Priya Final Thesis

MUSIC AND DANCE ACADEMY
DESIGN THESIS
BACHELOR OF ARCHITECTURE
2017- 2022
A.PRIYANKA
Y17AP0102
Under the Guidance of

(Asst.Prof.Ar.CHANDRA MOHAN)
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ACHARYA NAGARJUNA UNIVERSITY

ANU COLLEGE OF ARCHITECTURE AND PLANNING
Nagarjuna Nagar - 522 510, Guntur District, Andhra Pradesh, India
ACHARYA NAGARJUNA UNIVERSITY

COLLEGE OF ARCHITECTURE & PLANNING
Nagarjuna Nagar - 522 510, Guntur District, Andhra Pradesh, India
CERTIFICATE
This is to certify that the Design Thesis entitled MUSIC AND DANCE ACADEMY carried out by
Mr. /Miss A.PRIYANKA bearing Hall Ticket No: Y17AP0102, currently in fifth year B.Arch.,
during the academic year 2021-22, in partial fulfillment for the award of the Degree of
BACHELOR OF ARCHITECTURE from ANU College of Architecture and Planning is a record of
Bonifade work to be the best of our knowledge and may be placed before the examination board for
their consideration.
_____________ _________________ ______________________
Thesis Guide Thesis Coordinator Asst. Principal (Academics)
__________________ _____________ ________________
Asst. Principal (Admin) Principal External examiner

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ACKNOWLEDGEMENT
I would like to express my deepest gratitude to my Guide ASST.PROF.AR.CHANDRA MOHAN,

not only for his insightful criticisms and sage advices but also for his patience, encouragement,
continuous support and motivation to move forward and complete the process. This work has been
possible only due to his constant positive reinforcement and encouragement during the online pattern
of studies.
Furthermore, I would also like to acknowledge the crucial role of my thesis guides ASST.PROF.AR
SWAPNA. T, and ASST.PROF.AR.KOMAL GILDA for their guidance and helping me
understand the process of research better.
I also thank Dr.P.SIDDAIAH, Principal, College of Architecture and Planning, and

PROF.AR.K.V.NIRUPAMA, College of Architecture and Planning for all the Support and
encouragement they have provided.
Moreover, I would like to thank and appreciate all my classmates who have been a support and help
in the process. And finally I would like to thank my Mother and my friends for their intense support
for having had hours of informal discussions and showing interest in my thesis.
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TABLE OF CONTENTS
1 SYNOPSIS .............................................................................................................................10
1.1 INTRODUCTION:.....................................................................................................11
1.2 AIM: ...........................................................................................................................11
1.3 NEED: ........................................................................................................................11
1.4 OBJECTIVES: ...........................................................................................................11
1.5 SCOPE OF THE PROJECT:......................................................................................11
1.6 JUSTIFICATION OF STUDY: .................................................................................12
1.7 LIMITATIONS: .........................................................................................................12
1.8 METHODOLOGY .....................................................................................................13
2 LITERATURE STUDY .........................................................................................................14

2.1.1 MUSIC: ..........................................................................................................15
2.1.2 HISTORY OF MUSIC: ..................................................................................15
2.1.3 MEDIEVAL MUSIC: ....................................................................................15
2.1.4 CLASSICAL MUSIC ERA: ..........................................................................15
2.1.5 MODERN MUSIC: ........................................................................................16
2.1.6 DANCE: .........................................................................................................16
2.1.6.1 TYPE OF DANCES: ..............................................................16
2.1.7 TRADITIONAL DANCE FORM OF ANDHRA PRADESH: .....................17
2.1.7.1 REQUIREMENTS: ................................................................18
2.1.7.2 MATERIALS: ........................................................................19
2.1.8 TRADITIONAL DANCE FORM OF KERALA: .....................................20
2.1.8.1 VERNACULAR STYLE OF KERALA : ..............................21
2.1.8.1.1 Composition and Structure: ..............................................23
2.1.8.2 MATERIALS: ........................................................................24
2.1.9 TRADITIONAL DANCE FORM OF KARNATAKA: ............................25
2.1.9.1 VERNACULAR STYLE OF KARNATAKA:......................27
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2.1.9.2 REQUIREMENTS OF DANCE AND MUSIC: ....................29
2.2 THE AUDITORIUM: ................................................................................................29

2.2.1 BACK STAGE AREA ...................................................................................30
2.2.2 CIRCULATION: ............................................................................................31
2.2.3 SEATING: ......................................................................................................31
2.2.4 Special Lighting:...........................................................................................32
2.2.5 Occupancy: ...................................................................................................32

2.2.6 Special Acoustical Design: ...........................................................................32
2.3 SUSTAINABLE: .......................................................................................................33

2.3.1 Increased Cooling Capacity: .......................................................................33
2.3.2 Fire and Life Safety: ....................................................................................34
2.4 LIBRARIES: ..............................................................................................................37
2.5 SERVICE AND SPACE RELATIONSHIPS: ...........................................................38
2.6 TOILETS:...................................................................................................................39
2.6.1.1.1 Table-10 Sanitation Requirements for Educational
Occupancy ..........................................................................................41
2.6.1.1.2 (G.O 119 TABLE No. A.6) ..............................................41
2.6.1.1.3 Size of ventilation shaft (G.O 119 Table No 10 ...............42
2.6.2 Water supply: .................................................................................................43
2.6.2.1.1 TABLE-A.1 Per Capital Water requirement for various
Occupancies/Uses...............................................................................43
2.7 RAIN WATER HARVESTING STRUCTURES ......................................................44
2.8 RECEPTION: .............................................................................................................45

2.8.1 WAITING LOBBY: .......................................................................................45
2.9 HOSTEL: ...................................................................................................................46

2.9.1 Minimum Standards: ......................................................................................46
2.9.2 ROOM AREA: ...............................................................................................47
2.9.3 DINING AREAS: ..........................................................................................47
2.10 Sound absorbing materials:- .......................................................................................48

2.10.1 Acoustic materials:-............................................................................49
2.10.1.1 Porous Materials:- ..................................................................49
2.10.2 Advantages:-.......................................................................................51
2.10.3 Disadvantages:- ..................................................................................51
2.10.4 Acoustic Hangers:- .............................................................................51
2.10.5 Geocoustic Tiles and panels:- ............................................................52
2.10.6 Diffusers: ............................................................................................53
2.10.7 Plasters and sprayed – on materials:- .................................................53
2.10.7.1 Advantages:-...........................................................................53
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2.10.8 Acoustic Blankets:- ............................................................................53

2.10.9 Acoustic foam boards:- ......................................................................53
2.10.10 Carpets and fabrics:-...........................................................................54
2.10.11 Panel absorbers:- ................................................................................54
2.10.12 Cavity Resonators:- ............................................................................55
2.10.13 Classifications:- ..................................................................................55
2.10.14 Individual Cavity Resonators:-...........................................................55
2.10.15 Space Absorbers:- ..............................................................................56
2.10.16 Variable Absorbers:- ..........................................................................56

2.10.17 Sound absorption coefficient:.............................................................56
2.11 MUSIC AND DANCE LIBRARY: ...........................................................................57
DESIGN CONSIDERATIONS:- ...........................................................................................58

2.11.1 SPACES: ............................................................................................58
2.11.2 LIGHTING: ........................................................................................58
2.11.2.1 Music lighting: .......................................................................59
2.11.2.2 Basic equipment for lighting: .................................................59
2.11.2.3 Dance lighting: .......................................................................59
2.11.3 MUSIC CLASSROOM: .....................................................................59
2.11.3.1 INSTRUMENTAL CLASS ROOM :- ...................................60
2.12 RESTAURANT SPACE REQUIRMENT: ................................................................61

2.12.1.1 TABLES AND SEATING PLANS: ......................................61
2.13 PARKING : ................................................................................................................62

2.13.1 Parking standards: ..............................................................................62
2.13.2 Pedestrian system: ..............................................................................65
2.13.3 Pedestrian paths: .................................................................................66
2.13.4 Location:.............................................................................................66
2.13.5 Width: .................................................................................................66
3 Desktop Studies ......................................................................................................................67
3.1 KALA ACADEMY – GOA .......................................................................................68

3.1.1 Location ..........................................................................................................68
3.1.2 Architect .........................................................................................................68
3.1.3 Site ..................................................................................................................68
3.1.4 Site area: .........................................................................................................68
3.1.5 Client ..............................................................................................................68
3.1.6 Year: ...............................................................................................................68
3.1.7 Capacity:.........................................................................................................68
3.1.8 INTRODUCTION;.........................................................................................69
3.1.9 LOCATION: ..................................................................................................69
3.1.10 ABOUT: .............................................................................................70
3.1.11 ACCESS:............................................................................................70
3.1.12 LAYOUT: ..........................................................................................70
3.1.13 BUILDING STYLE AND CHARACTER: .......................................71
3.1.14 BUILDING LEVEL ZONING: .........................................................72
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....................................................................................................................................73
3.1.15 PLANNING: ......................................................................................73
3.1.16 D.M KALA MANDIR (AUDITORIUM): ......................................75
3.1.17 ART GALLERY: ...............................................................................76
3.1.18 TEACHING STUDIO: .......................................................................77
3.1.19 Classrooms – ......................................................................................77
3.1.20 LIBRARY: - 135 SQ.M .....................................................................77
3.1.21 SERVICES: ........................................................................................78
3.1.22 LANDSCAPE: ...................................................................................78

3.1.23 PARKING FACILITIES: ...................................................................78
3.1.24 WALLS: .............................................................................................79
3.1.25 EXTERIORS: .....................................................................................79
3.1.26 ARCHITECTURAL EXPRESSION: ................................................80
3.1.27 AREA STATEMENT: .......................................................................81
3.1.28 POSITIVE FEATURES: ....................................................................81
3.1.29 NEGATIVE FEATURES: .................................................................81
3.1.30 ORIENTATION: ................................................................................81
3.1.31 INFERENCES: .................................................................................82
3.2 KALAKSHETRA: ....................................................................................................83

3.2.1 LOCATION: ..................................................................................................83
3.2.2 BUILDING TYPE: ........................................................................................83
3.2.3 SITE AREA: ..................................................................................................83
3.2.4 COMPLETION: .............................................................................................83
3.2.5 Introduction:- ..................................................................................................84
3.2.6 Location:.........................................................................................................84
3.2.7 Function:.........................................................................................................85
3.2.8 Components:...................................................................................................85
3.2.9 Layout and Plan:.............................................................................................86
3.2.10 The Experience:..................................................................................87
3.2.11 Bharata kalakshetra auditorium ..........................................................88
3.2.12 Padma puskarini .................................................................................88
3.2.13 Classrooms .........................................................................................89
3.2.14 Hostel and dining room ......................................................................90
3.2.15 SANKARA MENON LIBRARY ......................................................90
3.2.16 RUKMINI DEVI MUSEUM .............................................................90
3.2.17 INFERENCES; .................................................................................91
4 Case Studies ...........................................................................................................................92
4.1 NRITYAGRAM- bangalore .......................................................................................93

4.1.1 LOCATION:- .................................................................................................93
4.1.2 LATITUDE AND LONGITUDE_:- ..............................................................93
4.1.3 ARCHITECT:- ...............................................................................................93
4.1.4 SITE AREA:- .................................................................................................93
4.1.5 CLIMATE – ...................................................................................................93
4.1.6 SOIL TYPE – .................................................................................................93
4.1.7 AREA – ..........................................................................................................93
4.1.8 VEGETATION – ...........................................................................................94
4.1.9 SYSTEM OF EDUCATION – .......................................................................94
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4.1.10 Introduction: .......................................................................................94

4.1.11 FUNCTIONS:- ...................................................................................94
4.1.12 TRADITIONAL FORMS OF DESIGN ............................................96
4.1.13 CONSTRUCTION .............................................................................96
4.1.14 CLASSROOMS .................................................................................96
4.1.15 ADMINISTRATION BLOCK & YOGA CENTER: ........................98
4.1.16 KATHAK GURUKUL: .....................................................................98
4.1.17 ODISSI GURUKUL: .........................................................................99
4.1.18 GUEST COTTAGES .........................................................................99

4.1.19 TEMPLE ............................................................................................99
4.1.20 AMPHITHEATRE ...........................................................................100
4.1.21 PARKING; .......................................................................................101
4.1.22 INFERENCE: .................................................................................102
5 site selection and site analysis ..............................................................................................103
5.1 SITE SELCTION: ....................................................................................................104

