhi Gr o v e r
86
book 'Concepts &
Satellite image showing location of site Winning scheme for IGNCA proposed 92
Respones' by Razia
Fig 4.2 with context Goog le Ear th im ag ery 86 Fig 4.22 by Ralph Lerner Gr o v e r
92
Fig 4.3 Site with context and metro connectivityGoogle Maps imagery 87 Fig 4.23 Currently existing built structures on site IGNCA office
92
Fig 4.4 Site with trees and immediate context A ut ho r 88 Fig 4.24 Demarcation of NCA in IGNCA plot Author
93
Mati Ghar designed by SHiFt Architects Fig 4.25 Figure ground plan of New Delhi A ut ho r
Fig 4.5 on the site A ut ho r 89 Figure ground plan of Central Vista, New 94
Fig 4.6 CV Mess building Author 89 Fig 4.26 Delhi Goog le Ear th im ag ery

Vernacular mud and thatch house as an Typology study of Central Vista. New 94
Fig 4.7 installation A ut ho r 89 Fig 4.27 Delhi Goog le Ear th im ag ery

Fig 4.8 Amphitheatre (Rangabhoomi) Author 89 View of Central Vista from Rashtrapati
Fig 4.9 Media Centre on site Author 89 Fig 4.28 Bhawan Goog le Ear th im ag ery 94
IGNCA Kala Nidhi building from Man Fig 4.29 3D view of Central Vista Author 95
Fig 4.10 Singh Road Author 89

National Centre for Arts. New Delhi

 View of Central Vista towards Space between building & Rajpath acts
Fig 4.30 Rashtrapati Bhawan Author 95 Fig 4.52 as active public space Author 97
Park beside National Archives used as Fig 4.53 Master Plan of Delhi 2021 MPD 2021 98
Fig 4.31 public space Author 96 Fig 4.54 Master Plan for Zone D MPD 2022
98
Fig 4.32 View of National Archives from Rajpath Author 96 https://
Fig 4.33 National Archives Author 96 en.climate-data.
Fig 4.34 Shastri Bhawan from Rajpath 96 Fig 4.55 Temperature & Rainfall graph org/ 99
Author
https://
Fig 4.35 Krishi Bhawan Author 96 en.climate-data.
Fig 4.36 Krishi Bhawan from Rajpath Author 96 Fig 4.56 Wind speed & direction 99
org/
Central Secreteriat Metro entry with https://
Fig 4.37 Krishi Bhawan behind it Author 96 en.climate-data.
Fig 4.38 Rail Bhawan Author 96 Fig 4.57 Wind data org/ 99
Fig 4.39 Rail Bhawan from Rajpath Author 96 Fig 4.58 Trees on site Author 100
Fig 4.40 View of North block Author 96 Fig 4.59 Tree mapping on site Author 101
Rail Bhawan, Krishi Bhawan & Udhyog Fig 4.60 Facade of Jaipur House Google Images 102
Fig 4.41 bhawan from North Block Author 97 Fig 4.61 Facade of Jaipur House Google Images 102
Fig 4.42 Vayu Bhawan as seen from Rajpath Author 97 Fig 4.62 Facade of National Archives Google Images 102
Fig 4.43 Udhyog Bhawan Author 97 Facade of Ambedkar International
MHFW (Ministry of Health & Family Fig 4.63 Centre Google Images 102
Welfare) & MHUA (Ministry of Housing & Facade of North Block, Central
Fig 4.44 Urban Affairs) headquarters Author 97 Fig 4.64 Secretariat Google Images 102
Fig 4.45 Ministry of External Affairs JLN Bhawan Author 97 Fig 4.65 Facade of IGNCA Google Images 102
Fig 4.46 JLN Bhawan as seen from Rajpath A ut ho r 97 Fig 4.66 Facade of National Museum Google Images 102
Fig 4.47 Main Entrance of JLN Bhawan Author 97 Fig 4.67 Facade of National Museum Google Images 102
Fig 4.48 National Museum Author 97 Fig 4.68 Facade of IGNCA Google Images 102
Fig 4.49 National Museum Entry Author 97
Fig 4.50 National Museum as seen from Rajpath Author 97 Auditorium section and column joint
Patches of unkempt land along central Fig 5.1 detail Author 106
Fig 4.51 vista Author 97 Fig 5.2 Auditorium roof section Author 107
 Fig 5.3 Auditorium roof structural plan Author 107 Fig 5.16 Sponge with acoustic marking Google Images 114
Ching 2014 Fig 5.17 Wood acoustic panel Google Images 114
building Fig 5.18 Water balance diagram Google Images 118
Fig 5.4 Load distribution system structures 108
Fig 5.19 Energy balance diagram Google Images 120
Ching 2014
building
Fig 5.5 Large span structural systems structures 108 Fig 7.1 Design directives Author 124
Ching 2014
Fig 7.2 Design exploration Author 125
building
Fig 5.6 Basement structural system structures 109 Fig 7.3 Design exploration Author 125
Ching 2014 Fig 7.4 Design exploration Author 125
building Fig 7.5 Design stage 1 Author 126
Fig 5.7 Basement parking grid system structures 109 Fig 7.6 Design stage 1 physical model Author 127
Ching 2014
building Fig 7.7 Design stage 1 physical model Author 127

Fig 5.8 Basement parking structures 109 Fig 7.8 Design stage 1 physical model Author 127
Ching 2014 Fig 7.9 Design stage 2 Author 128
Comparison of different long span building Fig 7.10 Design stage 2 physical model Author 129
Fig 5.9 systems structures 110
Fig 7.11 Design stage 2 physical model Author 129
Ching 2014
Structural grid to accommodate large building Fig 7.12 Design stage 2 physical model Author 129
Fig 5.10 span spaces structures 111 Fig 7.13 Design stage 3 physical model Author 130
Ching 2014 Fig 7.14 Design stage 3 physical model Author 130
Comparison of different structural building
Fig 5.11 systems structures 112 Fig 7.15 Design stage 3 physical model Author 130
Ching 2014 Fig 7.16 Design stage 3 physical model Author 130
Comparison of different structural building Fig 7.17 Design stage 3 physical model Author 130
Fig 5.12 systems structures 112 Fig 7.18 Design stage 3 physical model Author 130
Ching 2014
building Fig 7.19 Design stage 3 physical model Author 131

Fig 5.13 Coffer slab system structures 113 Fig 7.20 Design stage 3 physical model Author 131
Fig 5.14 Comp re ssed w ood f ibe rboa rd Google Images 114 Fig 7.21 Design stage 3 physical model Author 131

