INDRAPRASTHA SANSKRITI KALA KENDRA

INTRODUCTION INDIAN CLASSICAL DANCE

WHAT IS AN ART ? CLASSICAL DANCE OF INDIA HAS DEVELOPED A TYPE OF DANCE-DRAMA THAT IS A FORM OF A TOTAL THEATRE. THE
DANCER ACTS OUT A STORY ALMOST EXCLUSIVELY THROUGH GESTURES. MOST OF THE CLASSICAL DANCES OF INDIA
ART IS A DIVERSE RANGE OF HUMAN ACTIVITIES IN CREATING VISUAL, AUDITORY ENACT STORIES FROM HINDU [Link] FORM REPRESENTS THE CULTURE AND ETHOS OF A PARTICULAR
OR PERFORMING ARTIFACTS (ARTWORKS), EXPRESSING THE REGION OR A GROUP OF PEOPLE.
AUTHOR'S IMAGINATIVE, CONCEPTUAL IDEAS, OR TECHNICAL SKILL, INTENDED
TO BE APPRECIATED FOR THEIR BEAUTY OR EMOTIONAL POWER. CLASSICAL DANCE FORMS
TYPES OF ART FORMS • BHARATANATYAM
• KATHAKALI
• PAINTING • LAVNI
• SCULPTURES • KATHAK
• DANCE • KUCHIPUDI
• MUSIC • PUNJABI( BHANGRA)
• CERAMIC ART • ODISSI
• PHOTOGRAPHY • SATTRIYA
• POETRY • MANIPURI
• MOHINIYATTAM
• FOLK AND TRIBAL DANCE FORMS

INDIAN CLASSICAL MUSIC

THE ROOTS OF THE CLASSICAL MUSIC OF INDIA ARE FOUND IN THE VEDIC LITERATURE OF HINDUISM AND THE ANCIENT
• POETRY
NATYASHASTRA, THE CLASSIC SANSKRIT TEXT ON PERFORMANCE ARTS BY BHARATA MUNI.
WHAT IS CULTURE ? INDIAN CLASSICAL MUSIC HAS TWO FOUNDATIONAL ELEMENTS, RAGA AND TALA. THE RAGA, BASED ON SWARA, FORMS
THE FABRIC OF A MELODIC STRUCTURE, WHILE THE TALA MEASURES THE TIME [Link] RAGA GIVES AN ARTIST A
CULTURE IS AN UMBRELLA TERM WHICH ENCOMPASSES THE SOCIAL BEHAVIOR PALETTE TO BUILD THE MELODY FROM SOUNDS, WHILE THE TALA PROVIDES THEM WITH A CREATIVE FRAMEWORK FOR
AND NORMS FOUND IN HUMAN SOCIETIES, AS WELL AS THE KNOWLEDGE, RHYTHMIC IMPROVISATION USING TIME
BELIEFS, ARTS, LAWS, CUSTOMS, CAPABILITIES AND HABITS OF THE INDIVIDUALS
IN THESE GROUPS.
TYPES OF CULTURE CLASSICAL MUSIC FORMS
• HINDUSTANI MUSIC
• HINDUISM • CARNATIC MUSIC
• JAINISM • FOLK MUSIC
• BUDDHISM • BHANGRA AND GIDDHA
• SIKKISM • BIHU OF ASSAM
• MUSLIM • DANDIYA
BUDDHIST PHILOSOPHY SIKHISM • SUFI ROCK
• UTTARAKHANDI MUSIC
• INDIAN POP MUSIC
• FILMI MUSIC

JAIN PHILOSOPHY HINDU PHILOSOPHY ISLAMIC PHILOSOPHY

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
 INDRAPRASTHA SANSKRITI KALA KENDRA - SYNOPSIS

SYNOPSIS METHODOLOGY CASE STUDY AND

AIM IDENTIFICATION OF THE TOPIC LITERATURE
TO DESIGN A SOCIO CULTURAL CENTRE AT DWARKA ,DELHI.
• FIELD OF INTEREST STUDY
• IMPORTANCE OF TOPIC
OBJECTIVES • NEED OF TOPIC
MOTIVE
1. TO UNDERSTAND THE RELATION BETWEEN ACTIVITIES
I.E. CIRCULATION. ANALYSIS OF THE TOPIC SITE INSEPECTION THE MAIN MOTIVE OF THE STUDY IS
2. TO STUDY AND ANALYZE THE FORMATION OF SPACES – LEARNING AND ANALYSIS OF SPACE,
OPEN SPACE, SEMI-OPEN SPACE, ENCLOSED ACTIVITY, MATERIALS. TO
SPACE,TRANSITION SPACE ETC. UNDERSTAND THE [Link]
3. TO STUDY DIFFERENT CONSTRUCTION MATERIALS AND UNDERSTAND THAT HOW THE
CASE STUDY LITERATURE STUDY SITE STUDY
AUCOUSTIC MATERIALS REQUIRED FOR CENTRE. CONCEPT EXECUTED ON SITE.
4. TO EXPLORE AND STUDY SYMBOLISM.
• SITE CONDITION
• SELECTION OF CASE • SELECTION OF STUDY
• CLIMATOLOGICALLY LIST OF CASE STUDY
STUDY
SCOPE • CASE STUDY
ANALYSIS
• SITE CONTEXT AND
• COMPARISON 1. JAWAHAR KALA KENDRA
1. THE SPACE DESIGN IS TO UNDERSTAND THE INDIAN ART RELATION WITH
PROJECT 2. TRIVENI KALA SANGAM
CULTURE INCLUDING MUSIC, DANCE AND
CRAFTWORKS, SO THE FOCUS OF DESIGNING THE
CENTRE IS ON FORMATION OF INTERACTIVE SPACES. LIST OF ONLINE STUDY
INFERENCES
2. THIS PROJECT DEALS WITH THE DESIGN WHICH IS WELL
ADOPTABLE IN TERMS OF TYPOLOGY, FUNCTION AND • INFERENCES FROM LITERATURE 1. BHARAT BHAVAN ART GALLERY
CLIMATIC CONDITIONS. STUDY
• INFERENCES FROM CASE STUDY
LIMITATIONS • INFERENCES FROM SITE STUDY TRIVENI KALA SANGAM
• COMPARATIVE CHART
DELHI
1. THE DESING WOULD NOT GO TOO MUCH VERTICALLY.
HEIGHT RESTRICTED AT 8M.

JUSTIFICATION FOR TITLE PRIMARY DESIGN SOLUTION

• DESIGN BRIEF
THROUGH THE PROCESS OF THIS THESIS PROJECT, I AIM TO • AREA STATEMENT
LEARN MORE ABOUT COMMUNITY PLANNING AND ITS • CONCEPT
BENEFITS FOR AND ARTIST AS WELL AS [Link] AN ARTIST I • DESIGN REQUIREMENT
ALSO AIM THAT PEOPLE SHOULD KNOW MORE AND MORE
ABOUT ART AND [Link] HERE WE CAME UP WITH AN
IDEA TO PROVIDE A CENTRE OF TO UNDERSTANDING AND
FINAL DESIGN PROPOSAL WITH REPORT JAWAHAR KALA KENDRA BHAVAN’S ART GALLERY
EXPLORING DIFFERENT ART FORMS OF INDIAN CULTURE
UNDER ONE ROOF. JAIPUR BHOPAL