5.1.1 ABOUT AMARAVATI: ............................................................................104
5.1.2 AMARAVATI CITY OF NINE CITIES: ................................................104
5.1.3 SITE JUSTIFICATION: ...........................................................................104
5.2 SITE ANALYSIS:....................................................................................................107

5.2.1 SITE DESCRIPTION: ...............................................................................107
SITE AREA: 8.30 acers. ......................................................................................................107

5.2.2 SITE LOCATION: .....................................................................................108
5.2.3 LANDMARKS: ..........................................................................................109
5.2.4 TOURIST PLACES: ..................................................................................109
5.2.5 TRANSPORTATION: ...............................................................................109
5.2.6 Distance from major cities. ........................................................................110
5.2.7 TOPOGRAPHY: ........................................................................................111
5.2.8 SOIL TYPE: ...............................................................................................111
5.2.9 TYPE OF FOUNDATION IN BLACK COTTON SOIL: .....................111
5.2.10 POLLUTION:.................................................................................112
5.2.11 CLIMATE: .....................................................................................112
5.2.12 FINAL REFERENCE THROUGH CLIMATE ANALYSIS.....114
..................................................................................................................................114
5.3 SWOT ANALYSIS: .................................................................................................115

5.3.1 STRENGTH OF THE SITE: ....................................................................115
5.3.2 WEAKNESS: ..............................................................................................115
5.3.3 OPPORTUNITIES: ...................................................................................115
5.3.4 Threats: .......................................................................................................115
6 DESIGN DEVELOPMENT .................................................................................................116

6.1.1 CONCLUSION : ..........................................................................................149
7 BIBLOGRAPHY : ...............................................................................................................150
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ABSTRACT
Music & Dance academy is a ongoing platform for improving intelligence and creativity. This helps
in promoting culture and to improve confidence and concentration levels of people, and this academy
occupies a special place among the arts. It is performed in a certain space and time and in it, the man
is both the artist and the instrument. In the past, dance had a ritual and a social function. In modern
societies of today these functions are gradually forgotten, they disappear or change their function.
This academy emphasis the study of music & dance, and this improves the confidence, focus,
concentration, team spirit and positive thinking of people.
This academy is an outlet that teaches empathy and inspires people to communicate their stories
through body movement. To create an institute that will be the part of society as an inclusive space
by creating an integrated life within social & cultural activites. I would like to implement stress free
environment to my design for a relaxing environment.
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1 SYNOPSIS
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1.1 INTRODUCTION:
India has one of the richest cultural heritages in the world. Its cultural dance tradition goes back
over 2000 years. Indian classical dance is a synthesis of many arts. Mythology, Sanskrit, literature,
poetry, music. It intimate relationship with sculpture, painting and temple architecture.
As per my observation, MUSIC AND DANCE ACADEMY is an ongoing platform

for talent in the society. To attract more users. I would like to implement stress free environment to
my design for a relaxing environment.
1.2 AIM:
To design a music and dance academy which emphasis the stress free environment for all age
groups.
1.3 NEED:
Music and dance helps in promoting culture and to improve confidence and concentratIon
levels of people.
➢ To provide all Indian traditions under one roof.

➢ To improve better physical and mental stress relief.
➢ To provide opportunities for artistic and aesthetic education.
➢ To provide financial and moral support.
➢ To provide a proper guidance and encouragement.
1.4 OBJECTIVES:
1) To create relevant ambience and environment for music and dance of various states of India.
2) To Understanding needs and technical aspects of music and dance design and to create a
stress free environment for people.
3) To study available institutions of music and dance in a comprehensive manner.
4) To design a better landscape design for stress relief environment.
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5) To design a performance auditorium with in institutions premises.

6) To find out the major difference among each other of music and dance of various states of
India.
1.5 SCOPE OF THE PROJECT:

1. Collection of all traditional dance and music form under one roof.
2. Establishment of an international platform to accomplish goals of social interactions and

promoting Indian culture.
3. Establishing soundscape to create stress free environment that create a relaxing
environment in. landscape design.
4. Producing something more interactive and more artistic to serve society well as an architect.
5. Designing something more appropriate that can better serve for forms like music and dance.
6. Purposeful use of my skills and creativity with full inputs and passion.
1.6 JUSTIFICATION OF STUDY:

For systematic training, has slowly made people accepting the concept of
formal training. The function of such an institute is to impart training in all
forms of performing arts except those which are not so comfortable to
learn .i.e. circus and magic.
Socially it is required to boost up the interest of the artists and mold them into fine
pieces for future.
Architecture deals with spaces, people and their engagement in a place.
1.7 LIMITATIONS:
1. Academy will purely deal with the both contemporary and traditional music and dance.
2. Designing a school block for the other subjects related dance and music.
3. This academy brings the new inclusive design.
4. To emphasis the stress free environment through soundscape design
5. Landscape is covered in detail.
6. Structural and interiors not covered in detail.
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1.8 METHODOLOGY :
TOPIC SELECTION
SYNOPSIS
LITERATURE DESKTOP
CASESTUDY
STUDY STUDY
COMPARITIVE
ANALYSIS
SELECTION OF
SITE & SITE ANALYSIS
CONCEPTS & DESIGN

DEVELOPMENT
FINAL DRAWINGS
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2 LITERATURE STUDY
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2.1.1 MUSIC:
Music is an art form whose medium is sound. Common elements of music are pitch, rhythm,
dynamics, and the sonic qualities of timber and texture. The word derives from systems of
classical music in the world. Indian music can be described as having been inaugurated with
the chanting of Vedic hymns, though it is more than probable that the Indus Music has always
been regarded as the most philosophical of all the art forms, perhaps due to its exciting and
invigorating blend of art as well as science. It was called “SHASSTRIYA SANGEETHAM”,
particularly where shaastriya represents scientific music. The two main streams of Indian
Shaastriya Sangeetham are
• Carnatic
• Hindustani
2.1.2 HISTORY OF MUSIC:

The prehistoric era is considered to have ended with the development of writing, and
with it, by definition, prehistoric music. “ANCIENT MUSIC” is the name given to the music
that followed. The oldest known song was written in cuneiform, dating to 4,000 years ago
from Ur.it was deciphered by Prof. Anne Draffkron Kilmer and was demonstrated to be
composed in harmonies of thirds, like ancient gymel Crocker, Brown, Sounds from Silence,
1976, Bit Enki, Berkeley, Calif, and also was written using a Pythagorean tuning of the
diatonic scale.
2.1.3 MEDIEVAL MUSIC:

While musical life was undoubtedly rich in early medieval era, as attested by artistic
depictions of instruments, writings about music, and other records, the only repertory of
music which has survived from before 800 to the present day is the plain song liturgical music
of Roman Catholic Church, the largest part of which is called Gregorian chant.
2.1.4 CLASSICAL MUSIC ERA:

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The music of classical period is characterized by homophonic texture or an obvious melody

with accompaniment. These new melodies tended to be almost voice like and sing able,
allowing composers at the time to replace singers as the focus of the music. Instrumental
music therefore quickly replaced opera and other sung forms as the favourite of musical
audience and the epitome of great composition.
2.1.5 MODERN MUSIC:

Indi-pop music
Rock &metal music
Dance music
2.1.6 DANCE:
Dance in India comprises numerous styles of dances, generally classified

as classical or folk. As with other aspects of Indian culture, different forms of dances
originated in different parts of India, developed according to the local traditions and also
imbibed elements from other parts of the country.
Sangeet Natya Academy, the national academy for performing arts in India, recognizes eight
traditional dances as Indian classical dances, while other sources and scholars recognize
more. These have roots in the Sanskrit text Natya Shastra, and the religious performance
arts of Hinduism.
2.1.6.1 TYPE OF DANCES:

• KUCHIPUDI: Andhra Pradesh
• KATHAK: Uttar Pradesh
• ODISSI: Odessa
• BHARATHANATYAM: tamilnadu and Karnataka
• KATHAKALI: Kerala
• PUNJAB: bhangra
• HIMACHAL PRADESH: sirmour nati dance
• JAMMU AND KASMIR: dumhal
•
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HARYANA: saang
• GUJARAT: dandiya
2.1.7 TRADITIONAL DANCE FORM OF ANDHRA PRADESH:
• Traditional dance form of Andhra Pradesh is Kuchipudi.

• Kuchipudi is one of the classical dance forms of the South India. Kuchipudi derives its name
from the Kuchipudi village of Andhra Pradesh from 17th century.
• In the seventeenth century the Kuchipudi village was presented to the Brahmins, who were
experts in staging dance and drama.
• Kuchipudi exhibits scenes from the Hindu Epics, legends and mythological tales through a
combination of music, dance and acting.
• Carrying a fine combination of Natya, Nritta and Nritya, Kuchipudi was never a solo affair
and required a number of performers.
• Kuchipudi was performed in the open air by performers who were given a vigorous training in
abhinaya, music, dancing and singing. In its early form, the female roles were played by boys
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and young men of beautiful looks.

• The Kuchipudi performance started with orchestral music which included Mridanga, Madala
and a pair of cymbals. To bless the performance invocation of a deity was done.
• In modern times the Kuchipudi dance is considerably different than it originally used to be.
Most of the performances are solo, done by female dancers.
• Kuchipudi has many features that are common to other classical dances of India. Kuchipudi
carries the sensuousness and fluidity of Odissi with the geometric line of today's Bharata
Natyam.
• As in all other classical dance forms of India, the Kuchipudi dance is both interpretive and
lyrical, making use of abstract dance sequences as well. Kuchipudi dance retains its
devotional character with stress on dramatic outlook.
• It is because of these qualities and features Kuchipudi dance enjoys great popularity and is
recognized as one of the leading classical dance styles of India.
• Today the expressional numbers are sung by the danseuse herself instead by the vocalists in
the background of the stage.
• The invocation of deity part has also been done away with as Kuchipudi has become more
secular in its presentation.
• Today there is predominance of 'sringar' or erotic essence. Another notable facet of modern
day Kuchipudi is the dilution of drama component.
• Like other classical dances, Kuchipudi also comprises pure dance, mime and histrionics but it
is the use of speech that distinguishes Kuchipudi's presentation as dance drama.
• Generally in Andhra Pradesh they give more importance to the tradition as well as the
vernacular style.
• That means in every part of the building the impact of tradition was there carvings, pictures
these all are used.
2.1.7.1 REQUIREMENTS:
In a dance academy the requirements are
1. Reception.
2. Class rooms.
3. Storage areas.
4. Staff rooms.
5. Principal room.
6. Dressing areas.
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7. Makeup rooms.
8. Prctice hall.
9. Audio &Video room (Learning Techniques).
10. Auditorium.
11. Instrumental rooms
12. Store rooms.

13. Hostel facilities and canteen
14. Open air Theater.
15. Toilets
• Generally the size of the class rooms was depend upon the members in that class.
• For 8 members generally we can provide 500sqft
• His stage height we can provide in the class rooms is 0.3m.
2.1.7.2 MATERIALS:
• As the favourite medium for Greek and Roman sculptors and architects (see classical
sculpture), marble has become a cultural symbol of tradition and refined taste
• LOCKS: Maximum size of 8ft x 5ft x 5f.
• Volatile Organic Compounds (VOCs)
• None emitted directly from marble
• May source from adhesives and sealants applied low-VOC options are available on the
market
• Resources: refer to MusDs of chemical(s) used.
• In classical dance forms generally marble was used more because they stress more weight
on the floor only. That’s why these type of flooring was used.
• The roof was constructed the concrete slab only.
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2.1.8 TRADITIONAL DANCE FORM OF KERALA:
• Mohiniattam is a classical dance form of Kerala.