Fig 5.15 Wood acoustic panel Google Images 114

National Centre for Arts. New Delhi

 Conceptual diagram showing functional list of abbreviations used
Fig 8.1 distribution Author 133
Fig 8.2 Ground level plan for NCA Author 136
AHU Air Handling Unit
Fig 8.3 First floor plan for NCA Author 137
BOH Back of the House
Fig 8.4 Second floor plan for NCA Author 138 CIC Cultural Information Centre
Fig 8.5 Third floor plan for NCA Author 139 CV Central Vista
Fig 8.6 Fourth floor plan for NCA Author 140 CVC Central Vista Committee
Fig 8.7 Fifth floor plan for NCA Author 141 DDA Delhi Development Authority
Fig 8.8 Basement plan for NCA Author 142 DUAC Delhi Urban Arts Commission
Fig 8.9 Basement plan for NCA Author 142 ECS Equivalent Car Space
Fig 8.10 Elevations Author 144 ELSS Electrical Sub Station
Fig 8.11 Sections Author 145 FCU Fan Coil Unit
Fig 8.12 Context model [1:2000] Author 146 FOH Front of the House
Fig 8.13 Context model [1:2000] Author 146 GOI Government of India
Fig 8.14 Context model [1:2000] Author 146 HVAC Heating, Ventilation & Air Conditioning
Fig 8.15 Context model [1:2000] Author 146 IGNCA Indira Gandhi National Centre for Arts
Fig 8.16 Context model [1:2000] Author 146 LBZ Lutyens Bungalow Zone
Fig 8.17 Context model [1:2000] Author 146 MEP Mechanical, Electrical & Plumbing
Fig 8.18 model [1:500] Author 147 MICE Meeting. Incentive, Conventions & Exhibitions
Fig 8.19 model [1:500] Author 147 MPD Master Plan for Delhi
Fig 8.20 model [1:500] Author 147 NCA National Centre for Arts
Fig 8.21 model [1:500] Author 147 NCPA National Centre for Performing Arts
Fig 8.22 model [1:500] Author 147 NDMC New Delhi Municipal Corporation
Fig 8.23 model [1:500] Author 147 RCC Reinforced Cement Concrete

Fig 8.24 3D views Author 148

Fig 8.25 3D views Author 148
Fig 8.26 3D views Author 148
Fig 8.27 3D views Author 148
 Introduction
India is a culturally diverse nation with numerous
traditions, language, art forms associated with
di ff e r e nt r eg i o ns an d c o mm u n it i e s. In di a n
civilization has been the origin of some of the
most incredible art forms know to the mankind.

1
These art forms span across various domains—
from dance to music, from painting to sculpture.
Although, many forms of indigenous classical
arts have attained recognition at national and
international level, nevertheless still there exist a
large treasure of such art forms which are limited
within the bounds of their region/ community.
Introduction These art forms are not only the identity of their
community but also a heritage for the nation.
They've been treasured in every nook and corner
of the country where the artists are struggling
very hard to preserve them. However as a nation,
India still lacks in providing required platform for
their promotion and preservation. T hus, one
way forward to preserv e and spread these art
forms is to provide them required exposure by
forwarding it to new-generation. train & support
artists to carry it further.

20
Need Identification
Examples of endangered artforms in India
As India moves in the direction of becoming Saving this treasure of art forms is need of the
th e n ext su p e rp o we r —d r i ve n b y a dv an c em e n t hour and government is taking steps to promote
in technology—there are certain things that an d f a ci l it a t e t h e m. A b udg e t of R s 2 8 4 3 . 2 2
India is leaving behind - its culture, traditions, crore (2017-18) is allocated to ministry of culture
heritage and arts. The invaluable Indian art forms for the same. ( https://www.indiaculture.nic.
are losing its sheen and artists are moving on to in/about us -fin ance-budg et) One o f the ma in
some other source of earning for the survival. reason for such condition is that India is majorly
(https://incredibleindianartform.com/dying_art_ lacking in providing adequate infrastructure for
forms/)We've already lost many art forms and institutes which aim to promote and preserve
much of the remaining is on verge of extinction. traditional art by bringing them to masses. Thus
Fig 1.1 - Kathputli (dying artform of India)
There is an immediate need for people to the need for providing a national centre for arts
under stand th e impo rta nce of l oc al art s and a r is e s w h ic h is c ap ab l e to p r ov id e a p l a tf o r m
cultur e. Unf ort unat ely in Ind ia th e tr aditi ona l for tr adit ion al a rt fo rms t o ma rk their va lu e
Art forms are largely under-appreciated in the internationally.
mainstream due to high influence of western
culture. These art forms exist i n niche. The office
of Development Commissioner (Handicrafts),
Government of India has released a list of 35
traditional crafts which are endangered. List can
be found at http://handicrafts.nic.in/pdf/List_Of
Identified As Endangered Craft.pdf (the list is
limited to Crafts and not other forms of arts like
Fig 1.2 - Dhokhra Handicraft (dying artform of India)
dance, music. painting, etc. However it gives an
idea of current situation)

Fig 1.3 - Chhau Dance (dying artform of India)

News Coverage Sources in the ministry said the NCPA will come up on the sprawling lawns
of the Indira Gandhi National Centre for Arts (IGNCA) — barely 1.5 km from
the capital's cultural hub that houses Sahitya Kala Akademi, National School
Country's biggest performing arts centre to come up in city at Rs of Drama and the Sangeet Natak Akademi.
350 crore
Being touted as the biggest centre in the country, sources said the Ministry
( S o ur c e , I n d i a n Ex p r e s s , Ma y 1 3 . 2 0 1 7 ht t p s :// ind i a ne x p r e s s. co m ia r ti c l e/ ci t i e s/ d e l hi /c o untr y s - wants to provides a space for cultural activities and ensure performing arts
b i g g e s t - p er f o rm i ng - ar t s -c e ntr e - to - co m e - u pi n c i t y a t r s 3 5 0 c r o r e - 4 6 5 3 4 7 0 / )
gets a boost both nationally and internationally.

While the first premier NCPA is at Mumbai's Nariman Point, a second centre
Delhi's NCPA will be constructed across an area of 10 to 11 acres and will
has been proposed in Thiruvananthapuram. Delhi's NCPA will be constructed
be bigger than the centre in Mumbai which is spread over seven acres.
across an area of 10 to 11 acres and will be bigger than the centre in Mumbai
which is spread over seven acres.
The national capital will soon be competing with Mumbai to play host to
artistes from across the globe, with the Union Ministry of Culture giving its
The ministry has allocated a budget of Rs 350 crore for the project, which
nod to set up a National Centre for Performing Arts (NCPA) in Delhi.
is scheduled to be completed in three years. Sources said the centre is set
to have a huge auditorium with state -of-the-art facilities and technology.

An expert panel has been asked to study various stage structures and
halls in other countries to ensure that the architecture projects a balance
between folk and regional performance art. and international performance
art.

"Famous performance art spaces, such as those in France and the USA,
have been studied. We will look at other models as well. The Delhi NC PA
will outshine even international performing art centres. The IGNCA is
setting up various committees to work out the basic model and blueprint
in consultation with renowned artists and experts. which will be led by our
ministry," a senior official said.