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 JAWAHAR KALA KENDRA, JAIPUR – CASE STUDY
INTRODUCTION ARCHITECTURAL PLANNING
• THE PLAN WAS PREPARED BY AR. CHARLES CORREA IN
1986 AND THE BUILDING WAS READY IN 1991.
JAWAHAR KALA KENDRA IS A MULTI ART
• THE PLAN IS BASED ON ANCIENT VEDIC MANDALA OF
CENTRE LOCATED IN JAIPUR - RAJASTHAN - INDIA. THIS
CULTURAL CENTRE FOR THE CITY JAIPUR IS DEDICATED TO NINE SQUARES WHICH REPRESENTS THE NINE PLANETS.
THE MEMORY OF INDIA’S GREAT LEADER JAWAHARLAL (INCLUDING TWO IMAGINARY PLANET THAT IS RAHU AND
NEHRU. KETU). SO THE PLAN WAS PREPARED BY ‘NAVGRAH’
THE CENTRE WAS LAUNCHED BY STATE CONCEPT.
GOVERNMENT TO PROVIDE THE SPACE FOR CULTUR OF • EACH SQUARE IS LINKED TO THE PLANET AS PER THE
INDIA. THE CENTRE HAS BEEN MADE IN EIGHT BLOCK CHARACTERISTICS OF THE PARTICULAR PLANET BY ITS
HOUSING MUSEUMS TO PROVIDE THE SPACE FOR CULTURE NAVGRAH CONCEPT JAIPUR CITY PLAN
COLOR, ASTROLOGICAL VALUES AND FUNCTIONALITY.
OF INDIA AND DISPLAY THE RICH CRAFT HERITAGE.
PLANET COLOUR QUALITY FUNCTION
EVOLUTION OF JAIPUR CITY BY USING NAVGRAH CONCEPT VENUS WHITE ART DRAMA THEATER
LOCATION
THE PLAN IS BASED ON ANCIENT VEDIC MANDALA OF NINE JUPITER LEMON YELLOW KNOWLEDGE LIBRARY
JAWAHAR NEHRU
SQUARES. RAHU IRIDESCENT DESTROYER DOCUMENTATION
MARG,OPP COMMERCE
COLLEGE, JHALANA SATURN RED EARTH KNOWLEDGE MUSEUM II
• NAVGRAH MANDALA
KETU BROWN/BLACK ANGER MUSEUM I
DOONGRI, RAJASTHAN - • CORNER SQUARED MOVED BEACAUSE OF HILL.
• THE PLAN BELONGS TO JAIPUR CITY PLANNING. MERCURY GOLDEN YELLOW EDUCATION LOK KALA KENDRA
INDIA
MOON MILKY WHITE HEART CAFETERIA
MARS RED POWER ADMIN BLOCK

• ARCHITECT

- AR. CHARLES CORREA

• CLIENT

- RAJASTHAN GOVERNMENT,
INDIA

• PURPOSE • AREA - 9.5 ACRES

- CULTURE CENTRE TO PREVENT RAJASTHAN ART AND CULTURE

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
JAWAHAR KALA KENDRA – CASE STUDY
3. MOON
1. MARS
COLOUR – MILKY WHITE
COLOUR – RED QUALITY – HEART
QUALITY – POWER FUNCTION – CAFETERIA
1. MARS
FUNCTION – ADMINISTRATION BRIEF

• THE CAFETERIA IS PLANNRD IN A

BRIEF LINEAR WAY HAVING GARDEN
SEATINGS AS WELL AS FORMAL
• ADMINISTRATION ENTRY CONSIST SEATINGS
LOBBY, DISPLAY AREA,RECEPTION • ROOMS ARE PROVIDED AT UPPER
AND CONFERENCE ROOM AT FLOOR OF CAFF FOR
GROUND FLOOR AND DIRECTORS ACCOMODATION .
CABIN, ASSISTANT CABIN AREA AT
FIRST FLOOR. 4. MERCURY 2. SUN
• IT IS AN INTERIOR SPACE THAT
SHOWS THE CEILING WHICH COLOUR – GOLDEN YELLOW
DEPICTS RIVERS, MOUNTAINS, QUALITY – EDUCATION
ANIMALS, VEGETATION IN FUNCTION – LOKA KALA KENDRA
TRADITIONAL COSMOLOGY.
• THE CEILING AT LOBBY DEPICTS THE BRIEF
NAVGRAH MANDALA.
• IT CONSIST 4 GALLERIES I.E.
• SUKRUT GALLERY (GALLERY –I )
2. SUN
• SUREKH GALLERY (GALLERY – II) 3. MOON
• SUDARSHAN GALLERY (GALLERY – III)
FUNCTION – OPEN AIR THEATRE
• CHATURDIK GALLERY
• PLAY CLAN – GALLERY SHOP
BRIEF
• THE CENTRALLY PLACED 5. KETU
COURTYARD CAN BE VIEWED
FROM ALL THE GALLERIES. COLOUR – BLACK/BROWN
• THE COURTYARD IS AN OPEN QUALITY – ANGER
AMPHITHEATRE HAVING 8M HIGH FUNCTION – MUSEUM – I
WALLS ON ITS PERIPHERIAL. BRIEF
• THE FLOORING PATTERN IN THIS 4. MERCURY
SQUARE IS A DIAGRAM OF LOTUS • MUSEUM – I IS AN ALANKAR
REPRESENTS THE SUN. GALLERY KNOWN AS THE
• IT IS A CENTRAL COURTYARD COMTEMPORARY.
BRINGS LIGHT AND AIR. • IT IS AN EXHIBITION SPACE
• THE WALLS HAVING SMALL WHICH IS USE TO DISPLAY
PUNCTURES FOR VENTILATION. PAINTINGS RELATED TO
TRADITION.
• GLASS PANNELS ARE USE FOR
DAY LIGHTING.

5. KETU
GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
JAWAHAR KALA KENDRA – CASE STUDY

6. SATURN 8. JUPITER

COLOUR – RED EARTH COLOUR – LEMON YELLOW

QUALITY – KNOWLEDGE QUALITY – KNOWLEDGE
FUNCTION – MUSEUM - II FUNCTION – LIBRARY
6. SATURN
BRIEF
BRIEF

• AS THE SQUARE REPRESENTS

• THE COLOUR OF THE PLANET IS PLANET JUPITER, THE
RED EARTH SO THE SQUARE AESTROLOGICAL COLOUR OF PLANET
WAS TREATED WITH RED IS LEMON YELLOW SO THE SQUARE
COLOUR. WAS TREATED BY LEMON YELLOW IN
• EVERY BLOCK HAVING AN THE EXTERNAL FINISH.
INTERNAL CONNECTIVITY. • USES OF WATER BODIES TO MAKE
• MUSEUM – II CONSIST TWO THE SPACE LIVELY.
GALLEIES AND STUDIOS I.E. • PERBOLAS HAS BEEN USED AT
• GALLERY PARIJAT – I EXTERIOR WHICH FORMS LIGHT AND
• ( ART EXHIBITION AREA) 7. RAHU
SHADOW PATTERNS.
• GALLERY PARIJAT – II (SOCIAL
• PROVISION OF GLASS PANNELS FOR
ARTICLE GALLERY)
DAY LIGHTNING.
• GRAPHIC STUDIO I AND II (
• LIGHTS ARE FIXED IN A
WORKSHOP SPACE)
GEOMETRICAL GRID PATTERN.
• PAINTING STUDIO

9. VENUS
7. RAHU
COLOUR – WHITE
QUALITY – ART
COLOUR – IRIDESCENT
FUNCTION – DRAMA
QUALITY – DESTROYER
FUNCTION – DOCUMENTATION BRIEF
8. JUPITER
BRIEF
• THE SQUARE REPRESENTS PLANET
VENUS , WHICH HAS THE QUALITY
• THE SQUARE REPRESENTS ART CONSIST AN AUDITORUM.
PLANET RAHU, WHICH HAS THE • THE SQUARE HAVE ONE
QUALITY DESTROYER CONSIST AUDITORUM WITH CAPACITY OF
TWO OFFICES OF INDIAN 200 PERSON AND ANOTHER DRAMA
COUNCIL FOR CULTURAL THEATRE OF 100 PERSON CAPACITY.
RELATION. • THE STAGE IS FINISHED WITH WOOD
• THERE IS AN ART GALLERY HAVING FAN SHAPE.
WHICH HAVE GLASS PANNELS • THE CEILING IS SQUARE GRID
TO THE WHOLE BLOCK CEILING HAVING AC OUTLET
LOUVERS.
9. VENUS

