INTRODUCTION स्वरमयम्: A Center of Music

MUSIC IS A FORM OF ART THAT COMBINES SOUNDS, RHYTHMS, AND

MELODIES TO CREATE AN EXPRESSIVE AND AESTHETIC EXPERIENCE.
स्वर : MEANING MUSICAL NOTE OR SOUND

NARAYAN GOPAL (NEPALI SINGER-SONGWRITER): "MUSIC IS THE OBJECTIVES

LANGUAGE OF EMOTIONS, A MEDIUM THROUGH WHICH WE EXPRESS THE
DEEPEST SENTIMENTS OF LOVE, LONGING, AND HEARTBREAK. IT IS A
TIMELESS ART THAT TRANSCENDS BOUNDARIES, CONNECTING SOULS AND स्वरमयम् TO STUDY THE RELATIONSHIP
EVOKING A PROFOUND SENSE OF NOSTALGIA. THROUGH MELODIOUS BETWEEN MUSIC AND
COMPOSITIONS AND HEARTFELT LYRICS, MUSIC BECOMES A COMPANION ARCHITECTURE AND CREATE MUSIC
IN THE JOURNEY OF LIFE. FRIENDLY ENVIRONMENT THROUGH
मयम् : MEANING FULL OF OR ABOUNDING I IN ARCHITECTURE

THEREFORE, स्वरमयम् CONVEYS THE ESSENCE OF

PLACE THAT IS RICH IN MUSICAL EXPRESSION OR
IMMERSED IN THE WORLD OF MUSIC
TO CREATE ACOUSTICALLY FIT AREA

PROBLEM STATEMENT

LACK OF MUSIC SCHOOL WHERE TO PROVIDE A HUB FOR MUSICAL

MUSIC ENTHUSIAST CAN BE TRAINED TRAINING, EDUCATION,
A MUSIC CENTER/SCHOOL/CONSERVATORIES IS AN EDUCATIONAL RATHER COMPROMISED IN A COMMUNITY ENGAGEMENT AND
RESIDENTIAL BUILDING CREATE A LANDMARK OF A PLACE.
INSTITUTION SPECIALIZED IN THE STUDY , TRAINING AND RESEARCH OF
MUSIC . SUCH AN INSTITUTION CAN ALSO BE KNOWN AS CENTER OF
MUSIC, SCHOOL OF MUSIC, ACADEMY OF MUSIC OR CONSERVATORY.
INSTRUCTION INCLUDES TRAINING IN THE PERFORMANCE OF MUSICAL
LACK OF SPACE FOR PERFORMING
INSTRUMENTS ,SINGING , MUSICAL COMPOSITION, CONDUCTING ,
PERFORMANCES AND HAS TO RELY
MUSICIANSHIP, AS WELL AS ACADEMIC AND RESEARCH FIELDS SUCH AS
ON THE OPEN VACANT SPACE OR
MUSICOLOGY, MUSIC HISTORY AND MUSIC THERAPY BARREN LAND OR STADIUM FOR
BACKGROUND PERFORMING CONCERTS OR ANY
• THE SCHOLA CANTORUM IN ROME WAS THE FIRST RECORDED MUSIC EVENTS.
SCHOOL IN HISTORY,
• IN THE CONTEXT OF NEPAL , THE NEPAL MUSIC CENTER(NMC), ALSO
KNOWN AS THE NEPAL SANGEET VIDYALAYA WAS FOUNDED IN 2006 A.D.
THE CENETR HAS BEEN EXPLORING THE FOLK MUSIC OF MANY ETHNIC NOT EVEN A PLATFORM FOR MUSICIAN
GROUPS AND OFFER CLASSES IN A RANGE OF MUSICAL GENRES. MUSIC
WHICH PROMOTES THEIR SELF
TECHNOLOGY , VOCALS, DRUMS , GUITAR, TABLA, MUSIC
CONFIDENCE IN FINDING A CAREER IN
THEORY ,ARRANGING AND COMPOSING ARE A FEW OF THEM . NMC WAS
MUSIC AND HAS TO BE DEPENDED ON
SELECTED AS THE PILOT SCHOOL TO CONDUCT THE PROGRAM WHEN
THE MINISTRY OF EDUCATION , SCIENCE AND TECHNOLOGY FOREIGN COUNTRIES.
INTEGRATED INTO TECHNICAL STREAM EDUCATION. SIMILARLY,
LALITKALA CAMPUS , YALAMAYA KENDRA , KATHMANDU JAZZ
CONSERVATORY ARE SOE OF THR LEADING MUSIC CENTERS

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
TITLE: स्वरमयम : A Center of Music
ROLLNO. :- (PUR075BAR002)
DEPARTMENT OF
ARCHITECTURE 1
SUPERVISOR: AR. MILAN BHATTARAI
 SCOPE CRITERIA THAT SUPPORTS DHARAN स्वरमयम्: A CENTER OF MUSIC
MAINLY FOCUSES ON TO ADDRESS THE CONDITION OF A FOR SETTING MUSIC CENTER
MUSIC CENTER AND ESTABLISH A MUSIC CENTER FOCUSED
ON EDUCATION AND PERFORMANCE WITH NO AGE LIMIT.  GROWING URBANIZATION
 GEOGRAPHICAL LOCATION MUSIC AS THERAPY
LIMITATION
 CULTURAL SIGNIFICANCE
BUT NOT BE ABLE TO FOCUS ON THE MANAGEMENT SECTOR  MUSICALLY TALENT POOL MUSIC IS THE ONLY SENSORY EXPERIENCE THAT CAN
OF THIS BUSINESS, SKILLED EMPLOYEES’ REQUIREMENTS,  EDUCATIONAL OPPORTUNITIES ACTIVATE ALL AREAS OF THE BRAIN AT THE SAME TIME
ECONOMIC PRESSURE OF PRODUCTION, PRODUCTION  COMMUNITY SUPPORT AND ENGAGEMENT SIMULTANEOUSLY. THIS CREATES POWERFUL NEW
QUALITY, ETC.
POTENTIALS TO THE PEOPLE FOR THE DEVELOPMENT OF
JUSTIFICATION OF THE PROJECT METHODOLOGY NEW NEUROPATHWAYS. . IT TRIGGERS WHOLE BRAIN
PROCESSES AND FUNCTIONING WHICH DIRECTLY
NEPAL HAS ALWAYS BEEN A MUSICAL COUNTRY. SINGERS LIKE
AFFECT ONE'S COGNITIVE, EMOTIONAL, AND PHYSICAL
NARAYAN GOPAL SHRESTHA, GOPAL YONZAN ,ARUNA LAMA
FUNCTIONS AND ABILITIES. MUSIC HAS THE POWER TO
HAD GAINED INTERNATIONAL PRAISE DUE TO THEIR
ENGAGE AND KEEP THE ATTENTION OF PEOPLE OF ALL
ENORMOUS CONTRIBUTION IN THE FIELD OF MUSIC. THEY ARE
AGES.
THE INSPIRATIONS FOR THE EMERGING MUSICAL ASPIRANTS.
BUT OUR COUNTRY STILL LACK A PROPER MUSIC CENTER
WHERE MUSICIAN CAN FEEL THE SENSE OF OWNERSHIP AND
INSPIRING ENVIRONMENT. PROVIDING SUCH MUSIC CENTERS
AND TRAINING WILL HELP TO PRODUCE MORE MUSCIANS AND
GAIN INTERNATIONAL RECOGNITIONS