As many organisations have been stressing on the need to emphasise on

performing arts, the ministry believes the centre will give a space to artistes
to showcase their talent.
Fig 1.4 - Exhibition at IGNCA. Representational image

National Centre for Arts. New Delhi

 Delhi aiming to provide a space for cultural activities. According to sources,
Delhi to get India's biggest performing arts centre; here's all you
the centre is said to outshine even international performing art centres.
need to know about it Here is all you want to know about it:

( S o u r c e : F i n a n c i a l E x p r e s s O n l i n e , M a y 1 3 , 2 0 1 7 htt ps :// www. fi na nci al exp re ss.co m/i ndi a -  The report said that according to sources in the ministry, the NCPA will
ne ws id elhi to get i nd ia s big ge st p erf ormi ng -a rts -ce nt re he r e s- a l l -y o u - ne e d- t o- k no w - ab o ut -
i t / 66 6 63 8/ ) be constructed on the lawns of the Indira Gandhi National Centre for Arts
(IGNCA), which is barely located 1.5 kilometres from Delhi's cultural hub
housing Sahitya Kala Akademi, National School of Drama and the Sangeet
Delhi will soon get a huge performing arts centre to host national and international Natak Akademi.
artists, as the Union Ministry of Culture has given its nod to set up a National Centre
for Performing Arts in the national capital  With the aim to provide a space for cultural activities and ensure
performing arts gets a boost both nationally and internationally, the Delhi's
Delhi will soon get a huge performing arts centre to host national and NCPA will be constructed across an area of 10 to 11 acres, said sources.
international artists, as the Union Ministry of Culture has given its nod to It will be bigger than the centre present in Mumbai which is spread over
set up a National Centre for Performing Arts (NCPA) in the national capital, seven acres.
reported The Indian Express. The first premier NCPA is at Mumbai's Nariman  Being touted as the biggest centre in the country, the ministry has
Point and the second centre has been proposed in Thiruvananthapuram. allocated a budget of Rs 350 crore for the project, reported The Indian
Now, the ministry has issued directives to come up with another centre in Express. It is scheduled to be completed in three years.

 The report quoted sources as saying the centre is set to have a huge
auditorium with state-of-the-art facilities and technology.

 In order to maintain the standard of the centre. an expert panel has been
asked to study various stage structures and halls in other countries. The
panel has been asked to ensure that the architecture projects a balance
between folk and regional performance art, and international performance
art.

 Several famous performance art spaces, including those in France and

the USA, have been studied along with looking at other models as well. He
stated that the Delhi NCPA will outshine even international performing art
centres, according to Indian Express quoting a senior official. Furthermore,
the IGNCA is setting up various committees to work out the basic mo del
and blueprint in consultation with renowned artists and experts, which will
be led by our ministry, he said.
Fig 1.4 - Dance performers. Representational image
 Intent
There exists a few institutions in India which focuses on promoting &
preserving Indian arts. One such institute is Indira Gandhi National Centre
for Arts (IGNCA) which was launched on 19th November, 1985 by the late
Prime Minister Shri R ajiv Gandhi. The site allocated was at junction of
Rajpath and Janpath along 'Central Vista' in New Delhi.
The institute was imagined as the largest in India for the purpose it serves.
However, till 2017 only a small part of the proposed scheme was built.
Thereupon, Union ministry of Culture proposed a 'National Centre for Arts'
in one part of site along with expansion of existing IGNCA infrastructure.
The proposed NCA is projected as largest centre for performing & visual
arts in country leaving behind NCPA, Mumbai.
Thus, intent of this thesis is to propose a scheme for NCA, Delhi which
respects its context and significance by doing proper research and analysis
to correctly understand the needs and expectations associated with it.

Proposition
To design a 'National Centre for Performing and Visual Arts' in a strong
context of Lutyens Delhi which was created by the British govt. to impose
their power & prominence through built expression. The strong use of
geometry as an indicator for levels for hierarchy and dominance in built
form was induced. Post-independence, the structures were inherited by
Indian govt. However the use of hierarchical distribution remained the
same. Around 70 years' post -independence, the proposed NCA, Delhi in
the strong context of such prominent power structures aims to provide an
international platform to all forms of indigenous art forms. Thus the scheme
should reflect upon Indian perception of spaces and built articulation to
honor those art forms. At the juxtaposition of these two contrary styles is
where the scheme finds its true manifestation.

National Centre for Arts, New Delhi

Location justification Research Question
The city of Delhi presently houses only one major Cultural Hub i.e. Mandi
House. However, one cultural hub for such a vast city is inadequate. On
top of that, it too lack in many aspects, the primary being lack of public
interaction spaces. no dedicated pedestrian paths and insufficient parking
infrastructure. According to Delhi Development Authority (DDA) master
plan 2021, the city should ideally have 90 cultural hubs, out of which 60 were
projected to be developed by 2016. However, no noticeable development in
the field is observed yet.
Being the capital of the nation, presence of an International level center for
Indian becomes of absolute importance. It is therefore an obligation for the
city to provide required infrastructure to expand patronage and reinforce
the importance of such indigenous art forms at national level
What is the paradigm to develop & showcase
Indian art forms at international scale through
Project Brief built manifestation?
As an attempt to serve the issue raised above, National Center for Arts
(NCA) was proposed by Union Ministry of Culture in 2017. Proposed site of
the project is Indira Gandhi National Centre for Arts (IGNCA) lawns located
on junction of Rajpath and Janpath within strong context of National School
of Drama. Sahitya Kala Akademi and the Sangeet Natak Akademi.

The proposed NCA is projected to be the largest in India after existing

NCPA in Nariman Point, Mumbai & a proposed NCPA in Thiruvananthpuram.
Imagined as a national-level stage for performing arts, the center was first
proposed in 1985 in the same location by the then Prime Minister of India
Rajiv Gandhi. In an international competition organized for the same Prof.
Ar. Ralph Lerner secured the winning position with his entry serving as a
masterplan for the site. However, the project never saw completion and
only a small part of the proposed scheme was built. So. 30 years after the
competition, the project was again proposed in 2017 with an intent to create
a scheme for National Center for Arts (NCA).
 To design a scheme for proposed NCA by adding the provision for Display/
exhibition of Visual arts along with Performing arts. The scheme has to be
designed such that it respects the context of colonial architecture while
being sensitive to the spaces to cater to needs of traditional performers
and artefacts. Located along the Central Vista, the aesthetics and form
needs to be very sensitive to the urban fabric of the place.

Objective
The project looks to create a scheme for NCA while considering the
aspects listed above. So the objectives are:

To deeply understand the quality and type of spaces required for

different types of art-forms.

• To understand the architecture prevalent in the location of origin of

such art-forms.

C r e at e a s ch e m e t ha t gi v es r eq ui r e d at t en t io n t o n ee ds of
performers & artists along with visitors. The project has to pay its regards
to the physical context of the location it is situated it and its importance at
national level.

Scope
The scope of project includes developing a scheme to cater the spatial
needs of proposed NCA. Apart from that. extensive research shall be
carried out to understand the requirement of space for different art forms
and finding the 'Indian' value associated with each of the spaces.