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 JAWAHAR KALA KENDRA , JAIPUR – CASE STUDY

JAWAHAR KALA KENDRA,

AUDITORIUM

• THE SQUARE REPRESENTS

PLANET VENUS , WHICH HAS
THE QUALITY ART CONSIST AN
AUDITORUM.
• THE SQUARE HAVE ONE
AUDITORUM WITH CAPACITY
OF 200 PERSON AND ANOTHER
DRAMA THEATRE OF 100
ENTRY DOOR WALLS AT AUDITORIUM GREEN ROOM
PERSON CAPACITY.
• THE STAGE IS FINISHED WITH
WOOD HAVING FAN SHAPE.
• THE CEILING IS SQUARE GRID
CEILING HAVING AC OUTLET
LOUVERS.
FACILITIES / REQUIREMENT

• ENTRY
• LOBBY
• SEATING AREA
• STAGE
• CHANGING ROOM FLOORING AT AUDITORIUM
CEILING AT AUDITORIUM SECTIONS IN WALL SOUND CONTROLL ROOM
• SOUND CONTROLL ROOM
• LIGHT CONTROLL ROOM
• TOILETS
INFERENCES
• THE BUILDINGS IN A CONTEMPORARY METAPHORICAL REPLICATION OF THE BASIC PLAN OF THE CITY OF JAIPUR, BASED ON
MATERIALS THE VASTU PURSH MANDALA.
• THE ARCHITECT IN HIS ATTEMPT TO CREATE A BRAND IMAGE FOR THE HISTORICAL CITY, HAS TRIED TO GET THE ESSENCE OF
• WALLS – WALLS ARE FINISHED THE EXISTING FORM BUT SUPERFICIALLY .
CONCRETE BLOCK , FOAM • THE CRITICAL SUSTAINABLE ASPECT OF THE TRADITIONAL ARCHITECTURE OF JAIPUR HAS NOT BEEN TACKLED WELL.
SHEET AND PERFORATED • THE PLACE HAS AN AMAZING INTERPLAY OF LIGHT , SHADOW AND COLOURS, EVOKING EMOTIONS IN THE USER AND INVITE
WOOD SHEET HIM TO MOVE FURTHER.
• FLOORING – WOOD PERFORATED SHEET USED FOR CEILING
• THE SPACES FLOW AS AN NARRATIVE AND CHANGES THE MOODS OF THE USER, BUT THE OVER ALL CIRCULATION LACKS OF
FLOORING WITH WOOL CONTINUED COVERED CORRIDOR, WHICH MAKES THE PLACE UNUSABLE DURING SUMMERS AND RAINS.
CARPET . • THE OPEN AIR THEATRE IS ONLY GOOD TO LOOK AT, IT IS ENCLOSED BY THE HIGH WALLS WHICH CREATE ACOUSTIC AND
• CEILING – SQUARE GRID SLAB, VENTILATION PROBLEMS AT THE TIME OF CROWD.
PERFORATED SHEET IS USED • THE HIGH WALLS WITH NO FENESTRATION IN THE FACADE MAKES THE BUILDING ENCLOSED AND IT DOES NOT OPEN UP TO
IN CEILING . THE CITY.
• WALL SECTIONS – WOOD • HOWEVER WITHIN THE BUILDING THE ACTIVITIES ARE DISINTEGRATED BUT COMBINE TO A HETEROGENEOUS MIXTURE OF
PLANKS COVERED WITH FOAM VARIOUS CULTURAL ACTIVITIES HAPPENING INDIVIDUALLY.
AND FABRIC AS AN SOUND • INTERCONNECTION OF BLOCKS INCREASE THE CIRCULATION.
ABSORBING MATERIAL. • BUSY OPEN AIR THEATRE CAN CREATES BLOKAGES TO ANOTHER ACITIVITIES.
PERFORATED SHEET USED FOR WALL

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 TRIVENI KALA SANGAM , DELHI – CASE STUDY
INTRODUCTION
CONCEPT
TRIVENI KALA KENDRA, IT IS A CENTRE OF
ART, CULTURE AND EDUCATION FOUNDED IN 1950, BY THE FLEXIBILITY IN SPACES TO PERFORM DIFFERENT FORMS OF ART AND HAVING LARGE NUMBER OF
SUNDARI K. SHRIDHARANI. EVENTS OR EXHIBITION HAD TO ORGANISED IN A SMALL PLOT. THE INDOOR SPACE BLENDS OUTDOOR
SPACE FORMS A HARMONY.
HISTORY TYPE OF EVENTS THAT
PLANNING TAKE PLACE
THE CENTRE STARTED IN ONE ROOM ABOVE
THE COFFEE HOUSE IN CONNAUGHT PLACE BY SUNDARI K. • THE CENTRE IS ORGANIZED INTO MUSIC CLASSES,DANCE CLASSES, ART
SHRIDHARANI. PANDIT NEHRU NOTICED HER EFFORTS, TWO PHASES. PHASE I CONSISTS EXHIBITION, PHOTOGRAPHY CLASSES,
APPRICIATED HER WORK AND ALLOTED HER THE LAND FOR MUSIC AND DRAMA MUSIC AND DANCE PERFORMANCES.
INSTITUTION. STUDIO,OAT,LIBRARY, CAFÉ ,
EXHIBITION GALLERY AND
[Link] II
CONSIST AN AUDITORIUM,
PAINTING AND SCULPTURE SCULPTURE GALLERY
WORKSHOP. ART GALLERIES OPEN AIR THEATRE
• THE CENTRE IS FOUR STORIED CAFETERIA
BLOCK WITH SHADED DINING
AND TERRACE. ADMIN
• THE GROUND FLOOR HAS BLOCK ART GALLERY
PUBLIC AREA LIKE LOUNGE ,
EXHIBITION HALL, CONFERENCE
ROOM , ART GALLERIES AND
LIBRARY.
• ON FIRST ,SECOND AND THIRD
FLOOR HAVE STUDIOS FOR
STUDENTS.

LOCATION

205 TANSEN MARG, NEAR • PURPOSE

BENGALI MARKET,
MANDI HOUSE – NEW - LEARNING AND PERFORMING
DELHI. ART CENTRE

• ARCHITECT • CLIENT

- AR. JOSEPH ALLEIN STAIN - SUNDARI K. SHIDHARANI

• AREA - 4.6 ACRES

• PERIOD OF CONSTRUCTION

- 1957 AND THE BUILDIND COMPLETED IN 1963 ENTRANCE -1 ENTRANCE -2 ENTRANCE -3

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 TRIVENI KALA SANGAM , DELHI – CASE STUDY
FACITIES

• ENTRANCE • THE CAFE AT TRIVENI IS KNOWN AS

• HOLOGRAM DIGITAL STUDIO TERRACE CAFE. THE SLAB OF CAFE IS
• DISPLAY AREA
• LECTURE ROOM MADE UP OF CONCRETE BEAMS AND
• RECEPTION
• DANCE STUDIO COVERED BY BAMBOO MAT.
• ADMINISTATION
• MUSIC STUDIO • THE TERRACE HAS BEEN FINISHED WITH
• SHRIDHARANI GALLERY
• CLASSROOMS PAVING BLOCKS.
• TRIVENI GALLERY
• OPEN AIR GALLERY
• ART HERITAGE – I
• AUDITORIUM
• ART HERITAGE – II
• TOILETS

MATERIALS

• WALLS – ROUGH CUT STONE CONCRETE BLOCK PLASTERED

WITH FINISH.
• JALI PANNEL USED AT EXTERIOR TO DEAL WITH DIRECT
SUNLIGHT AND VENTILATION .
• FLOORING – TILE FLOORING.
• CEILING – PLASTERED SQUARE GRID CEILING.
• MULTIPLE GREEN SPACES.