EXPECTED PROGRAMS
• ACADEMIC EDUCATION
• PERFORMANCE AREAS
• GALLERY
• AUDITORIUMS
• MUSICALLY PLEASING LANDSCAPES

EXPECTED SITE

Figure: person listening to music during and MRI scan

LISTENING TO MUSIC LEADS TO SECRETION OF

LITERATURE REVIEW HORMONES
WHY DHARAN?
DHARAN CAN BE PERFECT PLACE FOR THE ESTABLISHMENT SENSE OF MUSIC HORMONES AND NEUROTRANSMITTERS ASSOCIATED
WITH PLEASURE IN MUSIC:
OF MUSIC CENTERS AS IT CONSISTS OF NUMBER OF
EMERGING MUSIC ASPIRANTS AND IS LOCATED AT CENTRAL IT IS RELEASED IN RESPONSE TO
PART OF THE EASTERN REGION PLEASURABLE EXPERIENCES,
DOPAMINE
.THERE ARE MANY ACADEMIES AND CENTERS PROVIDING INCLUDING LISTENING TO MUSIC THAT
MUSICAL TRAININGS IN NEPAL AND DHARAN BUT THEY ARE IS ENJOYABLE OR EMOTIONALLY
LIMITED TO CERTAIN PROGRAMS ONLY, OR THEY RESONANT.
. MUSIC THAT EVOKES POSITIVE
ACCOMMODATED AT A SINGLE ROOM OF A RESIDENTIAL
ENDORPHINS: EMOTIONS OR TRIGGERS A SENSE OF
BUILDING .THEREFORE THERE SEEMS GAP OF MUSICAL EUPHORIA MAY LEAD TO THE RELEASE OF
ENVIRONMENT . ENDORPHINS.
TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY SUBMITTED TO:
TITLE: स्वरमयम : A Center of Music DEPARTMENT OF
DEPARTMENT OF ARCHITECTURE ROLLNO. :- (PUR075BAR002) 2
ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI SUPERVISOR: AR MILAN BHATTARAI
OXYTOCIN: OXYTOCIN, THE "LOVE HORMONE," CAN BE
स्वरमयम्: A CENTER OF MUSIC
RELEASED DURING SOCIAL BONDING
EXPERIENCES. IN THE CONTEXT OF MUSIC, THIS
CAN OCCUR WHEN LISTENING TO MUSIC WITH IDIOPHONES
OTHERS, ENGAGING IN SHARED MUSICAL
EXPERIENCES, OR FEELING A SENSE OF
CONNECTION WITH THE MUSIC OR THE ARTIST.

HORMONES AND NEUROTRANSMITTERS ASSOCIATED WITH

NON-PLEASURE IN MUSIC:
Figure: RAVANHATHA
THIS CAN HAPPEN WHEN SOMEONE
CORTISOL: MUSIC IN NEPAL
DISLIKES THE GENRE, STYLE, OR
SPECIFIC ELEMENTS OF THE MUSIC.
NOREPINEPHRINE IS INVOLVED IN THE
NOREPINEPHRINE BODY'S STRESS RESPONSE AND CAN BE
: RELEASED IN RESPONSE TO MUSIC THAT
IS PERCEIVED AS THREATENING OR
UNPLEASANT. CHORDOPHONES

SEROTONIN: SEROTONIN, WHICH PLAYS A ROLE IN MOOD

REGULATION, MAY ALSO INFLUENCE THE
EXPERIENCE OF NON-PLEASURE IN MUSIC
MODERN MUSIC , MMAESTRO SETURAM SSHRESTHA
BECAME THE FIRST NEPALESE TO RECORD SONG ON
GRAMAPHONE DISC IN RADIO NEPAL, 1952

NEPALI MUSIC
DEUDA, DOHORI, ADHUNIT, ETHNIC, NEWARI, GURUNG,
BHAJAN, FILMY, ROCK, POP, GHAZAL,METAL, ROCK AND
ORIGIN AND DEVELOPMENT OF ROLL
MUSIC HAS A LONG HISTORY, WITH EVIDENCE OF ITS
MUSIC NEPALI MUSICAL INSTRUMENTS
EXISTENCE DATING BACK AT LEAST 55,000 YEARS. THE
EARLIEST MUSICAL INSTRUMENTS WERE DEVELOPED IN AEROPHONES
AFRICA AROUND 13,000 BC, AND BY 3000 BC, PEOPLE HAD MEMBRANOPHONES
AN UNDERSTANDING OF MUSIC AND HARMONY.
INDIAN CLASSICAL MUSIC
IT IS RICH IN TRADTION THAT ORIGINATED IN SOUTH ASIA
AND DATES BACK YO SACRED VEDIC SCRIPTURES OVER 6000
YEARS AGO WHERE CHANTS DEVELOPED A SYSTEM OF MUSIC
NOTES AND RYTHMIC CYCLES

THE RAVANHATHA : A BOWED RIDDLE IS THE OLDEST STRING

INSTRUMENTS IN THE WORLD HISTORY. THE INDUSV VALLEY
CIVILIZATION LEFT BEHIND THE SEVEN HOLED FLUTE . THE
SOUTHERN CARNATIC MUSIC AND NORTHERN CLASSICAL
MUSIC ARE TWO MAIN GENRES OF MUSIC

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A Center of Music SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI SUPERVISOR: AR MILAN BHATTARAI