National Centre for Arts. New Delhi

limitation
Conclusion
T he project design ex periences following limitations listed below:

Currently there's a gap in India between

Being located ina primelocationalongthecentralvista in Lutyens Delhi,
requirement and availability of National-
the design is restricted by strict development controls relevant to the area.
International scale art centre which needs to
be filled soon.
 Although there are artforms other than performing or visual like
martial arts, the scheme caters primarily to the former two.
Due to inadequate exposure and promotion,
most traditional artforms in India are on
verge of extinction.
Methodology
Delhi being the capital city of India provides
The methodology involved in preparing the proposed scheme is tremendous opportunities for upliftment
in current state of Indian arts. However.
Perform a historical research of site and program, its relevance and currently it itself lacks in providing required
expectations at national and international level. infrastructure at that scale.

Deeply understand the requirement of project based on case studies In 2017, Union Ministry of Culture proposed
and compare it with proposed area program thus updating the program. a nat ion al l eve l cent re fo r ar ts in I GNCA
lawns which is currently underused for the
 Understand and cater to the need of typological, expression & same purpose. The centre is proposed to be
material continuity. largest in the country leaving behind NCPA,
Mumbai.

Challenge
Inference
To create something that serves as a platform for all sorts of Indian arts
and cultural practice at an international level. it becomes imperative for To preserve, promote & popularize Indian art
the space to be designed considering the requirements of artifacts, artists forms, a National centre for arts is required. The
and thorough understanding of the context from where they originated. centre being of National importance should be
Above that, building something so sensitive to Indian art and craft style in a ideally established in capital of country.
context of colonial establishment creates a strong juxtaposition in its own.
Challenge lies in preserving the urban-scape of the region while creating
spaces inspired from local architecture.
ResearchFramework
Areas of Exploration Research Methodology

Building Functionality
Understanding individual components, zoning & functionality of Case studies, site visit of similar
spaces (standalone & interdependent) projects
Hierarchy of privacy (Public spaces v/s limited access)
Connection between spaces and movement system for different users
Built form & its connection to open spaces, landscaping
User Identification Fundamental arithmentics related to space requirement & capacity

Need identification of different users. circulation, behaviour patter n and Understanding different
access permission. perspectives from viewpoint of
different users:
 Artist/ Performer
 National/ International visitor
 Administrator
 Working Staff
 Housekeepers
 Security Personnel
 VIP guests

Historical Context of site • History of Lutyens Delhi Research through papers. books
• IGNCA competition, its need & relevence and shortlisted scheme. & arcticles on the subject. Book
'Concepts & Responses' by Razia
Grover to understand more about
competition & leading entries.

Understanding of current site conditions, existing built on site. Site visit, survey plan of site
Site Study
topographical conditions, existing flora prepared by 'ABM Engg. &
• Edge conditions, response to immediate and larger context Surveyors' and relevent data
• Architectural language, streetscape available online.
• Accessibility and connectivity

• Finding applicable development controls like max. ground coverage, Study of MPD, follow applicable
Development controls max. permissible FAR. height restrictions, basement norms, setbacks. bye-laws for non-residential plots
• Finding applicable clearance needed for project like DUAC, fire dept. in LBZ. Central vista guidelines and
clearance etc. limits prescribed in project brief.

National Centre for Arts. New Delhi

 Areas of Exploration Research Methodology

Context study Relevence of International level Arts Centre in capital of India. Research through papers, books &
Response to Central Vista and other prominent institutes in the vicinity arcticles on the subject.
like Ras htr apat i Bhaw an, Amb edka r Inte rnat ion al Cent re , IGN CA
building, etc.
Understanding the need associated with the project and its challanges

Indian Art-forms  Study of different art forms native to India and their origin Case study of modern
 Study of the space requirement for display & creation of such art - museums to understand the
works. technical requirement
 Study of impact of architecture on art-forms (in terms of creation and Research through papers.
display/ performance) books & arcticles on the
 Elements of traditional architecture prevalent at place of origin of subject.
various art forms
 Means and need of adopting modern technology for display &
recreation for art-forms

Technology Study Study of technological aspects (requirement, details, necessity & Case study to understand the
applicable rules) associated with technical requirement
 Structure of the project R e se a r ch t h r ou gh p ap e r s,
 Services (HVAC, MEP) books & arct icl es on t he
 Susta inabl e st rat igi es (Activ e & Pa s sive) subject.
 Safety (F ir e haz ard/ n atur al d isast e r)
 Security (Security of people, building & artworks against theft/
vandalism)

 Understanding the climate conditions of Delhi like avg. temperation,  Analyzing climatic data
Climate (micro & macro)
temperature range over month & year, rainfall pattern, humidity in available for city of Delhi
various seasons, etc  Software analysis for sunlight
 Study of su n angl es at sit e and s ha dow an alysi s and shadow angle
 Unde rsta nding th e cl im atic r equ ir e ment s and it s so luti ons Case study to understand the
response to climate
 Typologies for performing space
Performance art involves physical movements
and integration with the space. Different viewing
an g l es p r ov id e s th e p e rf o r m e r a l ib e r ty t o
express their art as desired. Thus the need of
different types of stage and sitting area arises in
different forms of performing arts.
Some example of possible typologies are
explored. A typology which might be well suited
for one type of art form might not work for other.
Thus different typologies are explored in context
of desired usage.

Areas of Research
,

This chapter is divided in two parts.

The first part will deal with the
primary areas of research to have the
background knowledge to start the
design process.

The second part will deal with looking

at prac tica l exa mpl es o f sim il ar s uc h
projects in the form of case study and
understand how similar problem have
been tackled in other projects.
Design requirements w Front of the house Back of the house

Auditorium & Concert Halls Th e f r on t of t h e h o us e i s d ed ic a te d t o t h e

audience, the foyer facilities for all the
The back of the house is to accommodate all
those activities and people who are responsible
requirements and needs of the audience such for the performance. BOH is required to meet
Auditoriums are spaces which can accommodate as refreshments, info. Desks, toilets. It also acts the technical requirements of the production
functions such as :
as the waiting area, distributes and manages the house while remaining hidden from general
 Theatre/ Drama/ Dance crowd pre and post show. public. Hence any of the activities in BOH should
Music concerts The building should be legible to a user and the not intersect with public spaces at any given
Instrumental performance facilities should be provided such that they do point.
Opera or Ballet not hamper the movement of people through
It consists of:
Screening/ Projection the foyer space. A clever way to manage a foyer
Backstage storage
Public speaking space is by providing clear signage to help the
Green room(s)
user to find directions to seat and other facilities.
An auditorium can be simply broken down into •
three main functional zones: Toilets
FOH consists of:
Front of the house Scenery docks
 Reception & info. desk
Stage and Seating space Administrative office Backstage gallery
Back of the house Service lobby DMISING ROOMS
Equipment store
DESIGN
Cloak room LI
PAINT COSTUMES
Janitor's room
Toilet(s) KSVEPC WORK SHOP
Refreshment area TAUT
00*
PROPS

REHEARSAL
Stage & Auditorium ROOM
STAGE
The stage and the audience share very crucial 'IACKSTAGE”

relationship as the interaction between the EXIT

performance and the audience in any live OTHER

FUNCTIONS
performance is what determines the success of IN ELOG.
AUDITORIUM M
the design of an auditorium. The optimum array
of seating should be provided with consideration
of the visual and acoustic clarity for the audience. A DM I NC !