SPACE CHARACTERISTICS.

• ENCLOSURE ACHIEVED BY SURROUNDING THE SPACE OAT( OPEN AIR THEATRE)

WITH LOW HEIGHT STRUCTURE WHICH RELATE TO • THE SEMI-OPEN GALLERY IS
HUMAN HEIGHT. • OAT IS LOCATED BETWEEN TEACHING CORRIDOR & SOMETIMES USED AS AN OPEN ART
• FOCUS HAS BEEN MADE TOWARDS THE STAGE & THUS ART GALLERY. EXHIBITION GALLERY AND ALSO USED
THE USER FACES AWAY FROM THE HIGHER BUILDING . • IT HAS CAPACITY OF 250-300 PEOPLE. FOR DANCE-MUSIC PRACTICE.
• ON THE GROUND FLOOR,THERE IS ONE ADMIN OFFICE • IT IS OVERLOOKED BY TERRACE ON FIRST FLOOR.. • THE TERRACE HAS BEEN FINISHED
AND A RECEPTION ROOM WITH WOODEN WALLS. • THE SERVICE YARD IS PLACED AT BACK OF STAGE . WITH PAVING BLOCKS.
• IT ALSO HAS AN EXIHIBITION GALLERY NAMED " SHRI • THE DRESSING ROOM, GREEN ROOMS,TOILET ETC.
DHARANI". LIE BEHIND STAGE.
• THE PERGOLAS & THE GREEN SPACES AND FORMS USED • THE OAT FORMS HEART OF INSTITUTE.
TOGETHER CREATE INFORMAL INVITING SPACE. • IT ACTS AS A BREATHING SPACE IN OTHERWISE
LIGHT PLANNING.
 TRIVENI KALA SANGAM , DELHI – CASE STUDY
TRIVENI AUDITORIUM
• THE TRIVENI AUDITORIUM IS A STELLAR EXAMPLE OF JOSEPH ALLEN STEIN’S
UNIQUE STYLE, WHICH HAS CAPTURED THE ATTENTION OF MANY DANCERS
AND MUSICIANS TO SELECT IT AS A VENUE FOR THEIR PERFORMANCES.
• GUESTS TICKETED SHOWS ARE NOT ALLOWED BUT YOU MAY HAVE SHOWS
WITH INVITATIONS
• THE ENTRANCE TO AUDITORIUM IS THROUGH AN ENTRANCE LOBBY WHICH
IS ALSO SERVED AS DISPLAY CUM EXHIBITION SPACE.
• THE AUDITORIUM HAS SEATING OF 250 PEOPLE AND HAS ONE ENTRY AND
ONE EXIT POINT.
• THE INTERIOR IS DONE WITH WOODEN PANELS , THE FLOORING IS ALSO
[Link] ARE ONLY SIDE AISLES IN AUDITORIUM.
• THE PROJECTOR ROOM IS AT REAR END .
• STAGE LIGHTS CONCEALED IN DEPTHS OF COFFER SLABS.
• COFFERED CEILING IN EXPOSE CONCRETE WITH A FEW ACOUSTICAL PANELS
,PLACED RANDOMLY.
• GLASS WOOL IS USED AS AN MATERIAL BEHIND WOODEN PANELS.
GROUND FLOOR PLANS FIRST FLOOR PLANS • FOR EXCLUSION OF EXTERNAL NOISE ,DUCTS TREATED INTERNALLY WITH
SOUND ABSORBING LINING.
FACITIES PROVIDED IN AUDITORIUM • CONTROL ROOM LOCATED BEHIND AUDIENCE SEATING HAS BOTH SOUND &
LIGHT CONTROL..
• ENTRY • SOUND CONTROLL
• LOBBY ROOM
• SEATING AREA • LIGHT CONTROLL INFERENCES
• STAGE ROOM
• CHANGING ROOM • TOILETS MERITS
• ASSEMBLY AREA
• THE ORIENTATION OF BUILDING IS FAVORABLE IN TERMS OF WIND DIRECTION
ACOUSTICAL MATERIALS AND SUNPATH.
• SEPARATE ENTRIES FOR AUDITORIUM GALLERIES AND FOOD COURT.
• WALLS – WALLS ARE FINISHED WITH • LARGE NUMBERS OF ACTIVITIES CAN BE HANDLED ON SMALL SITE.
WOODEN PLANKS. • COMBINATION OF JAALI PANNELS AND SHRUB BLOCKS CREATES A VERTICAL
• FLOORING – WOOD FLOORING WITH GARDEN HELP FOR GOOD WIND FLOW.
RED WOOL CARPET . • JAALI PANNELS HELPS TO CONTROL DIRECT SUNLIGHT AND CREATES A
• CEILING – WOODEN SQUARE GRID SHADOW PATTERN.
CEILING. • JAALI PANEL CREATES A COOL SPACE OF FILTERED LIGHT IN CORRIDOORS.
• EASY CIRCULATION AND GOOD CONNECTIVITY TO THE BUILDING BLOCKS.

DE MERTIS

• DUE TO NEAR BY RAILWAY LINES WE EXPERIENCED NOICE DISTURBANCE.

• LESS PARKING SPACE FOR VISTORS. PARKIND IS DONE ALONG ROAD SIDE
CAUSES TRAFFIC PROBLEMS.
• FOUR STORYED BUILDING BUT NO PROVISION OF LIFT.

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 BHAVAN’S ART GALLERY , BHOPAL– LITERATURE STUDY
INTRODUCTION CONCEPT

ARCHITECTURAL PLANNING :-
BHARAT BHAVAN – ART GALLERY IS AN AUTONOMOUS MULTI
• THE SITE IS ON A GENTLY SLOPING PLATEAU
ART CENTRE LOCATED IN BHOPAL - INDIA. THE CENTRE SET UP
OVERLOOKING THE LAKE, SO THE VIEW OF LAKE
TO CREATE AN INTERACTIVE PROXIMITY BETWEEN VERBAL,
IS VISIBLE FROM ALL THE POSSIBLE TERRACE.
VISUAL AND PERFORMING ART.
• ARCHITECT FOUND HERE THE POSSIBILITIES OF A
THE CENTRE WAS LAUNCHED BY STATE SERIES OF TERRACE GARDEN, WHICH WOULD BE
GOVERNMENT OF MADHYA PRADESH LOCATED IN HEART OF SEEN CASCADING DOWN TO THE LAKE.
COUNTRY IN BHOPAL. THE CENTRE PROVIDES SPACE FOR • HIERARCHY IN ORGANIZATION OF SPACES
CONTEMPORARY EXPRESSION, THOUGHTS, QUEST AND ALLOWS FOR THE TRANSITION COURTYARDS.
INNOVATION • DEVELOP AN INFORMALITY AND OPENNESS
WHICH GIVES THE SPACE ITS CHARACTER, AS A
PLATFORM OF SHARING AND BUILDING UP
CULTURAL IDEAS.
• THE TERRACE AND COURTYARDS REFLECTS
CORREA’S CONCERN THROUGH SPACE – THE
MAZE OR PUZZLE.
• COMPLEX OF INTERNAL STREET ACTS LIKE A
VILLAGE LAYOUT.
• THE PROPORTION OF BUILDING ARE WELL
ORDERED, BORROWING GEOMETRIC PATTERNS
MAKES IT MORE RELEVANT TO CONTEXT.
BHAVAN’S ART GALLERY FLOOR PLAN
COURTYARD PLANNING.