• Mohiniattam is derived from the words "Mohini" (meaning beautiful women) and
"attam"(meaning dance) 18th century.
• Thus, Mohiniattam dance form is a beautiful feminine style with surging flow of body
movements. Mohiniattam dance in Kerala developed in the tradition of Devadasi.
• System, which later grew and developed a classical status.
• Mohiniattam is a solo female dance (in a single costume), where musical melody and the
rhythmical swaying of the dancer from side to side and the smooth and unbroken flow of the
body movement is the striking feature.
• The Mohiniattam dance focuses mainly on feminine moods and emotions. Usually, the theme
of Mohiniattam dance is "sringara" or love. Subtle subjects of love are executed with
suggestive abhinaya, subtle gestures, rhythmic footwork and lilting music.
• The credit for reviving the Mohiniattam dance in the nineteenth century goes to Swati Tirunal.
Swati Tirunal was an enlightened ruler of Travancore (Southern Kerala) and promoted the
study of Mohiniattam.
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• The noted Malayalam poet Vallathol, who established the Kerala Kalamandalam dance school
in 1930, also played an important role in reviving the Mohiniattam dance form.
Kathakali is the classical dance form of Kerala. The word Kathakali literally means "Story-
Play". Kathakali is known for its heavy, elaborate makeup and costumes fact, the colourful
and fascinating costumes of Kathakali have become the most recognized icon of Kerala.
• Kathakali is considered as one of the most magnificent theatres of imagination and creativity.
Kathakali dance presents themes derived from the Ramayana, the Mahabharata and other
Hindu epics, mythologies and legends.
• The dance aspect of Kathakali consists of pure dance (Nritya) as well as mime (abhinaya).
Initially Kathakali was thought to be the sole domain of men but now women also perform the
dance
• In Kerala and some other south Indian states Kathakali performance is a major social event,
which starts at dusk and continues all through the night. The Kathakali tradition dates back to
the 17th century. It was Mahakavi Vallathol Narayan Menon, who gave Kathakali its present
form. He was the founder of the Kerala Kala Mandalam.
• The characteristic regional expression of Kerala architecture results from the geographical,
climatic and historic factors. Geographically Kerala is a narrow strip of land lying in between
western seaboard of peninsular India and confined between the towering Western Ghats on its
east and the vast Arabian Sea on its west.
2.1.8.1 VERNACULAR STYLE OF KERALA :
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• Kerala architecture is a kind of architectural style that is mostly found

in Indian state of Kerala and all the architectural wonders of Kerala stands out to be
ultimate testimonials for the ancient vishwakarma sthapathis of Kerala
• Kerala's style of architecture is unique in India, in its striking contrast to Dravidian
architecture which is normally practiced in other parts of South India. The architecture
of Kerala has been influenced by Dravidian and Indian Vedic architectural science
(Vastu Shastra) over two millennium.
• Influence of Buddhism and early Tamillakam architecture.
• The nature worship of the early Inhabitants of Kerala has its parallel in serpent worship
and Buddhism, in the tree worship owing to the association of Buddha's birth, revelation
and preaching under a tree. This rose in parallel to the developments in the other areas
of Tamilakkam during the latter stages of the Sangam period.
• The Jain monuments are more numerous in Kerala. They include rock shelters at Chitral
near Nagercoil, a rock cut temple at Kallil near Perumbavoor, and remains of structural
temples at Alathoor near Palakkad and at Sultanbathery. Sculptured Kerala Jaina and
Dravidian figures of Mahavira, Parswanatha and other thirthankaras have been
recovered from these sites.
• Sultanbathery also has the remains of a Jaina basti, known as Ganapati vattam, being an
example of a cloistered temple built entirely of granite.
• For nearly eight centuries Buddhism and Jainism seem to have co-existed in Kerala as an
important faith, contributing in its own way to the social and architectural development
of the region.
• These are the different styles was impact on Kerala. The same style was followed on any
type of structure.
• In spite of the absence of architectural monuments there is conclusive proof of the
influence of the Buddhist school on Kerala architecture of later periods.
• The circular temples basically follow the shapes of the Buddhist stupas, the dome shaped
mounds.
• The apsidal temples are modelled in the pattern of chaitya halls, the assembly halls of
Buddhist monks.
• The chaitya window seen repeated in the decorative moulding of the thorana around the
temple shrine is clearly a Buddhist motif adopted in Hindu style, according to Percy
Brown.
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• Basically thorana is a gateway provided in the palisade seen in the vertical and
horizontal members of the vilakkumadam, which is a feature seen only in Kerala temples
of the post-Buddhist period.
2.1.8.1.1 Composition and Structure:

• Kerala architecture can be broadly divided into 2 distinctive areas based on their
functionality, each guided by different set of principles.
Composition:
• The primary elements of all structures trends to remain same. The base model is normally
circular, square or rectangular plain shapes with a ribbed roof evolved from functional
consideration.
• The most distinctive visual form of Kerala architecture is the long, steep sloping roof built to
protect the house’s walls and to withstand the heavy monsoon, normally laid with tiles or
thatched labyrinth of palm leaves, supported on a roof frame made of hard wood and timber
• Structurally the roof frame was supported on the pillars on walls erected on a plinth raised
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from the ground for protection against dampness and insects in the tropical climate.
• Often the walls were also of timbers abundantly available in Kerala. Gable windows were
evolved at the two ends to provide attic ventilation when ceiling was incorporated for the
room spaces.
2.1.8.2 MATERIALS:
• The natural building materials available for construction in Kerala are stones, timber, clay
and palm leaves
• Granite is a strong and durable building stone; however its availability is restricted mostly
to the highlands and only marginally to other zones
• Owing to this, the skill in quarrying, dressing and sculpturing of stone is scarce in Kerala.
Laterite on the other hand is the most abundant stone found as outcrops in most zones.
Soft laterite available at shallow depth can be easily cut, dressed and used as building
blocks. It is a rare local stone which gets stronger and durable with exposure at
atmospheric air. Laterite blocks may be bonded in mortars of shell lime, which have been
the classic binding material used in traditional buildings.
• Timber is the prime structural material abundantly available in many varieties in Kerala –
from bamboo to teak. Perhaps the skilful choice of timber, accurate joinery, artful
assembly and delicate carving of wood work for columns, walls and roofs frames are the
unique characteristics of Kerala architecture
• Clay was used in many forms – for walling, in filling the timber floors and making bricks
and tiles after pugging and tempering with admixtures. Palm leaves were used effectively
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for thatching the roofs and for making partition walls.

• From the limitations of the materials, a mixed mode of construction was evolved in Kerala
architecture.
• The stone work was restricted to the plinth even in important buildings such as temples.
Laterite was used for walls.
• The roof structure in timber was covered with palm leaf thatching for most buildings and
rarely with tiles for palaces or temples.
• The exterior of the laterite walls were either left as such or plastered with lime mortar to
serve as the base for mural painting
2.1.9 TRADITIONAL DANCE FORM OF KARNATAKA:
• Bharatnatyam is one of the most popular classical Indian dances. Bharatnatyam is more
popular in South Indian states of Tamil Nadu and Karnataka.
•
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Bharatnatyam dance is almost 2,000 years old. It is believed that Bharatnatyam was
revealed by Lord Brahma to Bharata, a famous sage who then codified this sacred dance
in a Sanskrit text called the Natya Shastra
• The Natya Shastra is one of the fundamental treatises on Indian drama and aesthetics.
• Natya Shastra divides dance into two distinct forms- nritta, and Nritya. In nritta, focus is
on mastery of abstract hand gestures and movements, whereas the dancer employs a
complex system of hand signals and body language to depict emotional expressions in
Nritya.
• The Bharatnatyam dance flourished in the Hindu temples of South India. The temple
dancers (Called Devadasis or servants of god) flourished under royal patronage and
religious devotion.
• The Devadasi system became an integral part of South Indian temple ritual. Slowly and
gradually the Devadasi system went into disrepute due to economic and social conditions
attached to it.
• The credit of reviving and popularizing the Bharatnatyam in its present form goes to
Rukmini Devi, who gave it new life and respectability. Bala Saraswati, the queen of
Bharatnatyam also deserves accolades for her work and efforts to popularize
Bharatnatyam.
• At present Bharatnatyam is an immensely popular classical dance form of India. The
present form of Bharatnatyam dance was evolved by Poniah Pillai of Tanjore and his
brothers. Formats of Bharatnatyam consist of Alarippu (invocation), Jathi Swaram (note
combinations) Shabdam (notes and lyrics), Varnam (a combination of pure dance and
abhinaya) lighter items like Padams and Javalis (all erotic) and finally the thillana (again
pure dance).
• Bharatnatyam is considered the mother art of most of the other classical dances of India
and inspires many art forms like sculpture, painting, and icon-making.
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2.1.9.1 VERNACULAR STYLE OF KARNATAKA:
• Karnataka is situated in the Deccan Plateau and is bordered by the Arabian Sea to the
west, Goa to the northwest, Maharashtra to the north, Andhra Pradesh to the east, Tamil-
Nadu to the east and southeast, and Kerala to the southwest. It is situated at the angle
where the Western Ghats and Eastern Ghats of South India converge into the Nilgiri hills.
• Karnataka has a total land area of 1, 91,791 km² and accounts for 5.83% of the total area
of the country (measured at 3,288,000 km²). This puts it in eighth place in terms of size.
• With a population of 6, 11, 30,704, it occupies ninth place in terms of population. The
population density which stands at 319 persons per km² is lower than the all-India average
of 382.
• The post-monsoon and winter seasons are generally pleasant over the entire state. The
months April and May are hot, very dry and generally uncomfortable. Weather tends to be
oppressive during June due to high humidity and temperature. The next three months
(July, August and September) are somewhat comfortable due to reduced day temperature
although the humidity's continue to be very high. The highest recorded temperature was
45.6 °C (114 °F) at Raichur on May 23, 1928. The lowest recorded temperature was 2.8
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°C (37 °F) C at Bidar on December 16, 1918.

• It is probably useful to examine the mechanism by which such a total rapport between
lifestyle and built from is achieved in vernacular architecture.
• Depending upon the climate condition we have gabled thatch,gabled tile was used.
• There are other roofing forms to be found mostly in cities,such as the flat roof of the
madras terrace and the jack arch terrace.These roofs used mainly local materials like
brick,lime and while steel was introduced in the jack arch roof for the suppo rting
structure.
• The built-form only provides an unobtrusive
backdrop for the myriad varieties of activity
that constitute home-life. It is so much part of
life, merging and almost participating in the
lifestyle.
• Architecture is valued not because of its
canonical/stylized excellence, but due to its
ability to provide an atmosphere, an intangible quality that converts a mere building into a
home. This architecture is to be lived-in and experienced and is not to be merely looked-at
and admired
• The vernacular forms for building are those that have existed in the region in their
primitive forms, such as, a sloping roof and clay sandwich tiles that keep out the heat seen
in the homes in Kerala and coastal Karnataka, especially in the 'padappura' or temple-like
entrance replete with skylights embedded in the slopes, or an inner courtyard that brings a
slice of the outdoors, indoors distinctly evident in the Chettinad homes.
• With vernacular architecture gaining more significance for its eco-friendly approach, more
architects are experimenting with a range of designs to incorporate the pristine beauty of
nature in their approach.
• The jagali is the kannada word for what may be rather inadequately described as an open
verandah with a raised platform.
• This is invariabely located infront of house.
• It is the buffer between the shared community area in the front of house and the privacy of
inner house.
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2.1.9.2 REQUIREMENTS OF DANCE AND MUSIC:
• ADMINISTRATION
• LIBRARY
• CLASSROOMS
• REHEARSAL STUDIO
• AMPHITHEATRE
• AUDITORIUMS
• RESTAURENT
• STAFF QUARTERS
• DINING
• PARKING
• TOILETS
2.2 THE AUDITORIUM:

• The auditorium is the facility’s most complex interior space. Acoustics. Circulation.
Lighting, and seating for different uses such as movies, lectures and conferences. Stage
performances and magical presentations must be considered when designing this space
• The auditorium design should allow every member of the audience to see and hear
clearly
•
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Of primary importance are good hearing and good sightlines to every part of the
performance areas. This means that an effective compromise must be made between
width and depth.
• A very wide auditorium may have good acoustics but poor sight lines, while a very
narrow auditorium will tend toward the reverse
• . Effective acoustical planning depends on the correct placement of reflective surfaces

for all sounds involved in the performance. Care must be taken, for instance, not to place
opposing walls backing the side stages exactly parallel to each other (as they may cause
a disturbing reverberation in the lower part of the amphitheater).
• Remember that the sound waves tend to bounce off mirror surfaces at the same angles
that light does.
• One of the first aids to good sightlines is an effective slope. Seats may be set on a rising
parabolic curve, or on two different inclines, a fairly mild slope for the lower half of
auditorium (the half near the main stage) and a steeper slope for the upper (rear) half.
• The slope recommended for the lower portion is 12` (that is, a rise of about t minute in
7), and for the upper 24’ (about 1 minute in 3’h) or steeper.
Other details about the auditorium which need to be kept in mind are:
1. Toilet facilities placed and housed where they are convenient to both sides of the
auditorium but are not noisy, and of sufficient number to accommodate the peak requirements
which occur just before performance and during an intermission.
2. Rain shelters on both sides of the seating area or at the back, for use in case of sudden
showers.
3. Concession booths on each side (walled in to reduce the noise of refrigerators and the
handling of bottles).
4. Good paving (not loose gravel which is very noisy) and good drainage everywhere.
5. Sufficient auditorium lighting to let patrons read their programs easily, and high enough to
be out of their eyes.
6. Signs placed where they will indicate clearly to the patrons where the various sections of
seats are, as well as the toilets and the refreshment centers.
7. A public address system for announcements to the audience on rainy nights.
2.2.1 BACK STAGE AREA

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• There should be plenty of free space for the assembling of actors, the organizing of
groups, and the massing of crowd voices for offstage effects.
• Property tables should be placed in locations convenient to both sides of the main stage
and the entrances to the side stages.
• There should be adequate spaces for the storing and sheltering of the portable scenery
units and properties.
• There should be proper drainage in every part.