LroaErs FOYER LOUT

OFT

Fig 21 - Auditorium functional layout

Optimum audio clarity depends on: LA
1. correct reverberation time,
2. a b s e n c e o f e c h o ,
3 . correct loudness level at all parts of the hall,
and
I •

4 . low background noise,

Cent er Aid e Co nei neel al Ski e See k. , Siediem Type
Hall function Vol/ person
Music 5.0 - 5.5 cum
Theatre 4.0 - 5.0 cum
General Purpose 4.0 - 5.0 cum

Background noise level < 40 to 45 dB

(as measured on 'A' scale of sound level TPA Go v Ai d. No C•0111 Aide, O. 04 OS/ AIR. TI,... Cron Airier
SEATING AND AISLE ARRANGEMENTS - HoarIly thodorl oroor reprits& stag. ond ,..ring area losses from
meter) should be achieved within the hall. cornpororivo visuol position o o.„
Fig 2.3 - Different typologies in Auditorium seating layout
The average height may vary from 6 m for
small halls to 7.5 m for large halls. Ceiling may
be flat but it is preferable to provide a slight Fan-shaped plan is preferred due to
increase in the height near the center of hall. acoustical considerations.

The side walls should be arranged to have

an angle of not more than 100 degrees with
the curtain line.

It is recommended that the distance of the

farthest seat from the curtain line should
not normally exceed 23 m.

Rear Wall- The auditorium rear wall should be

either fiat or convex in shape. This should not
be concave in shape, but where it cannot be
avoided, the acoustical design shall indicate
either the surface to be splayed or convex
corrugations given in order to avoid any
tendency for the sound to focus into the hall.

Fig 2.2 - Auditorium seating design for best viewing

2 •
Fig 2.4 - Curvature for rows of seats
1111M National Centre for Arts, New Delhi
Side wall - Where the side walls are non-
Ro of a nd c e i l in g - I n l a rg e h al l s a f a l s e 9
parallel as in the case of a fan-shaped hall.
th e w a l ls ma y r e m a in r ef l ec t iv e a nd m a y ceiling is usually provided below the trusses.
be architecturally finished. in any manner The portion of the false ceiling near the
required. Where the side walls are paralle l pr o sc e ni u m is c o ns t ru ct e d o f r e fl e ct i ve
they may be left untreated to a length of about material (usually plaster of Paris) and is
7 m from the proscenium end. Difference su i ta b ly i nc l i n ed t o h e lp r e fl e ct i o ns fr o m
between the direct path and the path th e st ag e t o re a ch th e r e a r s ea t s of t h e
reflected from side wall shall not exceed 15m. hall. The remaining portion of this ceiling is
constructed to take acoustical treatment.

. . , „
1 m.
Conc ave shap ed cei lings (in th e form o f
dome or barrel) should be avoided. The
rear portion of the ceiling may be treated
r c r

with sound absorbing material partly Fig 2.7 - Desired viewing angles from balcony

for control of reverberation and partly

to prevent build-up of audience noise.
Balcony - Where a balcony is provided,
its projection into the hall should not
aum—coNv Floor - The floor elevation is based on the be more than twice the free height
principle that each listener shall be elevated of the opening of the balcony recess.
with respect to the person immediately in
front of him so that the listeners head is about Line of sight -The elevation of the balcony seat
1111.111CTOZMIL 12 cm above the path of sound which would should be such that line of sight is not inclined
pass over the head of the person in front of more than 30 degrees to the horizontal.
him. It is possible to reduce this to 8 cm, if the
seats are staggered. As an empirical rule the The seats should be arranged in concentric
angle of elevation of the inclined floor in an arcs of circles drawn with the center
auditorium should not be less than 8 degrees. located as much behind the center
of the curtain line as its (curtain line)
distance from the auditorium rear wall.

w0 1 : 1 1 .1 , 16
Trast"Amis

/..71146

Fig 2.5 - Viewing angles in auditorium Fig 2.6 - Sectional view of auditorium functiona ity Fig 2.8 - Sectional view of auditorium functionality

(.".7<i5r7D,
 SCENERY
PROPERTIES SMOKE VENT 1
ACTORS 4,
GRIDIRON PULLEYS

WORK SPACE
CYCLORAMA

1r
EFFECTIVE
STAGE AREA

—
TRAPS

PW , Prosc eniu m Width

PH, Proscenium Heigh
PW 40'—
2 PW+

Pin rail is located at lines gallery

1
El__
SCENERY PIECE

Cross Section Rigging Diagram

Plan Fig 2.9 - Auditorium stage design

Th e a ng l e s ub t en de d w it h t h e h o r iz o nt a l  Seats sh ould b e st agge red side w ays in

at the front-most observer by the highest relation to those in front so that a listener in
object should not exceed 30 degrees. On any row is not looking directly over the head
this bas is, th e dist ance of th e fr o nt row of- the person in front of him.
works to about 3.6 m for drama and it should References:
be 4.5m or more for cinema purposes.
 IS: 2526 - 1963 : Code of practice for
The width of a seat should be between 45 Acoustical design of Auditoriums and
cm and 56 cm. Conference halls
 NBC 2016 vol-2 Part 8, Section 4 : Acoustics,
The back to back distance of chairs in Sound Insulation and Noise Control
successive rows of seats shall be at least 85  Time Saver Standards for building types. 2nd
cm - 106 cm (extra comfort) edition

Fig 2.10 - Preferred angle for seat arrangement

National Centre for Arts. New Delhi

Amphitheater Design sh o ul d be b r ok e n i nt o c on v ex su r f ac e s
which in either case should be of at least 90
Requirements to 180 cm width.

Depth of stage should be arranged to suit

individual requirements; where it exceeds
6 m, it is necessary to treat back stage wall
acoustically. A ceiling reflector should be
provided for directing the sound to the rear
seats. This reflector may be hard reflecting
surface slanting at a suitable angle towards
the audience and fixed over the main sound
originating area of the stage.

Even i f r efl ecto rs a re p rov ided a s

reco mm end ed sou nd amp lif icat ion should
Fig 2.13 - Trees acting as noise barrier be r es o rt e d to in c as e t h e nu m b er of
F . a 2 . '1 1 - Gre e k a mo h e a t, audience exceeds 600 or back ground noise
is more than 45 to 50 dB. The loudspeaker
• Prevailing noise conditions should not The amphitheatre should be so located that system shou ld be s o des igned th at it is
exceed 45 dB on 'A' scale. wind direction is towards the audience from capable of providing an average level up to
the stage. 80 dB over the entire listening area.