• THE PLAN CONSIST THREE COURTYARD AND TWO

OPEN THEATRE.
• THE SITE IS ON A GENTLY SLOPING PLATEAU
LOCATION
BHAVAN’S ART GALLERY - SECTION OVERLOOKING THE LAKE, SO THE VIEW OF LAKE IS
J. SWAMINATH MARG,SHAMLA HILLS VISIBLE FROM ALL THE POSSIBLE TERRACE.
NEAR UPPER LAKE, BHOPAL

PROJECT :- BHARAT BHAVAN – ART GALLERY

PERIOD OF CONSTRUCTION :- 1982
ARCHITECT :- AR. CHARLES CORREA
CLIENT :- M.P. GOVERNMENT, INDIA
PURPOSE :- VISUAL ARTS, PERFORMING ARTS, FOLT ARTS,
LITERATURE.
AREA :- 2.5 ACRE

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 BHAVAN’S ART GALLERY , BHOPAL– CASE STUDY
THE COMPLEX INCLUDES AN ART GALLERY OF INDIAN
PAINTING AND SCULPTURE, A FINE ART WORKSHOP, AN
OPEN-AIR AMPHITHEATER (BAHIRANG), A STUDIO
THEATRE (ABHIRANG), AN AUDITORIUM (ANTARANG), A
MUSEUM TRIBAL AND FOLK ART, LIBRARIES OF INDIAN
POETRY,

• ROOPANKAR -

MUSEUM OF FINE ART: GALLERY OF CONTEMPORARY

FOLK AND TRIBAL ART, AND A MODERN ART GALLERY.
GRAPHIC ART WORKSHOP, AND CERAMICS ART
WORKSHOP

• RANGMANDAL -

THEATRE REPERTORY, CERAMICART AND GRAPHICS

WORKSHOP.

• VAGARTH -

CENTER OF INDIAN POETRY, LIBRARY, ARCHIVE, AND

TRANSLATION CENTRE

• ANHAD -

LIBRARY OF CLASSICAL AND FOLK MUSIC, AUDIO AND

VIDEO ARCHIVES, ORGANIZES DANCE RECITALS AND
CLASSICAL MUSIC SERIES LIKE, PARAMPARA.

• SAPTAK CHHAVI -

CENTER OF CLASSICAL CINEMA NIRALA • BESIDES THIS, BHAVAN HOSTS ARTISTS

AND WRITERS UNDER ITS ARTIST-IN-
• AMPHITHEATRE - RESIDENCE PROGRAM AT THE
"ASHRAM".
THE OPEN AIR THEATRE IS USED FOR PERFORMANCES • OVER THE YEARS, IT HAS BECOME A
HAVIND LAKE AS A BACKDROP. POPULAR TOURIST ATTRACTION.
 INDRAPRASTHA SANSKRITI KALA KENDRA – SITE ANALYSIS
PROJECT BRIEF WHY DWARKA ?
LOCATION DWARKA, DELHI. DWARKA IS A FAST GROWING NEIGHBORHOOD IN SOUTH – WEST
DELHI. THE CENTRAL DEVELOPMENT ALLOW US TO CONNECT AS
MANY PEOPLE AS WE [Link] TO CONCENTRATION OF
POPULATION HERE IT CALLS FOR A NEED OF SOCIO CULTURAL DELHI
DELHI [Link] FACES A CENTRE OF DEVELOPMENT CONCERN FOR ALL
AGENDAS BY DEVELOPING THE SOCIO CULTURE CENTRE AT SECTOR
11.
NEED OF PROJECT ?
THE FORM OF SOCIO CULTURE CENTRE EXPRESSES ITS VALUE AND
NEED IN THIS RAPIDLY GROWING SOCIETY.
THE PROJECT CAN BE AN ICONIC REPRETATION OF YOUNG AND
COMPETITIVE INDIA BY IS RICH AND DIVERSE CULTURE.
THE PROJECT WILL PROVIDE AN OPPORTUNITY TO THE PROPLE TO DWARKA
ADOPT SUCH POSITIVE CHANGES AND BENEFITS HENCE IT IMPROVE
THE QUALITY OF LIVING.

INTRODUCTION 14%

STATE - NEW DELHI 18%

51%

LOCATION - DWARKA,SOUTH - WEST DELHI. 7%

6%
GEOGRAPHICAL LOCATION - 28.584522 N , 77.049179 E 3%

INDIA (LAT.,LONG.) 1%
RESIDENTIAL
( 28° 35′ 4.28″ N, 77° 2′ 57.04″ E ) COMMERCIAL
GOV USE
INDIA IS KNOWN FOR ITS RICH CULTURE WITH VARIOUS
TOTAL POPULATION OF DELHI - 16,787,941 PUBLIC SEMI-PUBLIC
RELIGIOUS [Link] DELHI AS A CAPITAL CENTRE OF INDIA UTILITY
RECREATIONAL
PROVIDES TO SET A CULTURAL COMMUNITY HERE. DELHI TOTAL POPULATION OF DWARKA - 1,100,000
GREETS A LARGE NUMBER OF TOURISTS FROM ALL OVER THE DWARKA SUB-CITY
WORLD. IT PROVIDES THE GREAT RANGE OF VISITORS TO ANY GOVERNMENT - DELHI DEVELOPMENT AUTHORITY
(LANDUSE)
PROJECT SET UP HERE. CLIMATIC ZONE - HUMID – SUBTROPICAL CLIMATE LANDUSE PLAN OF DWARKA
THE DELHI DEVELOPMENT AUTHORITY HAS DECIDE TO
SITE BORDERED BY
DEVELOP SIX SOCIO CULTURAL CENTRE IN NEW DELHI. THESE
SOCIO CULTURE CENTRES WILL BE DEVELOPED WITHIN
EXISTING DISTRICT CENTRE OF SECTOR 11 , DWARKA. ROHINI THE MAJOR DWARKA IS HOME
DWARKA BAOLI IS A
DISTRICT CENTRE – II , NETAJI SUBHASH PLACE, PITAMPURA, INTERNATIONAL TO A SPORTS
HISTORICAL STEPWELL
CBD SHAHDARA, DISTRINCT CENTRE MAYUR VIHAR, AND ONE AVIATION HUB OF THE COMPLEX (DDA
RECENTLY DISCOVERED
NEAR SULTAN GARHI TOMB VASANT KUNJ. INDIAN CAPITAL CITY SPORTS COMPLEX)
IN DWARKA SUB CITY,
OF NEW DELHI AS IN SECTOR 11 WITH
IN SOUTH WEST NEW
THE PROPOSED CENTRE AT DELHI WOULD BE CENTRE OF WELL AS [Link] FACILITIES WHICH IS
DELHI, INDIA WHICH IS
EXCELLENCE FOR PROMOTING THE VARIOUS VISUAL ARTS LIKE IS 14 KM AWAY FROM LOCATED ADJACENT
1.8 KM AWAY FROM
PAINTING, SCULPTURE AND CERAMIC. IT ALSO MAY PROMOTES SITE. TO SITE.
SITE.
TO PERFORMING ARTS LIKE MUSIC DANCE AND DRAMA ETC.