• All the permanent wiring should be run under ground where it cannot trip the actors or
interfere with the movement of scenery and properties.
• Some controlled Illumination should be provided for backstage operations, well shielded
so no direct or reflected lighting will be seen by the spectators.
• There should be sufficient specs for the drying of scenery, costumes, and properties the
morning after a rain.
• A bulletin board for nightly directions to actors and technicians should be set up in s free
and convenient spot, a little away from any of the main traffic lanes onto the stag
• There should be an efficient intercommunication system over which messages can be sent
from one side of the stage to the other, from the stage manager to the electrician, the
organist, and the house manager.
2.2.2 CIRCULATION:
• Emphasis should be on user friendliness. The plan should be clear enough so that directional
signage is not necessary or minimal.
• Provide direct access to and from the lobby to facilitate efficient movement.
• Provide the proper number of exits and accessible routes from the facility required by
code. Reevaluate catchment areas to ensure that existing exits can handle exiting
requirements.
2.2.3 SEATING:
• The type of seat has a direct bearing on the comfort and enjoyment level of the patron
Provide 3/4 folding. Self arising seats with a minimum of 33 inches from seat-back to seat-
back in their fully open position.
• Also provide a minimum of 12 inches between seat backs and the most forward projection
of seats immediately behind Select seating with a contoured steel frame construction that
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provides lower back support.

• Select cloth, fully upholstered seats Heavy use and soil hiding characteristics are primary
considerations Verify seating capacities for the disabled Provide “swing-away” seating for
the disabled.
2.2.4 Special Lighting:

• Dramatic lighting systems include front lighting, foot lighting, spot lights, follow spot lights,
beam lights, and flood lights, and a projection room/booth with manual and programmable
lighting controls, and space for the spot light operator space. Lighting systems should be
flexible to accommodate various performance venues (e.g., lectures, plays, musical
performances, etc.) in the Auditorium.
2.2.5 Occupancy:
• Occupancy Group Classification is Assembly A1 or A3 as per IBC, with sprinkler protected
construction, and GSA Acoustical Class A space requiring special acoustical design.
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2.2.6 Special Acoustical Design:

• Quality acoustical characteristics are important in Auditorium spaces so that performances
and presentations can be clearly heard and understood.
• For performance spaces and general presentation spaces, recommended noise criteria (NC)
rating ranges from NC-20 to NC-30; recommended sound transmission class (STC) rating
ranges from STC 40 to STC 50.
• Strategies to achieve the recommended NC and STC ranges include, for example: Type II
vinyl wall covering and fabric covered acoustical wall panels for the interior wall finish in
the auditorium;
• Type II vinyl wall covering for the stage area; Type II vinyl wall coverings for 1/3 of the
front of the orchestra (audience) sidewalls and fabric covered acoustical panels for 2/3 of the
back of the orchestra (audience) sidewalls; fabric acoustical covered panels for rear walls;
and a plaster and plywood combination—because of their reverberation characteristics—for
the ceiling.
2.3 SUSTAINABLE:
2.3.1 Increased Cooling Capacity:
• Heating, ventilating, and air-conditioning (HVAC) systems for Auditorium spaces are sized
and zoned to accommodate varying internal loads, which are a function of audience sizes,
performance lighting loads, and projection equipment.
• Particularly, air handling units (AHUs) with increased cooling capacity should be zoned
separately for the auditorium, lobby, projection spaces, stage areas, and audience seating areas.
Also, the Auditorium typically has a separate AHU constant volume with modulated
temperature control for ventilation. For more information.
• Raised Floor: The recommended system for distribution of HVAC in auditorium spaces is
ducted supply through floor vents with ducted ceiling return air vents in auditorium and lobby.
In other spaces, ducted ceiling supply with return air ceiling plenum is recommended. Note
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that there should be transfer ducts at all acoustically rated partitions.

2.3.2 Fire and Life Safety:

Proper notification systems, lighting, and signage are required to facilitate safe and speedy
evacuations during an emergency in the Auditorium spaces. Step lights recessed into floor
risers at each seating tier and wall mounted low light level sconce lights along side walls are
typical. Sprinklers should be provided per code and under stage platforms to suppress fires.
And Secure / Safe—Plan for Fire Protection.
The following building program is representative of Auditorium space types.
Description Qty. SF Each Space Sum Actual Tenant Tenant

Tenant Occupying Required SF Usable USF
Areas Factor
Entrance 2,096
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Lobby 1 1,5 1,500

00
Entrance 1 96 96
Vestibules
Coat 1 150 150

Check
Retail Area 1 200 200
Media 1 150 150

Library
Main 4,800
Auditorium
Seating 1 3,6 3,600

(300 seats) 00
Stage 1 1,2 1,200

00
Support 1,300
Spaces
Projection/ 1 300 300

Control
Room
Equipment 1 300 300

Storage
Rear 1 400 400

Projection
Room
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Public 1 120 120

Toilets (Male
Public 1 180 180

Toilets
(Female)
Tenant 8,196 8,196 1.14 9,375

Suite
Tenant 18,750
Usable Areas
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2.4 LIBRARIES:
Libraries serving populations from 5,000 to 50,000 require a minimum of 2 books per
capita Communities up to 5,000 persons need access to a minimum of 10,000volumes, or 3
books per capita, whichever is greater.
The library building should provide space for the full range of library services. All libraries
should have designated areas for children’s, young adult, and adult materials. They should
be located for easy supervision so That they may be used for quiet reading and Study when
not needed by groups. Multipurpose rooms should be provided for meeting, viewing, and
listening by cultural, educational, and civic groups unless such facilities are readily available
elsewhere in the community. The library building should be located in or near the
community shopping center and at street level if possible.
Adequate parking should be available nearby.
Space requirements:
Generally speaking, the total need may be divided into five categories: space for
(1) Books,
(2) Readers,
(3) Staff,
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(4) Group meetings,

(5) Mechanical operations and all other (stairways, elevators, toilets, etc.).
2.5 SERVICE AND SPACE RELATIONSHIPS:

1. Only one complete card catalogue should be maintained. It should be located
conveniently as near as possible to the reading and reference areas, circulation desk,
and the processing Department. Department catalogues, a children’s catalogue, and
shelf list and other processing records should be placed in their respective areas as
needed.
2. Except for large libraries, there should not be more than one circulation desk. It should
be near the main entrance where there will be direct visual control of the movement of
both Children and adults.
3. There should be a single public entrance within short distance of the circulation desk.
.Auditoriums and meeting rooms need not be directly accessible from the main
entrance.
4. Public toilets, telephones, and display cases should be located where they can be
supervised by circulation desk personnel.
5. Every public service area should be supported by book storage, office, and work areas.
Reading rooms should be grouped so that they May be served by common book
storage, office, and work area.
6. A librarian or attendant should not be responsible for areas more than 55 ft beyond his
desk.
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2.6 TOILETS:
• Activities commonly performed in the bathroom include washing of hands, face, and hair,
bathing, elimination, and grooming, and also such activities as hand laundering and infant
care. Often it is also used as a dressing room. Major problems in bathroom design include
planning for optimum convenience and privacy of all.
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• Bathroom functions for all members of the household, adequate provision for storage of
supplies and equipment, and ease of cleaning.
• Good ventilation is essential in bathrooms, both to reduce humidity and to dispel odours.
If a window is relied upon as the sole means of ventilation, care should be taken in its
selection and placement to minimize drafts and to permit easy access. Exhaust fans in the
wall or Ceilings are often used to supplement natural ventilation. In interior bathroom
spaces, a mechanical exhaust is, of course, essential.
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2.6.1.1.1 Table-10 Sanitation Requirements for Educational Occupancy
2.6.1.1.2 (G.O 119 TABLE No. A.6)
Boarding Institution Other Educational Institution
Sanitary
Sl.No.
Unit
For Boys For Girls For Boys For girls
1. Water One for 8 One for 6 One for 40 boys One for 25 girls
Closet(W.C) boys or part girls or part or part thereof. or part thereof
thereof thereof
2. Ablution Taps One in each One in each One in each One in each
W.C. W.C. W.C. W.C.
3. Urinals One per every -- One per every --
25 pupils or 20 pupils or part
part thereof thereof
4. Wash Basins One for every One for One for every One for every
8 pupils or every 6 60 pupils or part 40 pupils or part
part thereof pupils or thereof thereof
part thereof
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One for every One for
5. Baths 8 pupils or every 6 -- --
part thereof pupils or
part thereof
6. Drinking One for every One for One for every One for every
Water 50 pupils or every 50 50 pupils or part 50 pupils or part
Fountains part thereof pupils or thereof thereof
part thereof
7. Cleaner’s Sink One per Floor One per One per Floor One per Floor
minimum Floor per minimum minimum
minimum
Note:-
• One water tap with draining arrangements shall be provided for every 50 persons
or part thereof, in the vicinity of water closet and urinal.
• For teaching staff, the schedule of sanitary units to be provided shall be the same as in
case of office buildings (Table 5.10).
Ventilation Shaft for water closets and bathrooms
For ventilating the spaces for water closets and bathrooms, if not opening on the
front side, rear and interior open spaces, shall open on the ventilation shaft, the size, of
which shall not be less than the values given below. However, it is not mandatory in case
of buildings where mechanical ventilation is available.
2.6.1.1.3 Size of ventilation shaft (G.O 119 Table No 10
S.
No. Building Height Size of ventilation shaft Minimum size of shaft

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(m) (sq. m) (m)
(A) (B) (C) (D)

1 Up to 10 1.0 1.0
2 Up to 12 3.0 1.2
3 Up to 18 4.0 1.5
4 Up to 24 6.0 1.8
5 Above24 9.0 3.0
2.6.2 Water supply:
2.6.2.1.1 TABLE-A.1 Per Capital Water requirement for various Occupancies/Uses

Consumption per
Sl.No Type of Occupancy head per day (in
lt.)
2. Educational
a) Day Schools 45
b) Boarding Schools 135

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Water requirement and facilities:
• Water requirement for the facility may be worked out and enough storage for ½ day operation
is to be kept in storage.
• If municipal water supply is reliable, the toilet blocks may have underground sump that can
store half a day requirement and overhead tanks for another half.
• If not, toilet block may have its own water source and pump with or without underground
sump.
• Alternatively, a hand tube well can be used for storing water in an elevated (not overhead)
tank.
• To minimize the wastage of water, self-closing water taps should be used.
• Traps should be of a 20mm water seal. (Use of 50mm water seal traps will require more water
for flushing.)
• If toilet is to be linked to city sewer, a master trap has to be provided at the sewer connection
for waste water line (excluding soil line).
2.7 RAIN WATER HARVESTING STRUCTURES

GENERAL:
Rainwater harvesting is the technique of collection and storage of rainwater at surface or in
sub-surface aquifers, before it is lost as surface run-off. The augmented resource can be
harvested in the time of need.
Artificial recharge to ground water is a process by which the ground water reservoir is
augmented at rate exceeding that under natural conditions of replenishment.
NEED:
▪ To overcome the inadequacy of water to meet our demands.

▪ To arrest decline in ground water levels.
▪ To enhance availability of ground water at specific place and time and utilize rainwater for
sustainable development.
▪ To increase infiltration of rain water in the subsoil which has decreased drastically in urban
areas due to paving of open area
▪ To improve ground water quality by dilution.
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▪ To increase agriculture production.

▪ To improve ecology of the area by increase in vegetation cover, etc.
ADVANTAGES:
▪ Cost of recharge to sub-surface reservoir is lower than surface reservoirs.

▪ The aquifer serves as distribution system also.

▪ No land is wasted for storage purpose and no population displacement is involved.
▪ Ground water is not directly exposed to evaporation and pollution.
▪ Storing water underground is environment friendly.
▪ It increases the productivity of aquifer.
▪ It reduces flood hazards.
▪ Effects rise in ground water levels.
▪ Mitigates the effects of drought.
▪ Reduces soil erosion.
2.8 RECEPTION:
The Front office or reception is an area where visitors arrive and first encounter a staff at a
place of the work. Front office staff will deal with whatever question the visitor has, and put them in
contact with a relevant person at the company.
2.8.1 WAITING LOBBY:

A waiting room is a place, where people sit or stand until the event which they are
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waiting for happens and begins.