Facing sun for audience makes it difficult for

R
them to view performances comfortably.
OAT
0 T■ 0.1 n',^17•1•r,
Back stage wall should be made reflective
,

A and broken into convex shaped surface. 7. 2 u•

Overall shape should be flat in plan:

however, if it is desired to be concave, it

Hard Sids asibackwit

naCr berefleadaa

Devaed Hal firer

ape
Fig 2.14 - Sound reflection in amphitheatre

Fig 2.15 - Sound transmission in a m p hi t he a t r e

F ig 2.12 - Bui lt mass acting as noise barrier

Conference Hall Design
Requirements

Conference Hall -Basic difference between Cei ling s hou ld not b e dom ed and s hould
conference halls and auditoriums, like theaters not be 'higher than 6 meters. Acoustical
and cinema halls, lies in the possibility of sound treatment on the ceiling should be confined
originating, in the former case from any part of to peripheral regions only. In the case of
the hall. In a conference hall a table or cluster of larger halls with considerable heights, more
tables is generally placed in the center of the hall, area of ceiling would need to be treated,
and persons who are listeners as well as speakers
sit around the table. Conference hall may have
any shape to suit architectural or any other
special requirements. In designing conference
Fig 2.16 - Conference hall with podium-seating typology
halls particular consideration should, therefore,
be given to the following requirements.

Acoustics of the halls should be so designed

as to ensure proper conditions for listening,
assuming that a person may speak or listen
from anywhere in the hall.

Optimum reverberation time should be

chosen. It may be noted that too long a
reverberation time muffles and confuses
the speech intelligibility while too short a
time prevents build-up of proper level for
good listening.

Fig 217 - Conference room Use of sound amplification system should

be avoided as far as possible. But where
necessitated, because of size or other
requirements, low level loudspeakers
or head phones should be provided for
individual or a group of seats.

Absorbent material should be distributed

evenly over the wall surfaces of the hall.

National Centre for Arts. New Delhi

DesignrequirementofMuseum& this means that well lit pictures should be
hung 10m away with the top not more than
Art Gallery 4.9m above eye level and bottom about
70cm below.
The museum/ gallery design is divided into 5
major components- Smaller pictures should ideally be hanged
 Public / Area having artwork collection in such a fashion that the point of emphasis
Eg : Display Galleries stays at eye level.
 Non Public / Area having artwork collection
Eg : Business centre, meeting room Fig 2.20 - viewing angles
 Public / Area not having collection
Eg : spillout, cafeteria, toilets
 Non Public / Area not having collection
Eg : Office, Security room
 Collection storage
The following key points must be carefully
considered while designing a museum/ art
gallery:
 The artifacts in art galleries are presented
in such a manner that a viewer can see all
those in a single round Seel. AVERAGE •4 OLD

Fig 2.19 - Viewing angles Fig 2.21- Spotlights are best placed in sync with natural light

200

175

,so

Fig 118 - Possible routes for art galleries

lip•-"Igargib ■ r e AA
100

■/4111II
Art galleries can have smaller rooms to
accommodate same group of work in a
room and maximize wall space for paintings. . •

Fig 2.22 - viewing angles

The normal human angle of vision starts at
27 deg above eye level. For standing viewer,
 Performing Arts TraditionalIndianArtforms
(Performing)
Pe r f o rm i ng a rt s a re a fo r m o f a r t i n w h ic h
performers/artists use their voices. bodies often
Puppetry
in calibration with other objects to convey their Puppetry is a form of theatre or performance
artistic expression. Performing arts include a that involves the manipulation of puppets -
range of disciplines and typologies which are inanimate objects, often resembling some type
performed in front of a audience either live or of human or animal figure that are animated or
Fig 2.23 - Bomalattam Fig 2.24 - Shadow puppet distant in digitally recorded format. The various manipulated by a human called a puppeteer. The
performances ranges from theatre, music (vocal puppeteer uses movements of her hands, arms,
& instrumental), dance and puppetry. or control devices such as rods or strings to move
the body parts of the puppet. The puppeteer
Performers are basically artists performing or
often speaks in the voice of the character of the
participating in the performance to audience. puppet, and then synchronizes the movements
They often use costumes. make-ups, light of the puppet's mouth with this spoken part.
Fig 2.25 - Glove puppet Fig 2.26 - Chador badoni & sound effects to alter and adapt their
appearances according to performance.
String Puppets Himachal Pradesh
Kathputli Rajasthan

Shadow Puppet Tamil Nadu

Rod Puppet Orissa

Chador Badoni Jharkhand

Fig 2.27 Kathputli Fig 2.28 - Shadow puppet
Bommalattam Tamil Nadu
Sakhi Kandhei

Togalu Gombeyaata Karnataka

Fig 2.29 - String puppet

H Fig 2.30 - Togalu

imp National Centre for Arts. New Delhi

Theatre Bhand Pather Jammu & Kashmir
Swang Haryana
T heatre is a collaborative form of performing
art that uses live performers to present the Nautanki Uttar Pradesh
experience of a real or imagined event before a
Ragini Haryana
live audience in a specific place, often a stage. The
Rasleela
performers may communicate this experience to Haryana Fig 2.31 - Swang Fig 2.32 - Tamasha
Bhavani
the audience through combinations of gesture, Gujarat
speech, song, music, and dance. Elements of Jatra
Bengal
art, such as painted scenery and stagecraft such Maach
Madhya Pradesh
as lighting are used to enhance the physicality, Bhaona
Assam
presence and immediacy of the experience.
Tamaasha Maharashtra
Dashavatar Goa Fig 2.33 - 5. 53.321 Fig 234 - Mudiyettu
Krishnattam Kerala
Mudiyettu Kerala
Yakshagaana Karnataka
Therukoothu Tamil Nadu
Dhanu Jatra Orissa
Fi g 2.35 - Dashavatar Fig 2.36 - Dhaanu jatra
Sonha Bihan Chattisgarh
Gammat ih a Chattisgarh
Rahas Chattisgarh
Yakshagana Telangana

Chindu Bhagavatham Telangana

Kood iyattam Kerala
Fig 2.37 - Therukoothu Fig 2.38 - Rasleela
Krishna Parijatha Karnataka
Kalo Goa
Dashavatar Goa

Fig 2.39 - Krishna parijatam Fig 2.40 - Koodiyattam

 c) Dance Jhumar Punjab
Gidda Punjab
Dance is a performing art form consisting of Kathak
pu rp o s ef u l ly s el e ct e d s e qu e nc e s of h u m an Uttar Pradesh
movement. This movement has aesthetic and Lu Khangthamo
Sikkim
symbolic value, and is acknowledged as dance Gha To Kito
Fig 2.41- Bagurumba Fig 2.42 - Bhangra by performers and observers within a particular Chi Rimu Sikkim
culture. Dance can be categorized and Sikkim
Gnungmala Gnunghey
described by its choreography, by its repertoire Sikkim
Be Yu Mista
1r$1"01 of m ove men ts. or by its hist oric al per iod o r
Rumtek Chaam Sikkim
place of origin. An important distinction is to be
) drawn between the contexts of theatrical and Sikkim
Yak Chaam
participatory dance. Gaudiya Nritya
Sikkim
Fig 2.43 - Bihu
Fig 2.44 - Charn West Bengal
Purulia Chhau dance
Hafiz Nagma Jammu & Kashmir Raibenshe dance West Bengal
Rouf/ Wanwun Jammu & Kashmir L aghu r Nrit ya West Bengal
Khatok Chenmo Ladakh Ranapa West Bengal