RELATION BETWEEN MUSIC AND ARCHITECTURE
RHYTHM IN MUSIC ITS IS
REGULAR RECURRING PATTERN
STRONGLY CONNECTEC TO TIME ,
WHILE IT’S MYRAID OF FEATURES
LIKE COLUMNS, OPENINGS, ETC
IN ARCHIETCTURE
HARMONY IN MUSIC IT IS
HARMONY WHEN SEVERAL
TONES ARE PLAYED
SIMULATANEOUSLY, EHILE IN
ARCHIETCTURE HARMONY IS
OFTEN RELATED TO
GEAOMENTRIC SHAPES
VOLUME IN MUSIC IT IS
RELATED TO THE INTENSITY OF
SOUND, WHILE IN
ARCHITECTURE IT REFERS TO
THE COHESIVE MASS
ORNAMENTATION IN MUSIC IT IS
RELATED TO PATTERNS ON
SURFACES WHILE IN MUSIC IT
CAN BE FOR INSTANCE A TRILL,
OR IN MODERN MUSIC WAIL
MOVEMENT IN MUSIC IT IS
RELATED TO TEMPO, WHILE IT IS
RELATED TO MOVEMENT IN
DIFFERENT SPACES
TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
स्वरमयम्: A CENTER OF MUSIC
“MUSIC IS ARCHIETCTURE IN LIQUID
STATE BUT ARCHITECTURE IS FROZEN
MUSIC”
ARCHITECTURE AS FROZEN MUSIC:
THIS METAPHOR SUGGESTS THAT THE PRINCIPLES AND
ELEMENTS OF ARCHITECTURE, SUCH AS FORM,
PROPORTION, RHYTHM, AND BALANCE, CAN BE
COMPARED TO THE COMPOSITION OF MUSIC. JUST AS
MUSIC IS ORGANIZED AND STRUCTURED IN A
DELIBERATE MANNER, ARCHITECTURE ALSO FOLLOWS
PATTERNS AND DESIGNS. BOTH ART FORMS HAVE THE
ABILITY TO CREATE A SENSE OF HARMONY AND EVOKE
EMOTIONAL RESPONSES.
MUSIC AS LIQUID ARCHITECTURE:
THIS METAPHOR SUGGESTS THAT MUSIC POSSESSES
QUALITIES OF FLUIDITY, MOVEMENT, AND SPATIALITY
SIMILAR TO THOSE FOUND IN ARCHITECTURE. IT
IMPLIES THAT MUSIC HAS THE ABILITY TO SHAPE AND
TRANSFORM SPACE IN A DYNAMIC MANNER, JUST AS
ARCHITECTURE CAN DEFINE AND SHAPE PHYSICAL
SPACES.
THE TAJ MAHAL'S SYMMETRICAL DESIGN, WITH ITS
CENTRAL DOME AND FOUR MINARETS, CREATES A SENSE
OF HARMONY AND BALANCE. THE INTRICATE MARBLE
CARVINGS, DELICATE INLAYS OF PRECIOUS STONES, AND
THE PLAY OF LIGHT AND SHADOW ON ITS SURFACES Figure: HUMAN
RESEMBLE THE NUANCES AND CADENCES OF A MUSICAL ANTHRPOPOMETRY WHILE
COMPOSITION PLAYING DIFFERENT
INSTRUMENTS
DESIGN STANDARDARD AND GUIDELINES
HUMAN ANTHROPOMENTRY
FLOOR PLANNING AND DESIGN
A. FLOOR SPACE
 INSTRUMENTALISTS REQUIRE EVEN MORE SPACE THAN
VOCALISTS TO ACCOMMODATE THEIR INSTRUMENTS
AND MUSIC STANDS.
SUBMITTED TO:
TITLE: स्वरमयम : A Center of Music SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF 2
ROLLNO. :- (PUR075BAR002) ARCHITECTURE
SUPERVISOR: AR MILAN BHATTARAI

figure:Modal plan
B. TRAFFICE FLOW
• THE DESIGN SHOULD ENSURE THAT MULTIPLE ACTIVITIES
CAN OCCUR SIMULTANEOUSLY WITHOUT DISRUPTING
EACH OTHER.
Figure: Doors at each end of
instrument storage rooms promotes
excellent traffic flow and help
eliminate congestion at the
beginning and end of class
C. ACCESS TO AREAS
 TO MINIMIZE NOISE, VANDALISM, AND DISRUPTIONS, IT IS
PREFERABLE TO LOCATE THE MUSIC CENTER AWAY FROM
THE MAIN STUDENT TRAFFIC FLOW.
TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
स्वरमयम्: A CENTER OF MUSIC
D. EASY MONITORING
 OFFICES SHOULD BE CENTRALLY LOCATED, ALLOWING
FOR CLEAR SIGHT LINES AND EASY SUPERVISION.
 LARGE WINDOWS IN THE OFFICES ARE BENEFICIAL FOR
CLEAR VISIBILITY OF THE SUITE, ENSURING THAT
FACULTY MEMBERS CAN KEEP AN EYE ON DIFFERENT
AREAS.
PRACTICE ROOM
AUDITORIUM
THE FLOOR AREA OF THE HALL INCLUDING, GANGWAYS
(EXCLUDING THE STAGE) SHOULD BE CALCULATED ON
THE BASIS OF 0.6 TO 0.9 SQ. M PER PERSON.
THE HEIGHT OF THE HALL IS DETERMINED BY SUCH
CONSIDERATIONS AS VENTILATION, PRESENCE (OR
ABSENCE) OF BALCONY AND THE TYPE OF
PERFORMANCE. THE AVERAGE HEIGHT MAY VARY FROM 6
M FOR SMALL HALLS TO 7.5 M FOR LARGE HALLS.
LIBRARY
 AUXILIARY WORKSPACES SHOULD BE PHYSICALLY
SEPARATED FROM THE GENERAL LIBRARY AREAS WHILE
REMAINING IN CLOSE PROXIMITY TO THE STACK AREA.
 CONTROL THE LOCATION FOR BOOK LENDING AND RETURN
TO BE AS CLOSE TO THE ENTRANCE AS POSSIBLE,
ALLOWING FOR A COMPREHENSIVE VIEW OF THE ENTIRE
LIBRARY.
SUBMITTED TO:
TITLE: स्वरमयम : A Center of MusicSUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF 2
ROLLNO. :- (PUR075BAR002) ARCHITECTURE
SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER OF MUSIC
UNIVERSAL STANDARD

FIGURE :SIG
HT LINES

COMPUTER LAB

STORAGE

CAFETERIA
 PUBLIC ACCESS SHOULD BE INVITING AND BE SEPARATE
FROM THE SERVICE ENTRY AND WASTE DISPOSAL.
ADDITIONAL ROOM
 THE CASH DESK MAY BE AT THE ENTRANCE, BY SERVICE
DOORS OR WITHIN THE KITCHEN AREA, DEPENDING ON THE
MANAGEMENT SYSTEM.

PARKING ACOUSTICS

COLOR PSYCHOLOGY

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A Center of MusicSUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER FOR MUSIC
OBJECTIVES OF THE
STUDY
• TO UNDERSTAND THE SPATIAL SWOPE MUSIC SCHOOL AND PERFORMING
ORGANIZATION OF ATRS CENTER
DIFFERENT PROGRAMS WITH FIRST FLOOR
ZONING
IN WHOLE BUILDING
CONSIDERING THE THE 90,000SQFT BUILDING INCLUDES THE UNIVERSITY
ARCHIETCTRUAL ELEMENTS.  STUDENT LOUNGE
MUSIC SCHOOL,MUSIC LIBRARY, STUDENTS PRACTICE  CLASS ROOM
INTRODUCTION ROOM, FACULTY AND ADMINISTRATION OFFICES, A 375 SEAT  PRACTICE ROOM
• LOCATION: WEST CHESTER UNIVERSITY,PENNY SLYVANIA PERFORMANCE HALL, 125-SEAT RECITAL HALL AND AN ART  INSTRUMENTAL
• DESIGN- MGA PARTNERS GALLERY
LOCKERS
• SITE AREA : 155400 SQ.FT
 FACULTY TEACHING
• GROSS FLOOR AREA: 90,000 SQ.FT
STUDIOS
 SOUND ,LIGHT
RECORDING AND
CONTROL ROOM
 GREEN ROOM AND
FACULTY LOUNGE

SECOND FLOOR

1 CHORAL REHEARSAL ROOM, 2 CLASSROOMS,

3 PRACTICE ROOMS, 4 INSTRUMENTAL LOCKERS,5
FACULTY TEACHING STUDIOS, 6 KEYBOARD LAB,7
CENTER FOR MUSIC TECHNOLOGY LAB

DESIGN CONCEPT AND SLOUTION

MGA PARTNERS INTEGRATED THE UNIVERSITY’S MUSIC
SCHOOL AND PERFORMING ARTS CENTER INTO A SINGLE
STRUCTURE THAT SHARES AN ENTRANCE AND COURTYARD, INFERENCES
THE EXTERIORS OF THE DIFFERENT PROGRAMMATIC SPACES
FEATURE VARIED FAÇADE TREATMENTS.