2.9 HOSTEL:
• A youth hostel provides for young people on their travels what a hotel provides for adults a
place to sleep, wash, and eat.
• But whereas a hotel segregates people in private rooms and at private tables a youth hostel
brings them together it is a meeting place at which young people of different nationalities,
social backgrounds and opinions can meet and come to know each other.
• The simplest youth hostel, in a country district frequented by walkers or climbers, will
provide only the basic requirements of dormitories, wash- rooms, sanitary installation, and a
kitchen in which travellers can prepare their own meals.
2.9.1 Minimum Standards:

• Every Youth Hostel must provide:
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“Supervision by a warden or other suitable adult person who shall be responsible for the
well- being of the person using the hostel.
• Separate dormitories for men and women, with separate entrances (but family rooms may be
offered for parents with young children). Dormitories must be equipped with beds, each
with a mattress, a pillow, and a sufficient number of blankets according to the climate.
• Separate sanitary installations (toilets and washing facilities) in adequate numbers for men
and women, kept in clean and hygienic condition. A members' kitchen, equipped with
cooking stoves, pots, pans, etc., or some simple facilities for cooking meals.
• Facilities enabling the hostel staff to provide meals at reasonable prices may also be
provided. . A common room, terrace, or other place (depending on the climate) in which
guests can meet and get to know each other.
2.9.2 ROOM AREA:

Room Area a minimum of 15 sq. ft. per person is required. For combination dining and
common room, 22 sq. ft. per person should be allowed.
2.9.3 DINING AREAS:

A minimum of 12 sq. ft. per person for dining room is required. For a combination dining and
recreation room, minimum of 20 sq. ft. per person should be allowed.
Plan showing hostel zoning
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2.10 SOUND ABSORBING MATERIALS:-
COMMERCIAL and CUSTOM DESIGNED building materials and surface treatment

which contribute significantly to acoustical control or to noise reduction.
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2.10.1 Acoustic materials:-

General Classifications:
1. Porous Materials
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2. Panel or Membrane Absorbers

3. Cavity (Helmholtz) Resonators
2.10.1.1 Porous Materials:-

Pre-fabricated Acoustical Units Various types of perforated, fissured, or textured materials
constitute typical units in this group.
Commonly used materials include:-
• Acoustical Boards
• Acoustic Hangers
• Geocoustic Tiles
• Diffusers
Acoustical boards:-
These can be installed in several ways:-
• Cemented to a solid backing

• Nailed or screwed to wood framing
• Laid in a ceiling suspension system
Acoustical Boards:-
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2.10.2 Advantages:-
➢ Trade catalogues contain detailed specifications
➢ Easy installation and maintenance
➢ Flexible absorption
2.10.3 Disadvantages:-
➢ Difficult to conceal joints between units
➢ Soft structure subject to damage
➢ Paint redecoration harmful to absorption
2.10.4 Acoustic Hangers:-

Acoustic Hangers or baffles- a system of fibre-board panels that are wrapped with
insulation and are hung freely using wire or rope.
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2.10.5 Geocoustic Tiles and panels:-

Geocoustic Tiles- special prefabricated units for random application on walls and ceilings.
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2.10.6 Diffusers:
Absorptive material that have, irregular surfaces, or angled or curved fronts, so when
mounted on a wall or the ceiling they stop parallel wall interference and prevent standing
waves.
2.10.7 Plasters and sprayed – on materials:-

Acoustical Plasters and Sprayed-on Materials: Absorbent paint applied in a semi plastic
consistency. There are two types:
Type I: composed of a cementatious material such as gypsum, cement, or lime
Type II: Fibrous materials combined with a binder agent, sprayed on with an air gun or
blower.
2.10.7.1 Advantages:-
May be used for irregular surfaces.
Aesthetic and decorative qualities.
2.10.8 Acoustic Blankets:-

Acoustic Blankets- Also referred to as “Isolation Blankets”. Materials manufactured from
rock wool, glass fibres, wood fibres, hair felt, etc.
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2.10.9 Acoustic foam boards:-

Acoustic Foam Boards- High density blankets with covering; also act as diffusers.
2.10.10 Carpets and fabrics:-
2.10.11 Panel absorbers:-

Panel Absorbers- Also referred to as “Membrane Absorbers”. Impervious material installed in
a solid backing but separated from it by an air space.
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2.10.12 Cavity Resonators:-

Cavity Resonators- Also referred to as “Helmholtz Resonators”. Materials that consist of an
enclosed body of air, confined within rigid walls and connected by a narrow opening to the
surroundings space.
2.10.13 Classifications:-
• Individual Cavity Resonators
• Perforated Panel Absorbers
• Slit Resonators
2.10.14 Individual Cavity Resonators:-

Individual Cavity Resonators- Standard concrete blocks, using regular concrete mixture, but
with slotted cavities.
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Perforated Panel Absorbers:-
Perforated Panel Absorbers- Perforated panels spaced away from a solid backing.
2.10.15 Space Absorbers:-

Space Absorbers- Sound absorbing objects which are suspended from the ceiling, used when
regular boundary enclosures of an auditorium do not provide a suitable or adequate area for
conventional acoustical treatment.
2.10.16 Variable Absorbers:-

Sliding, hinged, movable, and rotatable panels constructed to expose either absorptive or
reflective surfaces.
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2.10.17 Sound absorption coefficient:

The sound absorption coefficient indicates how much of the sound is absorbed in the actual
material. The absorption coefficient can be expressed as:
α = Ia / Ii (1)
where
I=soundintensitygabsorbed (W/m)
2.11 MUSIC AND DANCE LIBRARY:

Some people in the course of perfecting apiece will wish to learn more about it. They may
want to hear it and see it performed by internationally recognized professional musicians.
Some may wish to learn more about the particular period the piece was written. Faculty and
students may also wish to get a book to read or tape to listen for pleasure.
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Topic should include:
• Dance history of all periods
• Musical theory
• Dance theory
• Music literature analysis

• Musical scores
• Dance scores composition
• Dance information & instrument information
• Contemporary dance styles
• Instrument repair
• Rock and new age forms
• Contemporary musical styles
• General fiction
• Foreign languages
DESIGN CONSIDERATIONS:-
2.11.1 SPACES:
• A GRAND ENTRANCE
• INSPIRATIONAL SPACE
• MOOD IN LANDSCAPE
• WINDOW PLACE
• THE SHAPE OF INDOOR SPACE
• LEARNING SPACE
• MEDITATIVE SPACE
2.11.2 LIGHTING:
• MUSIC LIGHTING
• DANCE LIGHTING
• SPOTLIGHT FIXTURES
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• INDOOR SUNLIGHT
• STAGE LIGHTING
• THEATRE LIGHTING
2.11.2.1 Music lighting:

Lighting techniques for the musical are varied, visibility is usually provided for by follow
spots. Area lighting is often provided for book scenes, colour washes. Side light and back
light are usually provided for production.
2.11.2.2 Basic equipment for lighting:

• The Fresnel
• Ellipsoidal
• Pat spot light
• The box flood light
• Strip light
• Typical wattages: 500-2000watts
2.11.2.3 Dance lighting:

Theatre lighting is concerned with lighting, the actors face for visibility, dance lighting.
Lighting the human face for plasticity, interest, emotional impact. Visibility of the face in
dance side lighting is usually the main source and front lighting for, colour washes or specials.
2.11.3 MUSIC CLASSROOM:

India is singularly rich in musical and dance ‘iconography’. It is one of the country which can
claim to possess the largest number and variety of musical instruments and styles of music.
Music is essential and is place of learning and performance to be enriched with proper wall
panel’s resonance; natural beauty and delicate touches, nuances and shades of notes could be
heard without strain. In short, the classrooms for music preferably should be:
• Well ventilated
• Acoustically treated for pleasing effect
• Sparsely furnished only with a carpet on the floor
• Provided with raised platform for the Guru to give discourses.
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The basic requirement of a classroom for Indian classical music are:
• A bare room with no furniture

• A carpet spread on the floor for the students.
• Storage area for instruments which accompany vocalists, like tempura, sruti box or
harmonium.
• Place for leaving footwear outside the room.
The dimensions required for student is as given below
• As 6m by 6m room with storage space is required for a classroom catering to eight

students.
• Area per student is 0.8 sum
• Separate storage space is preferred of storing in shelves.
• Individual practice rooms can also be provided. They should be approximately of 3.5
by 3.5 sqm with windows provided adequately.
2.11.3.1 INSTRUMENTAL CLASS ROOM :-

The basic requirement of classroom for Indian instrumental are:
• A bare room with no furniture.

• A carpet spread on the floor for the student.
• A slightly higher platform for guru.
• A storage room for instruments.
• Place for leaving foot wear outside the room.
• One should allow 1 to 1.5 sqm per student.
• No student should sit with in 7.5 ft. or 2.28m of ceiling.
• The height of the instrumental practice depends on no. of students involved as well as shape
of the room.
• Ceiling height must be planned for acoustics even if a spilt-level effect is created on floor
above the room.
• The minimum height of the room should not be less than 4.3m.
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2.12 RESTAURANT SPACE REQUIRMENT:

• Restaurant is a place where meals may bough.
• To be able to eat comfortably, one person requires a table area of around 60cm. wide by 40
cm. deep. This provides sufficient clearance between adjacent dinners. Although an
additional 20cm. of space in the center for dishes, an overall width of 80-85 cm. is suitable
for dining table.
• Round table or tables with six or eight sides wth a diameter of 90-120 cm. are ideal for
four people and can also take one or two more dinners.
2.12.1.1 TABLES AND SEATING PLANS:

Before deciding on the layout, it is important to know the anticipated numbers and the type
of clientele and the costumer mix.
1. The restaurant includes kitchen, dining areas, snack bar service, coffee shop, bar and washing/
toilet facilities.
2. The main room of the restaurant is the costumer’s dining room; and the facilities should
correspond with the type of operation. Large dining areas can be divided into zones.
3. The kitchen, store rooms, delivery points, toilets and other service areas should be grouped
round dining rooms.
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2.13 PARKING :
The amount of land needed to accommodate surface parking or a parking structure can
be significant. Each vehicle can require between 300-350 square feet of space, depending on
stall size, circulation pattern and type of structure. Most libraries provide parking directly on-
site, where it becomes a key sitting issue that impacts overall site access, building orientation,
and the location of the front door.
2.13.1 Parking standards:

Two-wheeler Parking standards
Bicycle parking standards
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Bike parking standards
Bike parking standards: 1mX2.4m. Minimum standard of 1mX2m.