Kompa Tsum-tsak Ladakh Dhali West Bengal

Jabro Ladakh Paika Nritya West Bengal

Fig 2.45 - Dalshone F l g 2. 4 6 Ga udi y a nnt va Chaams Ladakh Gombhira West Bengal
Chabs-Skyan Tses Ladakh Bagurumba West Bengal
Bihu
Raldi Tses Ladakh Assam
Bohuwa
Alley Yaato Ladakh Assam
Ojapali Assam
Namgen Himachal Pradesh
Deodhani Assam
Nati Himachal Pradesh
Sattriya Assam
Fig 2.47 - Sattriya Fig 2.48 - Gnungmala Kayang Mala Himachal Pradesh
Aji Lamu Assam
Dalshone and Cholamba Himachal Pradesh
Chalo
Shand and Shabu Himachal Pradesh Hiirii Khaniing Arunachal Pradesh
Chhambha Himachal Pradesh Lion and Peacock dance Arunachal Pradesh

Pandav Nritya Uttrakhand Arunachal Pradesh

Bhangra Punjab Arunachal Pradesh

Fig 2.49 - Giddha Fig 2.50 - Rumtek chaam

0 National Centre for Arts, New Delhi

Pasi Kongki Arunachal Pradesh Soowa Chattisgarh
Ponung Arunachal Pradesh Perini Sivatandavam Telangana
Popir Arunachal Pradesh Kuchipudi Andhra Pradesh
Naga Dance Nagaland Vilasini Natyam Andhra Pradesh
Ras Lila Manipur Andhra Natyam Andhra Pradesh Fig 2.51 - Bahuwa Fig 2.52 - Khukuri
Nupa Pala Manipur Burrakatha Andhra Pradesh
Pung Cholom Manipur Veeranatyam Andhra Pradesh
Maibi Manipur Butta Bommalu Andhra Pradesh
Khamba Thoibi Manipur Tholu Bommalata Andhra Pradesh

Cheraw Mizoram Dappu Andhra Pradesh

Bizu Tripura Tappeta Gullu Andhra Pradesh Fig 2.53 - Deodhani Fig 2.54 - Kathak

Lebang Boomani Tripura Dhimsa Andhra Pradesh

Garia Tripura Kolatam Andhra Pradesh
Hai Hak Tripura Bagavatha Nadanam Tamil Nadu
Paika Jharkhand Chakkai Attam Tamil Nadu
Chhau Jharkhand Kamandi Tamil Nadu
Santhal Jharkhand Karagattam Tamil Nadu Fig 2.55 - Gombhira Fig 2.56 - Kagyed

Odissi Orissa Paampu Atam Tamil Nadu

Chhau Orissa Kathakali Kerala
Dalkhai Orissa Mohiniyattam Kerala
Saila Tribal Dance Chattisgarh Theyyam Kerala
Karma Tribal Dance Chattisgarh Padayani Kerala
Fig 2.57 - Jhumar Fig 2.58 - Pandav nritya
Chandaini Gonda Chattisgarh Thullal Kerala
Lorik Chanda Chattisgarh Kummattikali Kerala
Kari Chattisgarh Chakyar Koothu Kerala
Hareli Chattisgarh Kunitha Karnataka
Raut Nacha Chattisgarh Kodagu Karnataka
Panthi Chattisgarh Beesu Samsale & Kamsale
Nritya Karnataka Fig 2.59 - Nati Fig 2.60- Namgen
 Somana Kunita Karnataka
Rituals/ Performances
Suggi Kunita Karnataka
Thesearetrad itional ritualsperformed indiff erent
Bootha Aradhane Karnataka
parts of the country symbolizing cultural,
Goravara Kunita Karnataka religious, communal values. This performances
Ghode Modni Goa are often performed in public places like open
ground, temples, parks, etc.
Dekhni Goa

Goff Talgadi Goa

Fig 2.61 - Yak chasm Fig 2.62 - Khatok chenmo Kurjan Rajasthan
Shigmo Goa
Kazhai Kothu Tamil Nadu
Powada Maharashtra
Onapottan Kerala
Banjara Hot Dance Maharashtra
Pulikalli Kerala
Lavani Maharashtra
Thirayattam Kerala
Koli Maharashtra
Jaggahalige Kunita Karnataka
w►11t/_t Garba Gujarat
Fig 2.63 - Raibenshe Fig 2.64 - Ho ajina
Raas Gujarat

Dandiya Gujarat
Ghoomar Rajasthan

Bhavai Rajasthan
Kachi Ghodi Rajasthan

Fig 2.65 - Jabro Fig 2.66 - Oja pal l

Fig 2.67 - Ranapa Fig 2.68 - Purulia chaau

National Centre for Arts. New Delhi

Music Hagalu Veshagaararu Karnataka
Padhar Gujarat
Music is an art form whose medium is sound Sufiana Kalam Jammu & Kashmir
organized in time. General definitions of music
Chakri Jammu & Kashmir
include common elements such as pitch, rhythm.
dynamics, and the sonic qualities of timbre and Henzae Jammu & Kashmir
texture. Music is performed with a vast range Ladishah Ladakh
of instruments and vocal techniques ranging Jhoori
from instrumental pieces, solely vocal pieces to Himachal Pradesh Fig 2.69 - Hagalu Vesha Fig 2.70 - Jaggahalige
Laman
pieces that combine singing and instruments. Himachal Pradesh
There are many types of music which are suited Samskara
Himachal Pradesh
for different occasion. mood and context. Within Baul
West Bengal
the arts. music may be classified as a performing Bishnupuri Classical
art, a fine art or as an auditory art. West Bengal
Kirtan
West Bengal
Shyama Sangeet West Bengal Fig 2.71 - Onapottam Fig 2.72 - Padhar
Rabindra Sangeet West Bengal
Nazrul Geeti West Bengal
Atulprasadi West Bengal
Dwijendrageeti West Bengal
Probhati Snageet West Bengal
Kantageeti West Bengal Fig 2.73 - Pulikkali Fig 2.74 - Thirayattarn
Ganasangeet West Bengal
Adhunik Gaan West Bengal
Borgeet Assam
Oi Nit om Assam
Kamrupi Lokgeet Assam
Padi Orissa

Carnatic Andhra Pradesh

Karadimajal Karnataka
 Visual Arts Traditional Indian Artforms
The visual art forms are those in which artist uses
(Visual)
different materials as a medium of expression. Drawing& Painting
It varies from 2D art forms like painting, textile,
It is a form of visual art where an artists depicts
Fig 2.75 - Sohrai Fig 2.76 - Patachitra printmaking to 3D like ceramics and sculpting.
something with the help of charcoal, paint or
Modern technologies like videography and
similar tools on a generally flat surface like paper.
audio recording resulting in film making which
leaf, cloth, wall or stone. There are a wide varieties
is i nt e r s ect i o n o f v i s u a l & p er f o r m in g a r ts .
of su ch a r t fo r m s d ep e nd in g up o n th e m e d iu m
Visual arts consists of art forms like ceramics,
of expression viz. pencil/ charcoal/ paint/ mud.
drawing, painting, sculpture. printmaking, crafts,
etc. They also vary in size from extremely small
photography, video and film making.
miniature paintings to larger ones on walls or
canvases.
Fig 2.77 - Chalchitra Fig 2.78 - Gond