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
ARCHITECTURAL EXPRESSION
स्वरमयम्: A CENTER FOR MUSIC
SURSHALA MUSIC
IT IS A STRUCTURE WITH A TRADITIONAL EXTERIOR AND
ACADEMY
MODERN CONTEMPORARY ARCHITECTURE. THE FACADE HAS FIRST FLOOR
AN EXPOSED BRICK WALL, ALUMINIUM WINDOWS, AND WHITE OBJECTIVES OF THE
•STUDY
TO UNDERSTAND THE SPATIAL ORGANIZATIONAL AND
CORNICE BANDS.
THEIR RELATION FOR MUSIC ACADEMY
ACOUSTICAL CONSIDERATION
THERE WERE LACK OF APPARENT CARE FOR ACOUSTICS IN THE • TO STUDY THE VARIOUS COMPONENTS REQUIRED FOR
MUSIC CENTERS
CONSTRUCTION. BUT THERE WERE OTHER FACTORS TO TAKE
THE FIRST FLOOR CONSISTS OF MEETING HALL,
INTO ACCOUNT, SUCH AS EMPLOYING DOUBLE WALLS WITH PRACTICE ROOM AND VOCAL CLASS ALONG WITH A
GYPSUM BOARD, HOLLOW CONCRETE BLOCKS IN THE TOP STORE ROOM WHICH IS PROBABLE TO BE CONVERTED IN
TO RECORDING STUDIO AND WATER CLOSET.
STORY, AND DOUBLE GLAZED PANELLED WINDOWS

FIRST FLOOR
PLAN
SURSHALA MUSIC ACADEMY PVT. LTD IS THE LEADING MUSIC
ACADEMY OF NEPAL LOCATED AT JHAMSIKHEL,LALITPUR,
LIGHTING AND VENTILATION WHICH WAS ESTABLISHED IN 2004 AD, OFFICIALLY
REGISTERED WITH A COMPANY REGISTERED IN 20010 OF
LARGE WINDOWS ARE PRESENT IN EVERY ROOM, OFFERING NEPAL WITH THE OBJECTIVE TO PROVIDE QUALITY MUSIC
EDUCATION FOR CHILDREN AND YOUTH IN NEPAL WHO
SUFFICIENT LIGHT AND VENTILATION. DAYLIGHT IS
COMES UNDER FINANCIALLY WEAK, SOCIALLY BACKWARD,
SUPPLEMENTED BY ARTIFICIAL LIGHTING. AIR CONDITIONING DIFFERENTLY ABLE, AND MUSICALLY TALENTED
CATEGORIES.
AND ADEQUATE ARTIFICIAL LIGHTING SETTINGS ARE
AVAILABLE IN THE AUDITORIUM. ZONING
INFERENCES THE GROUND FLOOR CONSISTS
OF A RECEPTION, DANCE
STUDIO/HALL, PIANO ROOM
KITCHEN AND WATER CLOSETS
INFERENCES

GROUND FLOOR
PLAN

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER FOR MUSIC
OBJECTIVES OF THE
SUNBEAMS MUSIC CENTER
STUDY UK
• TO UNDERSTAND THE HEALING APPROACH THROUGH
MUSIC AND SPACES ASSOCIATED WITH THEM.

EAST ELEVATION

INTRODUCTION

LOCATION: PENRITH,CUMBRIA /UK WEST ELEVATION

AREA : 600SQM
ARCHIETCT : MAWSONKERR ARCHITECT
SECTOR: WORK, PERFORM ,HEAL
GOAL: USE MUSIC IN THERAPATIC WAY TO ENCOURAGE
COMMUNICATION AND SOCIAL INCLUSION,BUILD SELF- SOUTH ELEVATION

CONFIDENCE, AND INPROVE QUALITY OF LIFE.

DESIGN CONCEPT

MUSICAL ESSENCE: CAPTURE THE ESSENCE OF MUSIC

DETAIL SECTIONS
THROUGH TIMBRE, RHYTHM, MELODY, AND VOLUME. THE BUILDING HAS THREE POD-SHAPED STRUCTURES
JUTTING OUT FROM THE FRONT. THEY'RE COVERED IN
LAKE DISTRICT INTEGRATION: SEAMLESSLY
CEDAR SHINGLES AND HAVE GREEN ROOFS. THESE
INTEGRATE MUSICAL ELEMENTS WITH THE LAKE PODS GET SMALLER AS THEY GO ALONG, LIKE A
TRIANGLE. TO MAKE THE FRONT LOOK MORE INFERENCES
DISTRICT'S NATURAL SETTING.
INTERESTING, WE'VE ADDED SLATTED WINDOWS IN A
ENHANCED ARTS EXPERIENCE: ELEVATE THE QUALITY THOUGHTFUL WAY.
AND DEPTH OF BOTH BENEFICIARY AND AUDIENCE
EXPERIENCES, ENRICHING LIVES AND IMPROVING
OVERALL COMMUNITY WELL-BEING

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 OBJECTIVES OF THE
स्वरमयम्: A CENTER FOR MUSIC
STUDY
KALA ACADEMY , GOA
• TO UNDERSTAND THE SPATIAL ORGANIZATIONAL AND
THEIR RELATION FOR MUSIC ACADEMY

• TO STUDY THE VARIOUS COMPONENTS REQUIRED FOR

MUSIC CENTERS

INTRODUCTION
ARCHITECT: CHARLES CHORREA

LOCATION :SITUATED AT CAMPAL,

AN OVERLAP OF MOVEMENT
PATTERNS THROUGH
PANAJI ALONG THE BANKS OF RIVER
WEEKDAYS AND WEEKENDS AN OVERLAP OF PAUSE
MANDOVI. PATTERNS WEEKDAYS AND
WEEKENDS
SITE AREA: 6.3 ACRES(25,495SQM)

SITE GRADIENT: GENTLE SLOPE BUILDING LEVEL ZONING

• GROUND AND PARK WITH THE BUILDING IS

VEGETATION DEIVIDED INTO THREE
ZONES:
• WATER BODY
• COMMERCIAL AREA 1- PUBLIC
• LIGHTHOUSE-0.1KM 2- ADMINISTRATION
• FEDERAL BANK-0.2KM ENTRANCE LOBB CANTEEN OPEN FOREGR
COURT Y LAWN OUND 3- ACADEMIC
• MILITAIRY HOPSITAL-1.2KM
CIRCULATION AND CONNECTIVITY AN OVERLAP OF REST
THE SITE S DIVIDED INTO MAIN • THE MAIN CIRCULATION OF THE KALA ACADEMY FOLLOWS A PATTERNS WEEKDAYS AND
BUILDING SERVICE BUILDING, CENTRAL SPINE, CONNECTING VARIOUS AREAS OF THE WEEKENDS
BUILDING
MUKTANGAN PARKING AREA, THE • MOVEMENT THROUGH THE BUILDING IS CHARACTERIZED BY
EXHIBITION AREA. THE ACTIVE A TRANSITION FROM FAST-PACED NEAR THE ENTRANCE TO A
SLOWER PACE IN THE LOBBY AND FURTHER INSIDE.
AREA INCLUDES , THE GARDEN, • THE LOBBY AREA SERVES AS A SIGNIFICANT POINT OF
AND THE AMPITHEATRE ARRIVAL, EMPHASIZED BY A PERGOLA AND A LOW COFFERED
CEILING.