THE CENTRE WILL HAVE A SPECIALLIZED ROLE IN PROMOTONG 1. LODI ERA STEPWELL 2. INDIRA GANDHI INTERNATIONAL AIRPORT 3. DDA SPORTS COMPLEX
AND TRAINING PEOPLE IN VISUAL AND PERFORMING ART.
GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
 INDRAPRASTHA SANSKRITI KALA KENDRA – SITE ANALYSIS
DWARKA CLIMATIC DATA
DWARKA IS A RESIDENCIAL NEIGHBORHOOD AT WESTERN
EDGE OF THE INDIAN CAPITAL , NEW [Link] BY DELHI EXPERIENCES HUMID SUB-TROPICAL AND SEMI-ARID CLIMATE. DELHI WEATHER VARIES WITH THE DIFFERENT CLIMATIC CONDITIONS
WINDING NAJAFGARH RIVER TO THE WEST. NEARBY THE CHARACTERIZED BY WEATHER EXTREMES. THIS CAUSES A HUGE DIFFERENCE IN THE TEMPERATURE AND RAINFALL READINGS BETWEEN SUMMER AND
LODI ERA BAOLI IS A CENTURIES OLD MONUMENT. WINTER.

NEIGHBOUR AREAS SUMMER

SUMMER STARTS IN EARLY APRIL AND PEAKS IN LATE MAY OR EARLY JUNE,
CHHAWLA, BIJWASAN, UTTAM NAGAR, JANAKPURI ETC. WITH AVERAGE TEMPERATURE NEAR 32 °C TO 45 °C .
EXTREME TEMPERATURES HAVE RANGED FROM −2.2 °C TO 48.4 °C
PROJECT
MONSOON
INDRAPRASTHA SANSKRITI KALA KENDRA.
THE MONSOON STARTS IN LATE JUNE AND LASTS UNTIL MID-SEPTEMBER,
SITE LOCATION WITH ABOUT 797.3 MM OF RAIN AND TEMPERATURE VARRY AROUND 25 °C
TO 30 °C. HE MONSOONS RECEDE IN LATE SEPTEMBER, AND THE POST-
THE SITE IS LOCATED IN SECTOR 11, ZONE K2, ADJACENT TO MONSOON SEASON CONTINUES TILL LATE OCTOBER, WITH AVERAGE
THE SPORT COMPLEX, DWARKA - WEST DELHI. TEMPERATURES SLIDING FROM 21°C TO 29 °C .

CLIENT WINTER
DELHI DEVELOPMENT AUTHORITY. WINTER STARTS IN NOVEMBER AND PEAKS IN JANUARY, WITH AVERAGE
TEMPERATURES AROUND 6–7 °C. DELHI'S PROXIMITY TO THE HIMALAYAS
RESULTS IN COLD WAVES LEADING TO LOWER APPARENT TEMPERATURE DUE
TO WIND CHILL. WINTER ENDS BY THE FIRST WEEK OF MARCH. DWARKA DELHI CLIMATIC GRAPH

ACCESSEBILITY AND CONNECTIVITY TO THE SITE EAST

APPROCH ROAD TO SITE I.E AIRPORT TO SITE ROAD NETWORK

ROAD NO 221. LOCAL BUS TRANSPORT TO SITE ROAD NETWORK NORTH
INTERNAL ROAD TO SITE
METRO STATION TO SITE ROAD NETWORK

SOUTH

WEST HOT AIR FLOW

SITE AREA 12 ACRE. EXISTING EDUCATIONAL • THE IIGA IS 13 KM AWAY FROM THE SITE . COOL AIR FLOW
BUILDING ROAD NO. 221 • THE METRO STATION IS WITHIN 1 KM FROM SITE.
FAR - 120
• BUS TRANSPORT SYSTEM IS 1.2 KM AWAY FROM
GROUND COVERAGE – 35 % CENTRAL ROAD [Link] SITE IS SURROUNDED BY RESIDENTIAL AND DWARKA DELHI SUNPATH AND WIND DIRECTION
PROPOSED SITE
MAXIMUM HEIGHT – 25 M MALL ROAD INSTITUTIONAL BUILDINGS.

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 INDRAPRASTHA SANSKRITI KALA KENDRA – SITE ANALYSIS
SITE ANALYSIS DRAIN

SITE AREA
TOTAL SITE AREA = 48600 [Link](12.03 ACRES)

SITE TOPOGRAPHY
THE SITE IS LINEAR HAVING SLIGHT SLOPES TOWARDS DRAIN. THE SITE HAVE
NATURAL VEGETATION.
GREEN BELT ROAD NETWORK
SITE ORIENTATION
THE SITE IS NORTH WEST FACING. THE SHORTER SIDE IS FACING THE MAIN
ACCESS ROAD .

SHAPE
THE SITE IS REGULAR IN SHAPE.

ON SITE
THERE IS NO ANY EXISTING STRUCTURE BUILT ON THE LAND.

VEGETATION
THE SITE VARIES WITH SMALL AND MEDIUM SIZED PLANTS AND SHRUBS.
MOST OF THE SITE IS BARREN LAND WITH BUSHES AND WILD GRASS COVER.

SOIL TYPE
ALLUVIAL SOIL IS FOUND ON THE SITE SO PILE AND RAFT FOOTING CAN BE
USED WHILE CONSTRUCTION.

S AND W ANALYSIS

STRENGTH OF SITE

• REGULAR SITE HAVING NEAT BOUNDARIES.

• LOCATION: THE SITES LIE IN SECTOR 11, DWARKA, WHICH IS ALMOST THE
CENTRE OF DWARKA.
• ACCESSIBILITY: THE SITE IS ACCESSIBLE FROM PRIMARY ROAD WHICH IT SEIF
A TRANSPORT.
• CONNECTIVITY TO THE AIRPORT AND METRO’S ALLOWS THE TOURIST
EASILY REACH.

WEAKNESS

• UNTREATED SEWAGE CREATES TENCH CORRIDOR AND GIVES RISE TO

WATER BORN DISEASES. GATED COMMUNITY DEVELOPMENT TREAT THE
CANAL AS UNDESIRABLE ENTITY.
• THE MAIN APROCH ROAD CAUSE NOISE, TRAFFIC CONGESTION DURING
DAY HOURS. SITE PLAN

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 INDRAPRASTHA SANSKRITI KALA KENDRA - SPACES
OPEN SPACE SEMI OPEN SPACE
STUDY OF SPACES
LAND OR OPEN SURFACE WHICH IS OPEN TO SKY 1. SEMI OPEN SPACES ARE THE SPACES
2.
INTERACTIVE SPACE WHICH ARE PARTIALLY COVERED
• THE SURFACE WHICH IS NOT COVERED BY IMPERMEABLE EITHER WITH ROOF OR WITH WALLS.
• A SPACE WHICH CREATE GATHERING OF PEOPLE IS AN SURFACE.
INTERACTIVE SPACE WHERE PEOPLE INTERACT EVENTUALLY OR • RELATIVELY FREE FROM DEVELOPMENT. • SPACE COVERED WITH ROOF BUT
FORCEFULLY. • VEGETATED TO PROVIDE VISUAL CONTRAST TO MAN MADE OPEN FROM ALL SIDES
• THESE SPACES ARE DESIGNED FOR FORCEFUL INTERACTION ENVIRONMENT. • SPACE COVERED WITH THREE SIDES
SOMETIMES THEY CREATED EVENTUALLY. • IT S MUCH MORE THAN A LEFTOVER CATEGORY OF LAND. 3. BUT OPEN FROM TWO SIDES
4.
• SPACE COVERED WITH FOUR SIDES
BUT OPEN TO SKY
• SPACE COVERED FROM THREE SIDES
WITH LOW HEIGHT WALLS, ROOF AND
OPEN FROM ONE SIDE