Mando Goa
4 1 4 7 '
Terah Taal Rajasthan
Kangra Himachal Pradesh
Pahari Painting Himachal Pradesh
Peeth Uttrakhand
Fig 2.79 - Kangra 09 2.80 - Kohbar
Aipen Uttrakhand
Madhubani Bihar

Thangka Paintigs Sikkim

Patachitra West Bengal

Chalchitra West Bengal

Fig 2.81 Madhubani Fig 2.82 - Madhubani Jadu Patiya Jharkhand
Sohrai Jharkhand
Kohvar Jharkhand
Patachitra Orissa

Mandana Madhya Pradesh

Pithora Madhya Pradesh

Fig 2.83 - Mandana Fig 2.84 - Miniature

cm National Centre for Arts. New Delhi

Gond
Madhya Pradesh Sculpting
Warli
Maharashtra
Nirmal In this artform, artist depicts his work by
Telangana creating a 3 dimensional sculpture. This is widely
Tanjore
Tamil Nadu practiced in India in various medium like stone,
Batik
Rajasthan metal, clay/ terracotta, wood, etc.
Miniature Fig 2.85 - Madhubani Fig 2.86 - Maw gurjara
Rajasthan Tumba Chattisgarh
Pichchavi
Rajasthan

Crafts Textile
Craft is a type of work where useful and Textile arts simply crafts the uniqueness in a Fig 2.87 - Pahari Fig 2.88 - Patachitra
de c or a t iv e de v ic e s a r e m ad e c o m pl e t el y b y given fiber product either it's natural fiber or Fig 2.89 - Phad Fig 2.90 - Pichwai
hand or by using only simple tools. Usually the sy nt h et ic f ib e r . I n t hi s a rt f o r m, a r ti st d ep ic ts
term is applied to traditional means of making his work by incorporating beautiful images
goods. and color elements along with an integrity of
The term umbrellas a very large spectrum of
work ranging from ceramic pottery, bamboo
objects, metal jewellery, ivory artifacts, carpet/
mat, furniture making. textile making and many Bidri Telangana
more.
Manasa chali West Bengal

Carpet weaving Jammu & Kashmir

Shawl weaving Jammu & Kashmir

Maru Gurjar Rajasthan
Phad Chamba Rumal Himachal Pradesh
Rajasthan
Phulkari Punjab
Pietra Dura/ Prachin Kari Uttar Pradesh
Kantha 'Nang Meghalya
West Bengal
Dokra West Bengal Godna Chattisgarh
Zari Madhya Pradesh
Dokra Orissa
Dokra Bandhej Madhya Pradesh
Chattisgarh
Loha Shilp Banjara needle craft Telangana
Chattisgarh
Tangalia
Gujarat

exquisite designs on different fabrics.

Fig 2.91 - Pithora Fig 2.92 - Aiper)

Fig 2.93 - Thangka

:1 2.2
Case Studies

Fig 2.95 - View of Bharat Bhawan, Bhopal Fig 2.96 - View of Jawahar Kala Kendra, Jaipur

Bharat Bhawan, Bhopal Jawahar Kala Kendra, Jaipur

46
 Fig 2.97 - View of Kala Academy. Goa Fig 2.98 - View of Rabindra Bhawan. New Delhi Fig 2.99 - View of Kamani Auditorium. New Delhi

Kala Academy, Goa Rabindra Bhawan, New Delhi Kamani Auditorium, New Delhi
Case Study Bharat Bhawan, Bhopal
:

2.100 View of Bharat Bhawan. Bhopal

Fg 2.101 - Axonowetric sectional view of Bharat Bhawan

1982 Overview
Year of Completion
10000 sqm Bharat Bhawan is multi art centre designed by Charles Correa in 1982 set
Site Area
11150 sqm up to create an interactive proximity between verbal, visual & performing
Built-up area arts. it provides space for contemporary expression, thought, quest &
Architect(s) Charles Correa innovation. It is located in Bhopal, the capital of Madhya Pradesh.

Architectural style Contemporary Indian

The site is on a gently sloping plateau overlooking the lake. Natural contours
Climate Conditions Humid subtropical climate, with are well integrated with the overall design. The building's terraces and
cool, dry winters (avg. 16°C), a hot courtyard with progression through space gives feel of maze or puzzle,
summer (avg. 30°C) and a humid where parts are casually revealed and complexity of internal paths acts like
monsoon season village layout.

itE: National Centre for Arts. New Delhi

Concept
Based on idea of 'non-building' by Charles
Correa, only a glimpse of the built is seen from
the entrance as if there is no building at all. Due
HMI r • ramp n

:hanging rooms
to sloping terrain, building unfolds itself when Green room Bliairan
on walks in gradually levelling down. Series of Terrace
jj
courts and terrace gardens are inspired from
Indian village setting.
up

Print shop Li brary Terrace

Library

Court D n D o
of
Uri
Fig 2.102 Entrance of Bharat Bhawan Antarang
Court
of the
L Tribal
P Art
e
r
m
a Adrninistratiorl I hi
n up
e
Fig 2.103 - View from courtyard of Bharat Bhawan n
t
M
Spatial Organisation u
Permanent s
Bharat Bhawan has a series of terrace gardens
Museum e
which cascade down till the lake. The visitors u
enters at the highest level and walk down m
the pedestrian spine, flanked by a pattern of
courtyards in order to reach different parts of
Plan. _______________ 60 ft
the complex. 18 m
Fig 2.104 - Plan of Bharat Bhawan
It house an art gallery, a fine -arts workshop,
an open air amphitheater, a studio theatre, an
auditorium, a museum of tribal & folk art, libraries
of Indian poetry, classical as well as folk music.
 Structure

The structure of Bharat Bhawan is based on

RCC framework. The grid consist of group
OAT of 4 columns at distance of 2m. The group is
terrace placed at distance of 9m from each other. This
structural framework is adopted throughout the
building.
Fig 2.106- View of Bharat Bhawan
Library
Gallery
Court
Theatre I Tribal
Court Museum

Court
ale Admin

Museum

Fig 2.105 - Functional relationship in Bharat Bhawan Fig 2.107 - View of Bnarat. Bhawan

Functional Relationship Sustainability Measures

The zoning is done by providing more open Sunken courts are provided to regulate harsh
public space towards lake like OAT and open sun during summer and create a micro climate. Fig 2.108 - Structural grid in Bharat Bhawan

terraces. However, the museum is placed away Shell structures on top brings in light. Use of
probably to regulate the exposure to moisture locally available material is also considered.
which might harm the artifacts.

111MI National Centre for Arts. New Delhi