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING • . SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER FOR MUSIC
STRATEGIC ZONING: DIFFERENT LEVELS ARE DESIGNATED TO
PREVENT CONFLICTS BETWEEN ZONES. GROUND FLOOR HOSTS
PUBLIC-FRIENDLY SPACES LIKE AUDITORIUM, ART GALLERY,
AND CANTEEN. FIRST AND SECOND FLOORS ARE RESERVED
FOR ACADEMIC AND ADMINISTRATIVE PURPOSES.

PUBLIC ACCESS AND SEGREGATION: GROUND FLOOR INVITES

PUBLIC ENTRY WITH AMENITIES LIKE PREVIEW THEATRE AND
AMPHITHEATRE. FIRST AND SECOND FLOORS ENSURE
SEPARATION BY CATERING TO STAFF AND STUDENTS.

INTEGRATED CIRCULATION: CIRCULATION DESIGN ALIGNS

WITH ZONING, SEGREGATING LEVELS—GROUND FLOOR FOR
AUDIENCE FUNCTIONS AND UPPER FLOORS FOR STAFF AND
STUDENTS—WHILE MAINTAINING ESSENTIAL
INTERCONNECTIONS.

INTERACTING SPACES(THE
PLACE OF PAUSE AND REST)

INFERENCES

DM KALA MANDIR(AUDITORIUM)

FIRST FLOOR
TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:
TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI

RELATION BETWEEN MUSIC AND ARCHITECTURE
RHYTHM IN MUSIC ITS IS
REGULAR RECURRING PATTERN
STRONGLY CONNECTEC TO TIME ,
WHILE IT’S MYRAID OF FEATURES
LIKE COLUMNS, OPENINGS, ETC
IN ARCHIETCTURE
HARMONY IN MUSIC IT IS
HARMONY WHEN SEVERAL
TONES ARE PLAYED
SIMULATANEOUSLY, EHILE IN
ARCHIETCTURE HARMONY IS
OFTEN RELATED TO
GEAOMENTRIC SHAPES
VOLUME IN MUSIC IT IS
RELATED TO THE INTENSITY OF
SOUND, WHILE IN
ARCHITECTURE IT REFERS TO
THE COHESIVE MASS
ORNAMENTATION IN MUSIC IT IS
RELATED TO PATTERNS ON
SURFACES WHILE IN MUSIC IT
CAN BE FOR INSTANCE A TRILL,
OR IN MODERN MUSIC WAIL
MOVEMENT IN MUSIC IT IS
RELATED TO TEMPO, WHILE IT IS
RELATED TO MOVEMENT IN
DIFFERENT SPACES
TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
स्वरमयम्: A CENTER OF MUSIC
“MUSIC IS ARCHIETCTURE IN LIQUID
STATE BUT ARCHITECTURE IS FROZEN
MUSIC”
ARCHITECTURE AS FROZEN MUSIC:
THIS METAPHOR SUGGESTS THAT THE PRINCIPLES AND
ELEMENTS OF ARCHITECTURE, SUCH AS FORM,
PROPORTION, RHYTHM, AND BALANCE, CAN BE
COMPARED TO THE COMPOSITION OF MUSIC. JUST AS
MUSIC IS ORGANIZED AND STRUCTURED IN A
DELIBERATE MANNER, ARCHITECTURE ALSO FOLLOWS
PATTERNS AND DESIGNS. BOTH ART FORMS HAVE THE
ABILITY TO CREATE A SENSE OF HARMONY AND EVOKE
EMOTIONAL RESPONSES.
MUSIC AS LIQUID ARCHITECTURE:
THIS METAPHOR SUGGESTS THAT MUSIC POSSESSES
QUALITIES OF FLUIDITY, MOVEMENT, AND SPATIALITY
SIMILAR TO THOSE FOUND IN ARCHITECTURE. IT
IMPLIES THAT MUSIC HAS THE ABILITY TO SHAPE AND
TRANSFORM SPACE IN A DYNAMIC MANNER, JUST AS
ARCHITECTURE CAN DEFINE AND SHAPE PHYSICAL
SPACES.
THE TAJ MAHAL'S SYMMETRICAL DESIGN, WITH ITS
CENTRAL DOME AND FOUR MINARETS, CREATES A SENSE
OF HARMONY AND BALANCE. THE INTRICATE MARBLE
CARVINGS, DELICATE INLAYS OF PRECIOUS STONES, AND
THE PLAY OF LIGHT AND SHADOW ON ITS SURFACES Figure: HUMAN
RESEMBLE THE NUANCES AND CADENCES OF A MUSICAL ANTHRPOPOMETRY WHILE
COMPOSITION PLAYING DIFFERENT
INSTRUMENTS
DESIGN STANDARDARD AND GUIDELINES
HUMAN ANTHROPOMENTRY
FLOOR PLANNING AND DESIGN
A. FLOOR SPACE
 INSTRUMENTALISTS REQUIRE EVEN MORE SPACE THAN
VOCALISTS TO ACCOMMODATE THEIR INSTRUMENTS
AND MUSIC STANDS.
SUBMITTED TO:
TITLE: स्वरमयम : A Center of Music SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF 2
ROLLNO. :- (PUR075BAR002) ARCHITECTURE
SUPERVISOR: AR MILAN BHATTARAI
 OBJECTIVES OF THE
स्वरमयम्: A CENTER FOR MUSIC
STUDY
 TO UNDERSTAND THE SPATIAL
ORGANISATION AND ITS NEPAL MUSIC CENTER, TILGANGA
RELATIONSHIP TO THE MUSIC FIRST FLOOR FLOOR
SCHOOL.
 TO ESTABLISH A FRAMEWORK THE FIRST FLOOR PLAN CONSISTS OF SEMINAR HALL,
FOR A COMPARATIVE AREA GUITAR ROOMS, STUDIOS AND GUEST ROOMS. ALL OF
ASSESSMENT FOR THEM ARE BUILT WITH CONCRETE HOLLOW BLOCKS
PROGRAMME DEVELOPMENT.