• FORM A WALL ALONG AN • SURROUNDED AND ENCLOSED

EDGE OF ITS SITE AND DEFINE A COURTYARD OR ATRIUM
A POSITIVE OUTDOOR SPACE. SPACE WITHIN ITS VOLUME

INTERLOCKING SPACE
COURTYARD CORRIDOR SKYLIGHT PERGOLAS
• AN INTERLOCKING SPATIAL RELATIONSHIP RESULTS FROM THE
OVERLAPPING OF TWO SPATIAL FIELDS AND THE EMERGENCE TRANSITIONAL SPACE
OF A ZONE OF SHARED SPACE . • ENCLOSE A PORTION OF • MERGE ITS INTERIOR SPACE
• WHEN TWO SPACES INTERLOCK THEIR VOLUMES ,EACH RETAINS ITS SITE AS AN OUTDOOR WITH THE PRIVATE OUTDOOR TRANSITION-THE PROCESS OF CHANGING FROM
ITS IDENTITY AND DEFINITION AS A SPACE. ROOM SPACE OF WELLED SITE ONE CONDITION TO ANOTHER.
• THE INTERLOCKING PORTION OF THE TWO VOLUMES CAN BE TRANSITIONAL SPACE IS DEFINED AS A LINK OR A
SHARED EQUALLY BY EACH SPACE CONNECTING SPACE BETWEEN TWO SPACES.
THERE ARE THREE TYPES OF TRANSITION
• TRANSITION BETWEEN NATURE TO BUILDING.
A • TRANSITION BETWEEN 2 DESTINATION
C TRANSITION BETWEEN EXTERIOR AND
• STAND AS A DISTINCT • STRETCH OUT AND PRESENT INTERIOR
B FORM IN SPACE AND A BROAD FACE TO A FEATURE • ENTRANCE GATES ARE ALSO A TRANSITIONAL
DOMINATE ITS SITE OF ITS SITE. SPACES.

• THE INTERLOCKING PORTION CAN BE MERGE WITH ONE OF

THE SPACES AND BECOME AN INTEGRAL PART OF ITS VOLUME.
• THE PORTION CAN DEVELOP ITS OWN INTEGRITY AS A SPACE
THAT SERVES TO LINK TWO ORIGINAL SPACES

+ = OPEN AIR SPACES

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 INDRAPRASTHA SANSKRITI KALA KENDRA
STANDARD OF SEATING
STUDY OF AUDITORIUM
• THE SHAPE OF THE HALL IS IMPORTANT CONSIDERATION
BECAUSE OF ACOUSTICAL DEFECTS SUCH AS ECHOES, FLUTTER,
SOUND FOCI, ETC.
• THE SHAPE SHOULD BE BENEFICIAL FOR SOUND REFLECTION
ARE POSSIBLE TO REINFORCE THE SOUND LEVEL AT REMOTE
PLACES.
• A RECTANGULAR HALL WITH SPLAYED STAGE WALLS AND A
PITCHED REFLECTING CEILING IS QUITE SATISFACTORY AND
EASY TO CONSTRUCT.
• OTHER SHAPES ARE FAN TYPE AND HORSE-SHOE TYPE.
STUDY OF OPEN THEATRE STUDY OF ACOUSTICAL DESIGN PRINCIPLES

• THE NOISE LEVEL ON THE SITE SHOULD NOT EXCEED 40 DB. • ACOUSTICS IS THE SCIENCE OF SOUND AND DEALS WITH THE ORIGIN OF
• TALL TREES MUST FROM THE REAR BOUNDARY OF THE THEATRE SOUND AND ITS PROPAGATION, EITHER IN FREE SPACE, OR IN CLOSED SPACES.
AS THEY ARE VERY USEFUL IN ABSORBING EXTERNAL NOISE AND • SOUND IS A PHYSICAL DISTURBANCE RECOGNIZED BY SENSATION CAUSE IN
PREVENTING DELAYED SOUND REFLECTIONS INSIDE THE THEATRE HUMAN EAR.
WHICH OTHERWISE MIGHT CAUSE ECHOES. • THE SOUND IS ORIGINED FROM A VIBRATION IN BODY.
INTERACTIVE SPACE • THE FLOOR SHOULD BE GRADED FOR GOOD VISIBILITY AND
AUDIBILITY TO ALL THE ROWS OF THE LISTENERS. PROPER ACOUSTICS OF A BUILDING MEANS TWO THINGS:
• THE SLOPE OF THE FLOOR SHOULD BE ABOUT 12 TO 15 DEGREE
TO THE HORIZONTAL. • CONTROL OF NOISE AT AN ACCEPTABLE LEVEL.
• THE SEMI-CIRCULAR SHAPE, FAN SHAPE THEATRE IS CONSIDERED • DISTINCT SPEECH OR MUSIC AUDIBILITY BY THE WHOLE AUDIENCE INSIDE THE
GOOD. ENCLOSURE.
• THE DIRECTION OF THE PREVAILING WIND MUST BE FROM THE • NOISE CONTROL MEASURES COMMONLY COMPRISE THE SELECTION OF SITE
STAGE TOWARDS THE AUDIENCE. IN A QUITE AREA AND TREATMENT AGAINST THE STRUCTURE AND AIR-BORNE
CONTINENTIAL ARRANGEMENT • THE BACK WALL OF THE STAGE MUST BE VERTICAL, WITH PLAIN NOISE.
OR CONVEX CORRUGATION FOR REFLECTION. • THE DESIRED HEARING CONDITIONS, ON THE OTHER HAND, DEPEND LARGELY
• THE CAPACITY OF THE OPEN AIR THEATRE SHOULD NOT EXCEED UPON THE SHAPE AND SIZE OF THE HALL, THE TOTAL SOUND ABSORPTION
ABOUT 600 PERSONS IF THEY ARE TO BEAR CLEARLY. AVAILABLE, AND WEATHER OR NOT THE HALL IS PROVIDED WITH SOUND
• THE AREA OF THE THEATRE EXCLUDING THE STAGE MAY BE AMPLIFICATION SYSTEMS.
• THESE ARE OBTAINED FROM CALCULATED AT THE RATE 0.8 TO 1 SQ.M PER PERSON, INCLUDING
ANGLE OF VISION SPECTATOR’S PSYCHOLOGY GANGWAYS GREEN VERGES, ETC.
PERCEPTION AND VIEWING • THE FLOOR SHOULD BE TREATED WITH RESILIENT SURFACE SUCH
ANGLES,AS WELL AS AS BITUMEN TILES OR FIBRE BOARDS.
REQUIREMENT FOR GOOD
VIEW.
• HEAD MOVEMENT SHOULD
BE ACCORDING TO
FOLLOWING:-
✓ 30 DEGREE – NO MOVEMENT
✓ 60 DEGREE – SLIGHT EYE • THE SITE MUST BE IN LOCALITY WHERE THE NOISE LEVEL IS NOT MORE THAN
MOVEMENT ABOUT 40DB.
✓ 110 DEGREE – SLIGHT EYE AND • THE VOLUME PROVIDED IN THE HALLS SHOULD BE AT THE FOLLOWING RATES:
HEAD MOVEMENT
✓ 150 DEGREE – HEAD MOVEMENT ✓ LECTURE HALLS: 3.O CU M TO 4.0 CU M PER PERSON
90 DEGREE ✓ CONCERT HALLS: 4.0 CU M TO 5.5 CU M PER PERSON
✓ 360 DEGREE – FULL HEAD
MOVEMENT GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
 INDRAPRASTHA SANSKRITI KALA KENDRA – DESIGN PROGRAM
AREA CALCULATION
• RECPTION DEPARTMENT OF ADMINISTRATION
• DIRECTOR’S CABIN ACTIVITY AREA QUANTITY NET AREA UNIT NO. OF USER
RECEPTION 10 1 10 SQ.M 2
• VICE- MANAGER’S CABIN WAITING LOUNGE 20 1 25 SQ.M ----
ADMINISTRATION • STAFF ROOM DISPLAY AREA 10 1 10 SQ.M ----
DIRECTORS CABIN 30 1 30 SQ.M 1
BLOCK • DOCUMENTATION VICE-MANAGER CABIN 20 1 20 SQ.M 1
• CONFERENCE ROOM SECRETARY CABIN 15 1 15 SQ.M 1
OFFICE SPACE 60 1 60 SQ.M 30
• SEMINAR ROOM DOCUMENTATION ROOM 15 1 15 SQ.M ----
• REST ROOM CONFERENCE HALL 80 1 80 SQ.M 35
REST ROOM 25 1 25 SQ.M 3
• TOILETS TOILET 4 2 8 SQ.M ----
TOTAL AREA 298 SQ.M
15 % CIRCULATION 342 SQ.M
CENTRE FOR VISUAL ARTS
CONTEMPORARY ART GALLERY 150 6 900 SQ.M ----
SCULPTURE GALLERY 120 1 120 SQ.M ----
• WAITING CERAMIC GALLERY 120 1 120 SQ.M ----