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Drive way standards of bike parking:
Two way driveway width – 2m.
One way driveway width –1m.
Car parking standards:

Car parking standards: 6mX3m (open parking standards)
5mX2.50m (cellar parking)
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Barrier free design standards for parking:

Approach to parking lot
Parking: - For parking of vehicles of handicapped people the following provisions shall be
made:
• Surface parking for two care spaces shall be provided near entrance for the physically
handicapped persons with maximum travel distance of 30 M from building entrance.
• The width of parking bay shall be minimum 3.60 Meter.
• The information stating that the space is reserved for wheel chair users shall be
conspicuously displayed. Guiding floor materials shall be provided or a device which
guides visually impaired persons with audible signals or other devices which serves the
same purpose shall be provided.
2.13.2 Pedestrian system:

The pedestrian system is a series of nodes of outdoor pedestrian activity and pathways
which link the various facilities and open spaces into a cohesive fabric for the community.
This section provides guidelines to aid in the creation of a coherent, convenient and safe
pedestrian.
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Nodes are areas of focused pedestrian activity located at the junction of paths where
surrounding uses or inherent amenities create gathering places.
Nodes addressed in this section are paved areas classified as quadrangles, plazas and
courtyards.
2.13.3 Pedestrian paths:

Pedestrian paths are the routes travelled by pedestrians that link nodes of activity. For the
purpose of these guidelines, the only paths that this section addresses are paved walkways
2.13.4 Location:
• Walks should be routed in order to form logical connections between nodes of pedestrian
activity and are vital to pedestrian’s perception of a cohesive campus.
• Walkways layouts shall be analysed to determine the most efficient and practical routing of
path with the goal of minimizing expressive features such as ramps, stairs and retaining walls.
• Walk design shall accommodate existing and proposed buildings, site features, utilities, trees
and desired routes of pedestrians, as well as provide access for emergency vehicles.
2.13.5 Width:
• The minimum width of pedestrian path way shall be 1.8 m
• Attention shall be given to allow additional walk widths at the entrance to buildings, at
vehicular drop-off areas and at other places where pedestrians congregate.
• The proper width of a walk shall be determined using the following formula based on
pedestrian volumes during the peak period of sidewalk use.
((P/I)/10)+X= width of walk.
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P= number of pedestrians anticipated to use the walk during the peak period.
I= duration of the peak period in minutes.
10=constant factor representing the number of pedestrians per foot of width per minute during
the peak period.
X=additional width of walk due to obstructions or proximity to buildings or roadways
3 DESKTOP STUDIES
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3.1 KALA ACADEMY – GOA
3.1.1 Location
At panic, south goal, bank of Mondovi River.
(15.4943° N, 73.8177° E) MEAN SEA LEVEL – 7M. MSL
3.1.2 Architect
Charles correa.
3.1.3 Site
Almost flat, at heart of the city, entry from campal road
3.1.4 Site area:

6.3acres
3.1.5 Client
Kala academy
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3.1.6 Year:
1983
3.1.7 Capacity:
1000
3.1.8 INTRODUCTION;
➢ Built on a site along the Mondovi River in Panaji, the capital of goa in India, this Centre by
the architect Charles correa was completed in 1983, some ten years after the project started.
➢ The performing arts Centre provides a number of facilities including a 1000 seat auditorium,
a 2000 seat open-air Amphitheatre, and a special “black box “for experimental productions.
➢ There is also accommodation for visiting troupes and facilities for teaching dance as well as
for Indian and western classical music. The built form is kept low, ranging from one to three
floors.
➢ The main feature of the building is the large pergola above the entrance which acts as an
extension to the foyer of the main auditorium and Amphitheatre.
➢ This entrance space acts as a funnel to the building from the tree-lined avenue, the campal,
towards the casuarina trees along the water.
3.1.9 LOCATION:
• The site is on the champal, a wide tree lined avenue running through an old residential area
of Panaji. The academy grounds run along the banks of the Mondovi River.
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.
3.1.10 ABOUT:
• It is the venue of international film festival of India.
• The goa kala academy established in 1969 is the prime institution for promotion of art and
culture in goa.
• It is a vibrant representation of the culture and art of the people of goa this is expressed in
the staggering amount and variety of cultural programmes held in its premises.
3.1.11 ACCESS:
• Regular buses connecting Panaji and the academy are available.
• Dabolim airport, 35 km.
• Nearest railway station is madgoa, 53 km
3.1.12 LAYOUT:
• There are four entries to the site. Boat jetty provided on the river side. The coverage is
about 40% the pedestrian and vehicular systems are well defined. The active area includes
the cafeteria, the garden and the Amphitheatre. The site is divided into main building service
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building, muktangan, parking area, the exhibition space.

• A - auditorium
• B - office
• C - toilet
• D - black box
• E - work shop
• F - art gallery
• G - store
• H - o. A. T.
• I - cafeteria
• J - music school
• K - dance school
3.1.13 BUILDING STYLE AND CHARACTER:

• Kala academy building has been designed by ar. Charles correa. He has
given prime importance to the process of moving through the spaces in a

building.
• The built form has been kept low ranging from one to three floors.
• This is further enhanced by the use of parapet walls for upper floors,
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which emphasize horizontally.

• The 'pergola 'above the entrance, which acts as an extension to the
foyer of the main auditorium and amphitheatre.
• Use of wafer slabs and parapet walls are special feature of the
building.
• Extensive use of specially designed seating.

• The interior walls are painted with pictures mostly depicting
konkanise culture and create illusion.
• The building acts as a tunnel between the city and the river.
3.1.14 BUILDING LEVEL ZONING:

• The building is divided into three zones: 1- public, 2-adminisration, and 3-academic
• They are provided at various levels to avoid conflict between these zones
• The ground floor includes
• Facilities like auditorium, preview theatre, Amphitheatre, art gallery, and canteen etc.,
where public entry is invited
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• The first and second floors include academic and administration facilities.
• There are three groups of people using the building: staff, students, audience
• The circulation has been linked to the zoning and has been segregated by separating them
through levels - ground floor for audience functions and first and second floor for staff and
students with a necessary degree of inter linking.
3.1.15 PLANNING:
• The plan is based on a series of squares through which the visitors is led towards the
Mondovi River.
• The main feature of the building is the large pergola at the entrance which acts as an
extension to the foyer of the auditorium and the Amphitheatre.
•
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This entrance space acts as a funnel to the building from the champal towards the casuarinas
trees along the water.
• The built form is kept low in tune with surrounding residential development around.
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3.1.16 D.M KALA MANDIR (AUDITORIUM):
• Seating capacity – 1000

• Stage opening - 9.6 m
• Area - 1300 sq.m
• Orchestra pit- 7.2 x 2.1 m
• The auditorium allows a variety acoustical conditions ranging from speech, plays to sitar
recitals and orchestral arrangements.
• The changes are made by manipulating absorbent materials placed within inner
compartments hidden from view above this ceiling.
• The walls of the auditorium are painted illusions of an old goan theatre,
• Behind the figures in the boxes real curtains may be pulled to reduce reverberation time in
space. The stage is 80cm high from the first row.
• The raking height varies from 10-20 cm.
• At the start of a show the house lights dim gradually with the illuminated painted figures in
the balconies fading last of all. At the interval, the processes reversed, and at the end of the
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performance, spotlights illuminate.

• The painted ceiling inside the compartment to revel a jungle scene of goa-a reminder of
illusion and reality.
3.1.17 ART GALLERY:

• Running wall space - 30 x 1.50 mats approx.
• Carpet area of gallery - 90sq.mts approx.
• When exhibitions are not happening painting of children are displayed.
• The exhibits are displayed on the wall on four sides.
• Lighting features are very normal no facility to hold a good exhibition.
• A track is provided on all the walls, where the hook is given for hanging the paintings.
• The paintings are hanged on the hook, it may not look nice in the context of exhibition but
its looks simple as the building
• Context
• Cove lightings are provided for the gallery the focusing of the light can be adjusted but it
does not serve the purpose of focusing any painting.
• Since the intensity of the light is less, the light is spread on the wall.
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3.1.18 TEACHING STUDIO:

• All the music studios are of the same size 3.3 x 2.6 meters.
• Central air conditioning is provided for all class rooms.
• Acoustically treated classrooms with the
• Same type of padding provided for the walls and ceilings.
• Three walls are faced with linen material and glass wool, the rest is panelled with wood
particle board.
3.1.19 Classrooms –
• 15 classrooms for Indian music - vocal - instrumental – dance
8 classrooms for western music - instrumental - ceiling and walls are covered by
perforated boards hiding electrical and ac ducts - classroom size - 4m x 5m.
3.1.20 LIBRARY: - 135 SQ.M

• Library is in proximity with mini oat.
• Books are raked in glass shelves Cafeteria - 100 capacity.
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• Square table are provided each with 4 Seats.

• 3 sides open in to the outdoor landscape
• It is accessible from all theatre meeting Room. - 45 sq.m
• C area of the room 7.30 x 6.15 sq. meters
• Room has one big table and six chairs.
3.1.21 SERVICES:
• The service buildings (ac plant and generator room) are provided on the western corner of
the site no way disrupting the normal functioning of the building.
• Two separate service entries have been provided. One to the generator room and the other
on the eastern corner of the site. The eastern entry caters to the need of the Amphitheatre
and the canteen.
• A loading deck has also been provided here the septic tank is provided underneath the
garage.
3.1.22 LANDSCAPE:
• The beautiful lawns form the main part of the site. Trees are provided aptly at the front side
of the building. Specially designed benches and lamp posts line the path along the river side.
3.1.23 PARKING FACILITIES:

• Parking facilities are provided on the south-eastern side.
• Nearly 250 public parking are provided.
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• Special VIP and staff parking provided.

3.1.24 WALLS:
• There are walls which have been given depth & life through realistic perspectives of arcaded
streets, of projecting balconies, of staircases, of windows, of doorways – the walls
themselves forming a huge canvas,
• Where the visitor feels as if part of an elaborate set, a walk-through time into an old-world
street. Here, the boundary between reality & illusion blurs in a happy way to transport the
visitor to a different experience, one created by the combined collaborative genius’ of correa
& the goan artist Mario Miranda.
3.1.25 EXTERIORS:
• The exterior of the building is of laterite, creating a beautiful texture which is further
accentuated in the sun. One gets subconscious images of the weathered lateritic walls of the
great forts of goa.
• This, when contrasted with the smoothness of the concrete beams & pergolas, creates an
interesting interplay.
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3.1.26 ARCHITECTURAL EXPRESSION:

• The building is built along a strong axis that runs diagonally along the site.
• The large pergola covered foyer make the building into a large breezeway, connecting the
champal to the Mondovi River.
• However, at present there is no such connection due to a planned growth of casuarinas trees
blocking the view
• This folly on the part of the architect is quite incomprehensible are the site practically sits on
the banks of the river.
• By lifting the entrance foyer on columns, the building has achieved a Transparency, sense of
weightlessness which is further enhance
• By the pergola at the entrance.
• The built form is kept low ranging from one to three floors in response to the residences
around.
• This has resulted in extensive terraces overlooking the river.
• Terraces are difficult to maintain in a costal place like goa where there is high rate of rainfall
• This folly on the part of the architect is quite incomprehensible are the site practically sits on
the banks of the river.
• By lifting the entrance foyer on columns, the building has achieved
• Transparency, sense of weightlessness which is further enhance
• D by the pergola at the entrance.
• The built form is kept low ranging from one to three floors in response to the residences
around. This has resulted in extensive terraces overlooking the river.
• Terraces are difficult to maintain in a costal place like goa where there is high rate of
rainfall.
• The architect’s preoccupation with illusion and metaphor has been
• Manifested excellently in the academy.
• The entrance foyer has an illusion on almost every section of wall area among the good ones
are:
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• The staircases are turning to the right into the wall.

• The jungle scene of goa in the auditorium.
• The people in the balconies by Mario Miranda.
• The compositions of the permanent seating combine with the illusions on the wall to the
transport one to a different world.
• The grounds around the building are used for exhibition of goods from various parts of the
country.
• Extensive use of greenery on site along with its location next to the river makes the academy
climatically comfortable.
3.1.27 AREA STATEMENT:

• D.M KALAMANDIR: 1300SQ.M
• A, total seating: 977
• B, proscenium stage opening: 9.6mts
• C, expandable: 11.4mts
• D, proscenium height: 4.5mts
• E, depth from curtain line: 12.6mts
• F, appearance stage depth: 2.7mts
• G, orchestra pit :7.2 x 2.1mts
• H, stage height from first row: .8mts
• MEETING ROOM: 7.3 X 6.15SQM
• LIBRARY: 135SQM CAFETERIA: 450SQM GUEST ROOM: 53SQM CAR PARKING:
2000SQM
• OPEN AIR AUDITORIUM: 1750SQM.
3.1.28 POSITIVE FEATURES:

• Well-proportioned spaces within illusion on the wall creating a sense of reality.
• Good acoustics in the auditorium.
3.1.29 NEGATIVE FEATURES:

• Blockage of view towards the river by shrubs.
• Extensive terraces in a place goa with heavy monsoons is not relevant.
• Ambiguous circulation pattern.
• Poor detailing and quality of construction.
• Residual spaces with no use.
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3.1.30 ORIENTATION:
• An advantages site with direct approach from main road.
• Environmental quality is excellent with site overlooking river.
• Beautiful landscaped areas with lot of natural existing greenery along river.
• Orientation on in of the major roads in city but no major point of reference Priority .
• View of river to all major activities.

• Separate pedestrian and vehicular entries.
• No visual identity to different activities Hierarchy.
• Public, semi public and private zones are placed on various levels character.
• With help of stepped terraces built form is kept low.
• Large pergolas above entrance.
• Flat roof goes against traditional goan slopped roof.
3.1.31 INFERENCES:
• The building is divided into three zones public, administration, academic which is vertically
placed.
• Located away from major activities so reduces noise pollution.