INTRODUCTION AREA ALLOCATION FOR EACH UNIT

LOCATION: PINGALASTHAN, KATHAMNDU S.N DESCRIPTION FLOOR SPACE

AREA(SQ.M) ALLOCATIO
ARCHIETCT: DEBESH BHATTARAI , CREATIVE N(%)
CIRCLLE CONSULTANTS 1. ADMINISTRATION 145.8 14
2. EXECUTIVE OFFICE 27.92 2.68
SITE AREA : 30,000 SQFT 3. CONFERENCE AND 25.62 2.54
PANTRY
BUILT UPAREA: 13,00SQFT
4. CLASSROOMS 49.65 4.77
(GUITAR/FLUTE)(4)
COURSES OFFERED 5. KEBYBOARD ROOM(1) 23.29 2.24
VOCAL ,FLUTE, SARANGI, TABALA ,MADAL AND NEWARI 6. VOCAL CLASS 14.53 1.39
DRUMS, DRUMS, GUITAR(NEO-CLASSICAL,JAZZ,BLUES,ROCK 7. DRUM 16.7 1.6
AND BASS)KEYBOARD 8. WESTERN STUDIO 18.38 1.76
ADDITIONAL COURSES OFFERED 9. DANCE 53.78 5.16
SAXOPHONE, VIOLIN, CONCERT FLUTE 10 AUDITORIUM 129.5 12.43
11. GREEN ROOM 29.29 2.81
12. WATER CLOSETS 18.82 1.8
ZONING 13. COURTYARD 106.6 10.23
THE GROUND FLOOR IS DIVIDED INTO DISTINCT SECTIONS:
14. STORE ROOM 53.07 5.09
ADMINISTRATION, LEARNING/CLASSROOMS, AND 15. RESIDENTIAL UNITS 59.67 5.73
GROUND FLOOR
PERFORMING AREAS. AN OPEN-AIR THEATRE WITHIN A 16. OTHERS(CIRCULATION 267.92 25.73
LOBBY AND STAIRS)
THE TYPICAL COURTYARD ACCOMMODATES 250 PEOPLE.
TOTAL 1041.44 100
ZONINGOFGROUND
FLOOR CONSISTS OF
DIFFERENT SPACES
A CENTRAL OPEN
COURTYARD
CONNECTED WITH
NUMBER OF
PROGRAMS IN A
SERIES.

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER FOR MUSIC
OBJECTIVES OF THE KATHMANDU JAZZ
STUDY
• TO UNDERSTAND THE CONSERVATORY,JHAMSIKHEL
DOUBLE GLAZED INSULATION DOORS AND
DIFFERENT FUNCTIONAL CLASSROOMS WINDOWS HAS BEEN USED BOTH IN
SPACE AND RELATIONSHIP PRACTICAL AND THEORY ROOMS
LESSONS IN THEORY AND
MATERIALS USED ARE : WOODEN BATTENS , PERFORATED
• TO MAKE A BASIS OF AREA PRACTISE ARE GIVEN TO
GYPSUM BOARDS, ABSORBING FABRIC, EGG CRATES AND
SMALL GROUPS OF UP TO
ASSESSMENT FOR ROGRA, SIMILARLY CORNERS ARE CURVED TO AVOID STANDING
FOUR STUDENTS IN THE
WAVES
FORMUALTION SAME ROOM. THERE ARE
EIGHT PRACTISE AREA ALLOCATION FOR EACH UNIT
INTRODUCTION CLASSROOMS S.N Description Floor Space
ALTOGETHER Area(sq.m) allocation(%)
THE KATHMANDU JAZZ 1. Administration 13.83 6.98
RECORDING STUDIO 2. Reception and waiting 23.58 11.92
CONSERVATORY IS A SCHOOL OF lounge
A SUITE OF AUDIO
MUSIC THAT DEBUTED IN THE ENGINEERING SCHEMES IS 3. Listening studio/staff room 10.83 5.47
AVAILABLE. THERE ARE 4. Theory room 14.51 7.33
AUTUMN OF 2007 IN KATHMANDU,
MANY DIFFERENT 5. Drum room 7.02 3.54
NEPAL. RECORDING ARTS 6. Piano room(2units) 12.38 6.25
COURSES AVAILABLE. IT 7. Vocal room 6.19 3.12
CAN BE USED FOR BOTH 8. Bass room 6.19 3.12
ARCHITECTURAL EXPRESSION PERSONAL AND BUSINESS 9. Guitar room(2units) 12.38 6.24
NEEDS. 10. Band room 18.91 9.55
SINCE 2007, A CONSERVATORY HAS BEEN OPERATING IN 11. Recording Studio 28.03 14.17
JHAMSHIKHEL IN A MODERN STRUCTURE THAT HAD LIGHTING AND VENTILATION 12. Others(lobby and 44.01 22.24
circulation)
PREVIOUSLY BEEN BUILT FOR ACADEMIC PURPOSES AND Total 197.86 100
HOUSED A SCHOOL. A FEW MORE ORGANISATIONS SHARE THE
BUILDING ON A DIFFERENT FLOOR. VERTICAL AND INFERENCES

HORIZONTAL ELEMENTS ARE USED IN FACADES. IT IS L-

SHAPED BUILDING FACING TOWARDS EAST.
THE MORNING SUN HITS THE FACE OF THE BUILDING WHICH
PLANNING MAKES WELL LIT AREA ON THE EASTERN SIDE OF THE
BUILDING FROM BACK ELEVATION ALSO BUILDING GETS
SUFFICIENT LIGHT. WHERE AS THE CORRIDOR THAT
CONNECTS THE PRACTICE AND THEORY AREA IS NOT WELL
LIT DUE TO THE PARTITIONS BUT ARTIFICIAL LIGHTINGS ARE
PROVIDED.
ACOUSTICAL CONSIDERATION

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 OBJECTIVES OF THE
स्वरमयम्: A CENTER FOR MUSIC
STUDY NEPAL MUSIC
• TO STUDY AND UNDERSTAND THE
TRADITIONAL MUSICAL MUSEUM,TRIPURESHWOR NEGATIVE ASPECTS
INSTRUMENTS
• TO UNDERSTAND THE SPATIAL • PROPER MAINTENANCE IS STILL LAGGING
REQUIREMENTS OF MUSEUM / • NO SUFFICIENT DAY LIGHT.
GALLERY • NO PROPER ARTIFICIAL LIGHT

INTRODUCTION

NEPALI FOLK MUSIC INSTRUMENT MUSEUM, CURRENTLY

LOCATED IN TRIPURESHOWR WAS ESTABLISHED IN 2002 A.D.
IT WAS ORIGINALLY SITUATED IN BHADRAKALI, STORE
RESEARCH
KATHMANDU, BUT WAS MOVED TWO YEARS AGO TO THE AREA
RENOVATED NORTH WING SATTAL IN THE TRIPURASUNDARI
COMPLEX. 330 OLD TRADITIONAL INSTRUMENTS ARE HOUSED
OFFICE GALLERY PERFO
IN THIS LOAD-BEARING BUILDING
RMAN
CE
GENERAL STUDY OF THE SPACES AREA
LOBBY AREA ALLOCATION
THE ENTRANCE TO THE MUSEUM LEADS TO RECEPTION AREA. FIRST FLOOR ZONING
S.NO DESCRIPTION AREA (SQ.M)
ON THE LEFT ON THE RECEPTION IS A SMALL PANTRY. THE 1. RECEPTION 6.5
STEEP SINGLE FLIGHT STAIRCASE LEADS TO TOP FLOOR
2. OFFICE 10.13
WHICH CONSIST OF SMALL OFFICE, RESEARCH AREA, STORE,
3. PANTRY 7.43
GALLERY AND PERFORMANCE AREAS
4. RESEARCH AREA 25.17
STAIR 5. GALLERY 168.43
RECEPTION
6. STORE 18.02
PANTRY 7. PERFORMANCE AREA 18.02
FIRST FLOOR PLAN

ENTRY
INFERENCES
ANALYSIS
GROUND FLOOR ZONING (POSITIVE ASPECTS)

 THE SPACES FOR MUSIC MUSEUM ARE WELL ARRANGED

AND MAINTAINED IN THE REHABILITATED BUILDING.
 THE WOOD
 THE MUSEUM IS SURROUNDED BY TEMPLE COMPLEX HAS
GROUND FLOOR PLEASING ENVIRONMENT.
PLAN  DISPLAYS OF THE INSTRUMENTS ARE INTELLIGENTLY
PLACED BETWEEN THE WOODEN POSTS.