VISUAL ARTS • CONTEMPORARY ART GALLERY REHARSAL ROOM 60 2 120 SQ.M 10 TO 15

CINEMATOGRAPHY ROOM 80 1 80 SQ.M ----
• SCULTPTURE GALLERY
AND • CERAMIC GALLERY
RECORDING ROOM
TOILET
40
4
1
4
40
16
SQ.M
SQ.M
4 TO 6
----

PERFORMING • AUDITORIUM (1000 PERSONS)

TOTAL AREA
15 % CIRCULATION
1396
1605
SQ.M
SQ.M

ARTS • OPEN AIR THEATRE (300 PERSONS) CENTRE FOR PERFORMING ARTS
LOBBY 12 1 12 SQ.M ----
• CINEMATOGRAPHY ROOM WAITING 42 1 42 SQ.M 20
• REHARSAL ROOM INFORMATION COUNTER 6 1 6 SQ.M 1
• RECORDING STUDIO AUDITORIUM (1000 PERSONS) 1500 1 1500 SQ.M 1000
OPEN AIR THEATRE (300 PERSONS) 800 1 800 SQ.M 300
• TOILETS TOILET 4 8 32 SQ.M ----
TOTAL AREA 2392 SQ.M
15 % CIRCULATION 2680 SQ.M
CAFETERIA
DINNING 750 1 750 SQ.M 400
LIBRARY KITCHEN 80 1 80 SQ.M 15
STORE ROOM 15 2 30 SQ.M ----
RESEARCH • INFORMATION COUNTER WASH 10 1 10 SQ.M ----
• DISPLAY AREA TOILET 4 8 32 SQ.M ----
DEPARTMENT • LIBRARIAN CABIN
TOTAL AREA 902 SQ.M
15 % CIRCULATION 1066 SQ.M
• REFFERENCE SECTION ACCOMODATION
DORMITORY 122 2 244 SQ.M 20
• ISSUE SECTION GUEST ROOM 20 4 80 SQ.M 4
• STORE ROOM TOILET 4 6 24 SQ.M 20
TOTAL AREA 348 SQ.M
• TOILETS 15 % CIRCULATION 400 SQ.M
INTERACTIVE AUDIO VIDEO SPACES DEPARTMENT OF RESEARCH AND TECHNOLOGY
ACTIVITY AREA QUANTITY NET AREA UNIT NO. OF USER
INFORMATION COUNTER 10 1 10 SQ.M 1
DISPLAY AREA 10 1 10 SQ.M ----
ACCOUNTANT CABIN 15 1 16 SQ.M 1
CAFETERIA LIBRARY REFFERENCE SECTION 200 1 200 SQ.M 60
• KITCHEN ISSUE SECTION 150 1 150 SQ.M 40
STORAGE 15 2 30 SQ.M ----
• DINNING
EXTRA ACTIVITY • STORE ROOM
TOILET
WORKSHOP AREA
4
150
4
2
16
300
SQ.M
SQ.M
----
120
AUDIO-VIDEO SPACES 100 1 100 SQ.M 40
• DISH WASH AREA TOTAL AREA 832 SQ.M
• TOILETS 15 % CIRCULATION 956 SQ.M
INDOOR ACTIVITY
INDOOR SPORTS FACILITIES INFORMATION COUNTER 10 1 10 SQ.M 1
• SPORTS ROOM INDOOR SPORTS SPORT ROOM 120 2 240 SQ.M 20
STORE ROOM 10 1 10 SQ.M ----
• STORE ROOM TOTAL AREA 260 SQ.M
ACCOMODATION 15 % CIRCULATION 300 SQ.M

• GUEST ROOM
• DORMITORY
• TOILETS GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )
 INDRAPRASTHA SANSKRITI KALA KENDRA – SPACE RELATIONSHIP
SPACE RELATIONSHIP
CONCEPT
OM SWASTIKA LOTUS FLOWER
1. LOBBY/RECP./WAITING • OM IS CONSIDERED • SWASTIKA REPRESENTS THE • THE LOTUS FLOWER
2. ADMINISTRATION THE MOST SACRED SPIRITUALITY AND REPRESENTS BEAUTY
3. WORKSHOP MANTRA IN RELIGION. INTERACTION TO THE SOUL. AND RE – BIRTH.
4. INDOOR SPORTS • RECOUNT TO THE • RECOUNT TO THE • RECOUNT TO AN
5. ART GALLERY MUSIC. INTERACTIVE SPACES. ART.
6. OPEN SCULPTURE GALLERY
7. LAWN
8. CONTEMPORARY ART
GALLERY –I
9. CONTEMPORARY ART
GALLERY –II
10. COMTEMPORARY ART
GALLERY –III
11. CONTEMPORARY ART
GALLERY –IV
12. OPEN AIR THEATRE
13. SEATING
14. AREA FOR FUTURE
EXPANSION
15. DINING KITCHEN
16. ACCOMODATION
17. LIBRARY PEDESTRIAN ENTRY
18. CINEMATOGRAPHY ROOM
19. REHARSAL ROOM-I
20. REHARSAL ROOM –II
21. STORE ROOM
22. GRREN ROOM
23. SOUND CONTROL ROOM
24. AUDITORIUM
25. OFFICE PARKING SPACE
26. VISITORS PARKING
VEHICULAR ENTRY SERVICE ENTRY
AREA CALCULATION
TOTAL AREA – 180M X 270M = 48600 SQ.M ( 12 ACRE ) MAXIMUM HEIGHT RESTRICTION – 26 M.
N
PERMISSIBLE GROUND COVERAGE – 30 % PARKING –
BUILT UP AREA – 7347 SQ.M. TWO WHEELERS – 800 NOS.
SITE CIRCULATION OF 15% = 8949 SQ.M PRIVATE CAR – 400 NOS.
MARGINAL OPEN SPACE – 15 M FROM FRONT SIDE
TOTAL AREA OF PARKING –
12 M FROM REAR SIDE
FOR BIKE (3.75 SQ.M ) = 3000 SQ.M
12 M FROM SIDEWAYS
FOR CAR ( 12.5) = 5000 SQ M
PERMISSIBLE FAR – 1.2 % CIRCULATION 15% = 9200 SQ.M

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )

 INDRAPRASTHA SANSKRITI KALA KENDRA – CONCEPT
CONCEPT

PAVER BLOCKS FLOORING BRICK JALI

SWASTIK

OM

COURTYARD PLANNING IMPACT

MURAL OF NATRAJ AT
ENTRY POINT 1

COURTYARD PLANNING

GUIDED BY – AR. P.P. DESHMUKH - VAIBHAVI PENDAM ( 15AR20 )