• Public spaces have more spacious.
• Spaces give good built open relationship.
• The view of café was more attractive.
• Created a great landscape respect to the river.
• The peragola above the entrance acts as an extension to the foyer of the main auditorium
and amphitheatre.
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3.2 KALAKSHETRA:
3.2.1 LOCATION:
Tiruvanmiyur village on outskirts of Chennai. (12.9881° N, 80.26500° E) MSL – 8M.
3.2.2 BUILDING TYPE:

Institute
3.2.3 SITE AREA:

40ha
3.2.4 COMPLETION:
1962, koothambalam auditorium in 1985
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3.2.5 Introduction:-
Kalakshetra literally means a holy place of arts (kala: arts, kshetra: field or holy ideal,
kalakshetra was established, in the worlds of rukmini Devi, “with, the sole purpose of resuscitating
in modern India recognition of the priceless artistic traditions of our country and of imparting to the
young the true spirit of art, devoid of vulgarity and commercialism. “The training of young and
talented people by masters of art, with the background of a religious spirit, has been its main aim.
3.2.6 Location:
Besant nager, south Chennai, the complex is only a few metres away from the sea. Theosophical
school nearby.
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3.2.7 Function:
Kalakshetra is a cultural academy dedicated to the preservation of traditional values in India
art, especially in the field of Bharatnatyam dance and gandharvaveda music.
Kalakshetra focuses on Bharatnatyam, Carnatic vocal and instrumental music, the visual arts,
traditional crafts and textile design, textual heritage, aesthetics, history and philosophy.
3.2.8 Components:
• kalakshetra foundation comprise of kalakshetra, the Besant theosophical high school
secondary school , a craft education and research centre including the weaving department
the kalamkari natural –dye-printing & painting unit ,the visual arts centre , the bhrata
kalakshetra, auditorium, the rukmini arangam four libraries, the rukmini Devi museum ,
hostels staff quarters and guest houses.
• With a huge banyan tree in the centre of the kalakshetra campus , the classes are held in
cottages and in the open sometimes, the institution follows a Gurukula system and is
associated with the cultivation and promotion of the ancient cultural traditions of India
• The theatre with in the kalakshetra is built according to the natyashastra. The institute
conducts research into works of several renowned Sanskrit scholars to stage dance
productions , not only for an India audience but also for major world theatres.
• The craft education and research centre of kalakshetra is famous for reviving traditional
south India sari patterns and colours in silk and cotton, the hand –carved wooden blocks to
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create attractive saris, dress materials and home linen, these units are also a good source of
live hood for destitute women from poorer sections of the community.
3.2.9 Layout and Plan:

• A free flowing informal pattern that has organically grown with the needs of the institution.
• There are hardly any big buildings around – most are spread in the central part of the
campus, while the administrative parts, hostels , staff quarters, dining hall and schools cover
the outer region.
• The class rooms are all single – roomed individual cottage- like structures with separate
plinths and sloping roofs.
• Sound buffer – the campus is lined by huge neem trees, which adds to the already
moderately quiet environment.
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3.2.10 The Experience:

• As one enters the site through the humble entrance , peace and calm settles over the ears and
mind because of the beautiful settings and a serene natural ambience.
• Vehicles seems out of place in the campus.
• All roads are shaded well with trees on both sides .
• As one reaches past the office/ administrative region to the classroom area, the sound of
different kinds of music is a very pleasant invitation to the ears .
• The classroom areas with mud grounds and the different kinds of trees make one feel closer
to the nature.
• The small sculptures and landscaped areas strewn throughout.Give the natural scene a
personalized feeling of art , which can have multiple uses such as spill – outs and informal
practice spaces .
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3.2.11 Bharata kalakshetra auditorium

• Smt.Rukmini Devi wanted to build a new theatre of more solid construction, theatre. During
one of her tours to Kerala, she had koothambalam, which appealed to her very much.
• Er. Appukkuttam Nair helped her design a theatre with the concept of natyashala, in
universe with the basic concepts of koothambalam also incorporated in it.
• Situated centrally in the plot, it is also in direct access from an external road on the north.
• Measuring 40’x40’, the auditorium can seat 750.
• The building has the walls of wooden slats, which allows the breeze to blow through, along
with sounds room the outside, dressing rooms are available for artists, on the ground floor.
• There are doors on the each side of the entrances and exits .there are no pillars that mar view
of the stage. The stage is equipped with advanced lighting and sound system.
3.2.12 Padma puskarini

• A pond in the campus –a stage for musicians was inaugurated .There elegant mandapams
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surround the pond, one of which is the stage for the musicians.
• The pond is bordered by granite steps and terraces. It is named after Dr.Padmasini, who was
a revered teacher at kalakshetra.
3.2.13 Classrooms
• Kalakshetra foundation is an institution dedicated to the teaching of the arts in a traditional
Gurukula setting .The “classrooms” here are thatched cottages where dance –Bharatnatyam,
and classical Music-singing ,and instruments like the violin ,veena ,flute and midrange are
taught.
• These are naturally lit and ventilated spaces. Practice sessions are often held outdoors.
• The cottages have attached accommodation for the guru to whom shishyas come for
learning in small groups.
• Open spaces, spreading trees, buildings which are open to the light and the breeze, cultivate
a spirit of reverence for learning and for the environment.
• The cottages are arranged such that they for a courtyard amidst them which is landscaped
and maintained to act as spill outs.
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3.2.14 Hostel and dining room

• The students reside in hostels, the buildings for which are on end of the sea. Students are
housed in dormitories with large airy rooms.
• There is a small library that may be used for private study. There is a large dining hall open
to the sea breeze where meals are served.
3.2.15 SANKARA MENON LIBRARY

• The sankara menon library next to the banyan tree, the college, is for students, researchers
and staff. The library contains over 10,000 books covering subjects such as dance, music,
painting, literature, and religion. It contains fiction in Kannada, Malayalam, tamiland
English, and some Sanskrit texts.
3.2.16 RUKMINI DEVI MUSEUM

• The campus is host to a museum dedicated to Rukmini Devi, the founder of kalakshetra. The
personal office of Rukmini Devi is now the Rukmini Devi library which has restricted
access.
• Other components of the campus are:
o Reception and resource centre
o Two Guest houses
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o Administration block
o A senior secondary school
o Outdoor sports areas , Toilets blocks and covered prayer hall.
3.2.17 INFERENCES;
• Passive design strategies have been incorporated.

• Use of locally available materials make the maintenance of the space easier and
economically viable.
• The selection of materials and the open planning concept uproots the culture and brings
a sense of togetherness with the people and the surrounding.
• Small elements such as the 'banyan tree' inside the complex act as a major focal point
which is used for practice and theory classes at times. It creates an enclosure and
provides natural shading due to the presence of the branches and acts as a leisure and
recreational space.
• Naturally, shaded walkways due to the presence of excessive trees.
• O.A.T and statues (seating spaces are also there) like structures are built to act as a
recreational and leisure space after practice sessions are over.
• The hostel blocks are present at the rear end of the campus which gives the people
staying in it a sense of security and privacy.
• Proper parking facilities are available and are placed right next to the entrance.
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4 CASE STUDIES
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4.1 NRITYAGRAM- BANGALORE
4.1.1 LOCATION:-
Hesaraghatta village, cut off from main city.
4.1.2 LATITUDE AND LONGITUDE_:-

(12° 58' 20.7912'' N and 77° 34' 50.3148'' E) 883M. mean sea level.
4.1.3 ARCHITECT:-
Gerard Da Cunhaa .The buildings are built of mud giving the feel of a village. Open areas
have large green cover and many trees dot the place.
4.1.4 SITE AREA:-

4 ha
4.1.5 CLIMATE –
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dry typical savanna climate with two Rainy seasons, winter and summer
4.1.6 SOIL TYPE –

red soil
4.1.7 AREA –
10 acres
4.1.8 VEGETATION –
Dense
4.1.9 SYSTEM OF EDUCATION –

gurukulam style
4.1.10 Introduction:
The Nrityagram dance village is located outside Bangalore, India. It was founded in 1990
by Odissi dancer Protima Gauri, who converted ten acres of farmland into a setting for
the study, practice and teaching of Odissi dance. At Nrityagram, dance is a way of life.
Reminiscent of ancient ashrams where gurus imparted not only technique but also a
philosophy of being, this is a creative space where dancers, musicians and
choreographers live together, sharing their skills and developing their art. To enrich their
practice, dancers are also taught yoga and martial arts along with Sanskrit and classical
literature. As knowledge passes from guru to disciple, the continuity of the classical arts
is ensured.
4.1.11 FUNCTIONS:-
• Nrityagram is gurkul based residential dance school in the form of a dance village. Currently
it offers residential courses in Odissi and kathak and plans to expand its gurukuls to the 7
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classical dance of India. The gurus and students work together in the fields and grow their
own food.
• Components: - the gurkul is a place of holistic living. It comprises the Odissi gurkul, a
temple, yoga centre, amphitheatre, admin block, service block, guest cottages, dormitories
and various gardens. “A place where nothing exists except dance.
• A place where you breathe, eat, sleep, dream, talk, imagine- dance!”-protima Gouri
• Accessibility: the nearest bus stop is the Hesaraghatta village stop from there an auto takes
one to Nrityagram.
• “I dream of building a community of dancers in a forsaken place amidst nature. A place
where nothing exists, except dance. A place where you breathe, eat, dream, talk, imagine –
dance. A place where all the five senses can be refined to perfection. A palace where
dancers drop negative qualities such as jealousy, small-mindedness, greed and malice to
embrace their colleagues as sisters and support each in their journey towards becoming
dancers of merit. A place called Nrityagram.”-protima Gauri.
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4.1.12 TRADITIONAL FORMS OF DESIGN

• Organic master plan with the architecture having origin in traditional forms and
construction.
• Different types of construction for different Gurukula
• To avoid disturbances gurukuls are placed separate and O.A.T. Is kept at end
• Common dining and yoga centre are placed at centre.
4.1.13 CONSTRUCTION
• Wilful agglomeration of stone, brick, mud, tile and thatch
• All external walls are mud plastered
• Three types of roof pattern
• Flat rough granite slabs
• Mangalore tile
• Thatch pitched
4.1.14 CLASSROOMS
• A hall attached with residence of teacher is used for teaching- Odissi and Mohiniattam
gurukuls have closed walls with small window openings only for ventilation and light is
from courtyard
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• kathak Gurukula has semi open arched walls

• The entire complex is actually a garden. Most food from fruits and vegetables to grain and
dal, even olive trees is grown. There are many sculptures used as landscaping elements.
The design of each gurkul consisted of four elements:
1. Gurus residence
2. Male student residence
3. Female student residence
4. Practice hall
• These 4 elements were gathered around a courtyard, which became a central gathering point,
with the stair to the roof placed here as an element to sit on and watch the activity of the
practice hall. The use of stone slab roofs determined the simple rectilinear geometry of the
residences and the gurus house was located that it had a private spill over to the east.
▪ The practice hall requiring a large span, had a palm thatch roof. Service block had a curved
shape to smoothen the passage of entry, and this geometry led to the decision of a thatched
roof.
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4.1.15 ADMINISTRATION BLOCK & YOGA CENTER:

The design of this block elevates the site without any proconceived drawings.
• The elements and their design constantly changing on site.

• Exterior comprises predominantly of material like mud, brick and stone, the exterior
comprises if red oxide floor china mosaic.
• Near to the entrance which is very much accessible for visitor’s temple is the place where
there were ideals of gods and goodness
• Here the temple is the gospel of god of dance, no idols only devotees.
• To this temple only one opening is provided •
• Mural of Pratima Gowrie’s on the wall exactly opposite to the opening.
• Raises circular platform is attached to the temple which is used as yoga area.
4.1.16 KATHAK GURUKUL:

• In the case the building is made to curve around, enclosing a courtyard
• The practice hall is separated hall from the main building.
• This block houses are the rooms of gurus and students of kathak.
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4.1.17 ODISSI GURUKUL:

• The gurukul is around a rhomboid shape court, that also serves as a place to sit watch the
dancers.
• This court has the stone cantilevered stair case that leads to the Terrace.
• The rooms of the gurus and students, on other side of the court, are cocoons of security,
visual as well as spatial.
• The practice hall is on the other side of the court.
4.1.18 GUEST COTTAGES

• These round structures, inspired by the yurts of Tibet and ladakh, have housed some of the
greatest maestros of dance and music, who have come to perform at vasantahabba.
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4.1.19 TEMPLE
• Fashioned from the raw mud of Nrityagram and fired after it was built, the temple is
dedicated to space. It is decorated with panels depicting the elements, dance motifs, mudras
and designs from costumes and ghungroos. Inside is a granite rock scooped out to hold
water and a flame that stays lit. Designed and built by ray meeker in 1998.
4.1.20 AMPHITHEATRE
• Scooped out of the red earth and built along the lines of roman amphitheatres, this is one of
the most famous structures at Nrityagram. It is here that several thousand people congregate
every February for the annual vasantahabba.
• Vernacular architecture is a category of architecture based on localized needs and
construction materials, and reflecting local traditions.
• It tends to evolve over time to reflect the environmental, cultural, technological, and
historical context in which it exists.
• While often not thoroughly and academically planned, this kind architecture played and still
plays major role in the history of architecture and design, especially in local branches.
• Designed and built by ray meeker in 1998.
• It is fashioned from the raw mud of the locality and was fired after it was built.
• It is decorated with panels depicting the elements, dance motifs, mudras and designs
costumes and jewels.
• Inside is a granite rock scooped out to hold water and a flame that stays lit.
• At present the area in front of temple is used as yoga centre and also used for meditation.
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• Many built parts are of stone masonry.