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHSIHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 स्वरमयम्: A CENTER FOR MUSIC
OBJECTIVES OF THE RASTRIYA NACH
 STUDY
TO GAIN AN IDEA OF THE DESIGN OF AN
AUDITORIUM GHAR.JAMAL ACOUSTIC CONSIDERATION
 TO ENHANCE PRACTICAL KNOWLEDGE OF THE
LIGHTING AND THE ACOUSTICAL DESIGN FEATURES  LOBBY AS A BUFFER SPACE
CONSIDERATIONS OF AN AUDITORIUM.  THE SPLAYED PROSCENIUM’S ANGLE EEFCTIVELY
 CAPACITY: 750 SEATS (550 IN GF AND 150 IN BALCONY)
 TO ATTAIN INFORMATION ABOUT THE SPACES NOUNCE SOUND TOWARDS THE AUDIENCE
 NO OF ENTRIS/EXIT:6
AND PLANNING WITHIN AN AUDITORIUM.  CAVITY WALL
 VIEWING ANGLE : RANGES FORM 34-90 DEGREES(30-110 DEGREES
 TO ANALYZE THE SERVICES AND SAFETY  CEILING COMPRISES OF PERFORATED CELLULOSE
SUITABLE)
MEASURES INCORPORATED IN THE DESIGN. FIBER
 MAXIMUM VERTICAL ANGLE FROM LAST ROW IS 22 DEGREE(30
 SPLAYED AND SLIDGHTLY COVERED WALL FOR
DEGREE MAX LIMIT)
PROPER DIFFUSION OF SOUND
STAGE
INTRODUCTION AREA OF THE PROSCENIUM : 6M*9M
 LOCATION JAMAL, KATHMANDU HEIGHT OF THE ROSCENIUM:6M
 ESTABLISHMENT DATE:2054 BS
 SITE AREA: 5200M2
SEATING ARRANGEMENT
 ARCHITECT: AR,SUSHIL SUSHIL BAJRACHARYA LAST ROW: 22.3 M AWAY FROM FORNT OF STAGE
AND AR, DEEPAK PANTA THE SEATING HAS BEEN RAKED(14 STEPS ,15CM RISE
BETWEEN EACH LEVEL ) AND INCLINED BY 11”
SPACE SEGGREGATION
S.N FLOOR DESCRIPTION
1 BASEMENT PARKING(35-FOUR WHEELER,50
BIKES),SERVICE AREA LIGHTING CONSiDERATIONS
2 GROUND COMMERCIAL SPACE,CHANGING
THERE IS AN AMPLE PROVISION OF NATURAL LIGHTING IN THE
ROOMS,REHERSHAL ROOM,STORES
GROUND LOBBY AND THE COMMERCIAL AREA.
ADMINISTRATIVE OFFICE IN THE MAIN AUDITORIUM
FLOOR •BAR LIGHTS HAVE BEEN USED ON STAGE AND IN FRONT OF THE
PLAN HOUSE
4 FIRST AUDITORIUM, PARTIONED FOYER WITH •FOOT LIGHTS HAVE BEEN USED
ADMIN •DIMMERS HAVE BEEN USED OVER THE SEATING AREA
5 SECOND BALCONY , PROJECTION ROOM
6 THIRD FLOOR HOUSING ROOM FOR THE LIFT AND AC
HAS BEEDN PLACES AT TERRACE

PROGRAM LINKAGE

INFERENCES

FIRST
FLOOR
PLAN

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 A स्वरमयम्: A CENTER FOR MUSIC
D PROGRAM FORMULATION
M
I
N M
I U
S S
T F
I
R O
C
A O
T D
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I I
O C
B
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R
U
A
R
R
T
Y
A
C
O
A
U
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D
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I
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C
C R
O
R S
B
D P
L
I A
O
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C
G E
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S
T P
U A
D R
I K
O I
N
G

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 COMPARATIVE ANALYSIS OF CASES
SN STUDY AREA NEPAL MUSIC CENTER KATHMANDU JAZZ
CONSERVATORY
SURSHALA MUSIC
ACADEMY
RASTRIYA NACH
GHAR
स्वरमयम्: A CENTER
NEPAL MUSIC
MUSEUM
SMSPAC FOR
KALA MUSIC
ACADEMY SUNBEAMS MUSIC
CENTER
1 LOCATION TILGANGA,PINGALASTH JHAMSIKHEL,LALITPUR JHAMSIKHEL, JAMAL,KATHMANDU TRIPURESHWOR,KAT WEST CHESTER USA GOA , INDIA UK
AN LALITPUR HMANDU
2 SITE AND
SURROUNDINGS
3 DESIGNING AR, DEEBESH BHATTARAI - - AR,SUSHIL SUSHIL MGA PARTNERS CHARLES CHORREA MAWSONKERR
ARCHITECT AND TEAM BAJRACHARYA AND ARCHITECT
AR, DEEPAK PANTA

4 ARCHITECTURE TRADITIONAL MOULDED MODERN TRADITIONAL TRADITIONAL TRADITIONAL MODERN MODERN MODERN
STYLE WITH MOULDED WITH MOULDED WITH
CONTEMPORAR Y STYLE CONTEMPORAR Y CONTEMPORAR Y
STYLE STYLE

5 PLANNING ECNCLOSED PLANNING LINEAR COMPACT PLANNED IN A SINGLE LINEAR PLANNED IN A PLANNED PLANNED
WITH OPEN COURTYARD BLOCK SINGLE BLOCK SEGRERATING PUBLIC CONSIDERING
IN THE CENTER WITH LESS SPACES AND DEFINED NATURAL LANDCAPES
EMPHASIS ON TRANSITIONAL
OUTDOOR SPACES
SPACES

6 CIRCULATION ONLY STAIRCASE , NO ONLY STAIRCASE , NO ONLY STAIRCASE , NO CIRCULATION CIRCULATION CIRCULATION CIRCULATION
PATTERN ELEVATOR,RAM P,FIRE ELEVATOR,RAM P,FIRE ELEVATOR,RAM P,FIRE THORUGH STAIRCASE, THORUGH THORUGH THORUGH
ESCAPE ESCAPE ESCAPE FIRE ESCAPES AND STAIRCASE STAIRCASE, STAIRCASE,
LIFTS FIRE ESCAPES AND FIRE ESCAPES AND
LIFTS LIFTS