• Usage of arches at many places have been done.
• Arches which were supported by pressure no mortar between them.
• Arches are used to support the stairs and used as entrances at some place.
• The columns and the beams are set out without mortar.
• Lots of importance given to natural ventilation and sky lights.
4.1.21 PARKING;
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4.1.22 INFERENCE:
• Open planning concept and built in vernacular architectural style.

• Interaction of outdoor and indoor spaces.
• Use of local available materials makes the project coset friendly.
• The use of materials give a sense of rural touch by blending nature with the built
environment.
• All the gurukuls,cottages are naturally lt and ventilated.
• Naturally, shaded walkways due to the presence of excessive trees.
• Accessible granite flat roofs to accommodate spectators when crowd increases.
• The presence of temple around the practice cottage act as a focal point hence
creating a sense of focus.
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5 SITE SELECTION AND SITE ANALYSIS
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5.1 SITE SELCTION:

➢ Site chosen for the “Music and Dance Academy” is located in Amravathi.
➢ Near Amravathi township, Nowlur , Amravathi , Andhra Pradesh , 522503.
5.1.1 ABOUT AMARAVATI:

➢ Amaravathi is the capital city of the Indian state of Andhra Pradesh. The planned city is
located on the southern banks of the Krishna river in Guntur district, within the Andhra
Pradesh Capital Region, being built on a 217 sq. km riverfront designed to have 51% of
green spaces and 10% of water bodies. The word "Amaravathi" derives its name from the
historical Amaravathi Temple town, the ancient capital of the Telugu Rulers of the dynasty.
The foundation stone was laid on 22 October 2015.
➢ Uddandarayunipalem area by the Prime Minister, Narendra Modi. The metropolitan area.
Of Guntur and Vijayawada are the major conurbations
➢ Of Amaravathi Prime Minister, Narendra Modi.
➢ The metropolitan area. Of Guntur and Vijayawada are the major
➢ Conurbations of Amaravathi.
5.1.2 AMARAVATI CITY OF NINE CITIES:

➢ The Concept plan proposes 9 themed development cities with in the Capital city. These
cities have been planned to accommodate complimentary functions and thematic. These
cities will act as important socioeconomic anchors for the Capital city. Nine cities including
the Government city, Justice city, Finance city, Education & knowledge city, Health city,
Sports city, Cultural city, Electronics city and Tourism city core have been strategically
planned across the Capital city.
5.1.3 SITE JUSTIFICATION:

Site was selected at Nowlur, Amravati.
Music and dance academy was proposed at institutional zone. This Academy adds value to
the Amaravati. Which will develop in future in a 8acre site at Amravati, where a cricket
stadium is also exisisted. It generates interest in the entire area, “which activates a zone taking
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part of arts and sports.

This academy is envisaged to have facilities like classroom, auditorium, amphitheatre,
canteen, hostels, dinning, playground, staff quarters, parking spaces etc.
For those who are visiting from Vijayawada, Guntur and surrounding areas, who has intrests
on Music and Dance this academy adds an opportunity to the surrounding areas of the site.
The above map shows the site location in major scale.
This map showing the minor

map of total institutional &
special zones
Going through master

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plan S3 zone comes under special

zone.
➢ Now I have taken the given site for special zones and institutional zones.
➢ The total site area is 8.30 acers.
WATER SUPPLY:
GROUND WATER IS AVAILABLE AT THE LEVEL OF 25’(feets) AND THERE IS A
PROPOSAL OF MANGALAGIRI MUNCIPAL DRINKING WATER FOR THE SITE
POWER LINES:
POWER SUPPLY LINES ARE PASSING FROM SITE TO SUPPLY OF POWER TO NEAR
BY VILLAGES
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5.2 SITE ANALYSIS:

Site analysis is a preliminary phase of architectural and urban design processes dedicated to
the study of the climatic, geographical, historical, legal, and infrastructural context of a specific site.
5.2.1 SITE DESCRIPTION:

• The total site area is 8 acres.
• Latitude and longitude is 16.4321°N, 80.5546°E.
• Choose the site area 8.3 acres for MUSIC AND DANCE ACADEMY as/divided in to the
zones by (APCRDA) knowledge city.
• The site has south facing. The site consider has been two roads, East road is 14m. SOUTH
road is 20m.
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SITE AREA: 8.30 ACERS.

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5.2.2 SITE LOCATION:

Near Amravati township, Nowlur, Amaravati, Guntur district, Andhra Pradesh.
5.2.3 LANDMARKS:
VIT CAMPUS (AP) AP HIGHCOURT
5.2.4 TOURIST PLACES:
DURGA TEMPLE
UNDAVALLI (24KMS)
CAVES
(15KMS)
KONDAPALLI AMARAVATI
FORT STUPA
(40KMS) (19KMS)
5.2.5 TRANSPORTATION:
• Airlines:
Vijayawada international airport – 36 kms
•
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Road:
Mangalagiri bus station – 2.3 kms
Vijayawada central bus station – 19 kms
• Rail:
Mangalagiri railway station - 1.9 kms
Vijayawada central Railway station - 14 kms

5.2.6 Distance from major cities.
VIJAYAWADA :35MIN 21.7 KMS
AMARAVATHI:1 HR 34KMS
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GUNTUR:41 MINS 24 KMS

5.2.7 TOPOGRAPHY:
5.2.8 SOIL TYPE:
• Black cotton soil
• The Black Cotton Soil contains swell and shrink properties. Due to shrinkage and swelling,
a difference in the volume of soil occurs which formulates cracks in the foundation or the
building structural system.
5.2.9 TYPE OF FOUNDATION IN BLACK COTTON SOIL:
There are five main types of foundations utilized in black cotton soil foundation
construction.
1. Strip footing or wall footing.

2. Inverted arch footing.
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3. Raft or mat foundation.

4. Under reamed pile
5. Pier foundation
6. Drilled shafts piles
7. Pile foundation
5.2.10 POLLUTION:
➢ Air : 95 AQI (moderate)

➢ Noise : 55.5 Leq db(A)
o As per CPCB noise should be in between 40 to 52 Leq db(A)
5.2.11 CLIMATE:
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5.2.12 FINAL REFERENCE THROUGH CLIMATE ANALYSIS
It shows how many hours per year the wind blows from the indicated direction. Example SW: Wind
is blowing from SW TO NE.
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5.3 SWOT ANALYSIS:
5.3.1 STRENGTH OF THE SITE:

➢ Site is located in institutional zone.
➢ There is less vehicular traffic and pollution in the area.
➢ Site is bounded by two road networks.
➢ Site is easily accessible from Vijayawada city which makes for the perfect center
5.3.2 WEAKNESS:
➢ There is less public transportation to the site.
➢ It takes more time for development.
➢ Black cotton soil contains swell and shrink properties
5.3.3 OPPORTUNITIES:
There will be much development around the site in
future.
5.3.4 Threats:
Destroying agricultural lands for Capital City development may cause environmental
damages.
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6 DESIGN DEVELOPMENT
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6.1.1 CONCLUSION :
• The layout and the building zoning provided are excellent has brought in a different
Overall treatment.
• The flow of spaces has resulted in a good built-open relationship.
• Vehicular and pedestrian ways properly defined.
• Security measures provided are minimum.
• Good acoustical treatment.
• Signage provided is minimum.
• Good amount of open green spaces and trees provided to heal stress and provide
healthy environment.
• Use of local available materials.
I did the project ”MUSIC AND DANCE ACADEMY” it is simple by hearing but
while designing a music and dance academy it’s difficult. Now I know the planning of music and
dance academy with all amenities.
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7 BIBLOGRAPHY :
• Neufert architect’s data
• National building codes 2005
• Times saver standards
• Architect’s handbook
• andhrapradesh g.o.ms.no.119
• https://www.google.com/
• http://wikimapia.org/
• http://en.climate-data.org
• http://www.worldweatheronline.com
• http://en.banglapedia.org
• https://www.arcbazar.com/project/1667865946
• https://issuu.com/harshad2/docs/harshad_thesis
• http://www.thefreedictionary.com
• http://www.retreatcentral.com
• http://differentretreats.blogspot.com
• http://www.silvamethod.com/
• http://www.skepdic.com/silva.html. Page150 | Y17AP0102

Priya Final Thesis

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MUSIC AND DANCE ACADEMY

MUSIC AND DANCE ACADEMY

Under the Guidance of

ACHARYA NAGARJUNA UNIVERSITY

ACHARYA NAGARJUNA UNIVERSITY

_____________ _________________ ______________________

Thesis Guide Thesis Coordinator Asst. Principal (Academics)

__________________ _____________ ________________

Asst. Principal (Admin) Principal External examiner

I would like to express my deepest gratitude to my Guide ASST.PROF.AR.CHANDRA MOHAN,

I also thank Dr.P.SIDDAIAH, Principal, College of Architecture and Planning, and

MUSIC AND DANCE ACADEMY

1.2 AIM: ...........................................................................................................................11

1.3 NEED: ........................................................................................................................11

1.4 OBJECTIVES: ...........................................................................................................11

1.5 SCOPE OF THE PROJECT:......................................................................................11

1.6 JUSTIFICATION OF STUDY: .................................................................................12

1.7 LIMITATIONS: .........................................................................................................12

1.8 METHODOLOGY .....................................................................................................13

2 LITERATURE STUDY .........................................................................................................14

2.1.9.2 REQUIREMENTS OF DANCE AND MUSIC: ....................29

2.2 THE AUDITORIUM: ................................................................................................29

2.2.5 Occupancy: ...................................................................................................32

2.3 SUSTAINABLE: .......................................................................................................33

2.4 LIBRARIES: ..............................................................................................................37

2.5 SERVICE AND SPACE RELATIONSHIPS: ...........................................................38

2.7 RAIN WATER HARVESTING STRUCTURES ......................................................44

2.8 RECEPTION: .............................................................................................................45

2.9 HOSTEL: ...................................................................................................................46

2.10 Sound absorbing materials:- .......................................................................................48

2.10.8 Acoustic Blankets:- ............................................................................53

2.10.16 Variable Absorbers:- ..........................................................................56

2.11 MUSIC AND DANCE LIBRARY: ...........................................................................57

DESIGN CONSIDERATIONS:- ...........................................................................................58

2.12 RESTAURANT SPACE REQUIRMENT: ................................................................61

2.13 PARKING : ................................................................................................................62

3 Desktop Studies ......................................................................................................................67

3.1 KALA ACADEMY – GOA .......................................................................................68

3.1.22 LANDSCAPE: ...................................................................................78

3.2 KALAKSHETRA: ....................................................................................................83

4 Case Studies ...........................................................................................................................92

4.1 NRITYAGRAM- bangalore .......................................................................................93

4.1.10 Introduction: .......................................................................................94

4.1.18 GUEST COTTAGES .........................................................................99

5 site selection and site analysis ..............................................................................................103

5.1 SITE SELCTION: ....................................................................................................104

5.2 SITE ANALYSIS:....................................................................................................107

SITE AREA: 8.30 acers. ......................................................................................................107

5.3 SWOT ANALYSIS: .................................................................................................115

6 DESIGN DEVELOPMENT .................................................................................................116

As per my observation, MUSIC AND DANCE ACADEMY is an ongoing platform

➢ To provide all Indian traditions under one roof.

5) To design a performance auditorium with in institutions premises.

1.5 SCOPE OF THE PROJECT:

2. Establishment of an international platform to accomplish goals of social interactions and

1.6 JUSTIFICATION OF STUDY:

Architecture deals with spaces, people and their engagement in a place.

CONCEPTS & DESIGN

2.1.2 HISTORY OF MUSIC:

2.1.3 MEDIEVAL MUSIC:

2.1.4 CLASSICAL MUSIC ERA:

The music of classical period is characterized by homophonic texture or an obvious melody

_____ _ ______________

____________ _ __________