7 LIGHTINGS/ SUFFICIENT NATURAL NATURAL LIGHTS, AND NATURAL LIGHTINGS NATURAL MAXIMUM USE OF MAXIMU M USE OF
VENTILATION LIGHTNATURAL ARTIFICIAL LIGHTINGS IN AND ARTIFICIAL LIGHTINGS AND NATURAL DAY NATURAL DAY
VENTILATION, USE OF AC CORRIDOR BETWEEN WHEN IN THE ARTIFICIAL WHEN IN LIGHTING, NATURAL LIGHTING AND
IN SOME ROOMS CLASSES, NATURAL INTERIORS WHERE THE INTERIORS VENTILATION WITH ARTIFICIAL LIGHTING
VENTILATION REQUIRED WHERE REQUIRED USE OF CENTRAL WHERE
AIR CONDITIONING NEEDED
SYSTEM

8 PERFORMANCE 125 SEATS AUDITORIUM,A 200 SEATS MUSIC HALL AUDITORIUM-125 700 PEOPLE SEATED 125 SEATS RECITAL 200SEATS RECITAL
AREA ND OAT(250)PERS ON SEATS AND AUDITORIUM HALL, REHEARSHAL HALL, REHEARSHAL
COURTYARD HALL , 375 SEATS HALL , 400 SEATS
PERFORMANCE HALL PERFORMA NCE HALL

9 CURRICULUM 8 LEVELS WITH EACH STUDENTS AWARDED ON CTEVT CERTIFIED

LEVEL CONSISTING 2 THE BASIS OF CREDITS DIPLOMA LEVEL
SEMESTER COURSE
10 FACILITIES THEORY CLASS-8, LISTENING STUDIO-1, THEORY CLASS, MUSIC LIBRARY-1, THEORY CLASS,
OFFERED RESIDENTIAL UNIT-3, THEORY CLASS- 8, BAND INSTRUMEN TAL AND THEORY INSTRUMENTAL AND
AUDITORIUM- 1,OAT-1 ROOM/ ENSEMBLE HALL- VOCAL EACH HAS ONE /PRACTICAL ROOM - VOCAL EACH HAS
1 RECORDING STUDIO-1, CLASSES 1, ART GALLERY-1, ONE CLASSES
MUSIC HALL-1 RECITAL HALL- 1,
PERFORMANCE
HALL-1

11 INFERENCES

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
 SITE SELECTION CRITERIA स्वरमयम्: A CENTER FOR MUSIC
• AWAY FROM THE CORE AREA OF THE CITY,
CLOSE TO NATURE AND ACCESSIBLE BY
PUBLIC VEHICLES
• AREA FOR FUTURE EXPANSION

SITE INTRODUCTION
LATITUDE:26°49’19”N​
LONGITUDE:87°19’38”E

THE PROJECT SITE IS IN THE NORTHEAST AREA OF PANBARI, DHARAN.

AREA : 21642.78 M² ( APPROX. 64 KATTHA)

SITE JUSTIFICATION
CONNECTION WITH NATURE IN TERMS OF VIEWS, SOUND, AND
SURROUNDINGS.
• EASY ACCESSIBILITY ΤΟ INFRASTRUCTURES AND MARKET FACILITIES
PERFECT CONDITION FOR THE INCLUSION OF THERAPEUTIC AND • WIND DIRECTION (1-2 M/S)
BIOPHILIC FORMS OF ARCHITECTURE.
• ENOUGH LAND FOR FUTURE EXPANSION NIGHT = NW
CONFORTABLE POLITICAL ENVIRONMENT FOR CONSTRUCTION. MORNING = SE
DAY = W/SW
EVENING = E

STRENGTH WEAKNESS OPPORTUNITIES THREATS

RURAL AREA. LOCAL MATERIALS.

NATURAL PLATFORM.
AWAY FROM LIBRARIES, NATURAL CONTOURS FOR
AWAY FROM CITY'S SCHOOLONTHEWAY
PARKS AND EFFECTIVE
CROWD AND NOISE. DISASTER PRONE AREA.
MUSEUM. DESIGN.
PEACEFUL ENVIRONMENT. WILD ANIMALS.
SLIGHT DELAY IN PROPER DRAINAGE
AVAILABILITY OF LAND
MORNING SUNLIGHT. MANAGEMENT DUE
FOR FUTURE EXPANSION
NOT CENTRALLY TO CONTOURS.
LOCATED.

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

TITLE: स्वरमयम : A CENTER SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE DEPARTMENT OF 2
FOR MUSIC ROLLNO. :- (PUR075BAR002) ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
SUPERVISOR: AR MILAN BHATTARAI
INTRODUCTION स्वरमयम्: A Center of Music
A MUSIC CENTER/SCHOOL/CONSERVATORIES IS AN
LITEARTURE REVIEW SUMMARY THIRD SEMESTER
EDUCATIONAL INSTITUTION SPECIALIZED IN THE STUDY ,
TRAINING AND RESEARCH OF MUSIC . SUCH AN INSTITUTION SHEET • MUSIC AND SOCIETY
• PRACTICAL MUSIC III
CAN ALSO BE KNOWN AS CENTER OF MUSIC, SCHOOL OF MUSIC, • MUSIC OF SOUTH ASIA I:GRETA TRADITIONS
ACADEMY OF MUSIC OR CONSERVATORY. INSTRUCTION • SOUTH ASIAN CIVILISATION I
INCLUDES TRAINING IN THE PERFORMANCE OF MUSICAL • ENGLISH III OR NEPALI III(FOR FOREIGN STUDENTS
ONLY)
INSTRUMENTS ,SINGING , MUSICAL COMPOSITION, CONDUCTING
, MUSICIANSHIP, AS WELL AS ACADEMIC AND RESEARCH FIELDS
FOURTH SEMESTER
SUCH AS MUSICOLOGY, MUSIC HISTORY AND MUSIC THERAPY • PRACTICAL MUSIC IV
• MUSIC OF SOUTH ASIA II : LOCAL TRADITIONS
• AURAL TRAINING I
RELATIONSHIP BETWEEN MUSIC AND ARCHITECTURE • SOUTH CIVILISATION II
• ENGLISH IV OR NEPALI IV(FOR FOREIGN STUDENTS
ONLY)

FIFTH SEMESTER
• MUSIC OF NEPAL I: KATH,ANDU VALLEY
• AURAL TRAINING II
• PRACTICAL MUSIC V
• SOCIOLOGY AND ANTRHOPOLOGY :INTRODUCTION
RHYTH HARMONY VOLUME • ENGLISH V OR NEPALY V (FOR FOREIGN STUDENTS
M ONLY)

ORNAMENTATION
ACOUSTICAL CONSIDERATIONS
SIXTH SEMESTER
• WORLD MUSIC I : INTRODUCTION
• AURAL TRAINING II
• PRACTICAL MUSIC VI
• MUISC OF NEPAL II” MUSIC OF HILLS AND OTHER
MOVEMENT AREAS
• ENGLISH VI OR NEPALI VI(FOR FOREIGN STUDENTS
ONLY)
SEVENTH SEMESTER

• ANTHROPOLOGY AND SOCIOLOGY OF NEPAL I

• WORLD MUSIC II : EUROPEAN FOLK MUSIC, MIDDLE
EAST AND CENTRAL ASIA
• CLASSISCAL WESTER MUSIC I: GREECE, ROME,
SYLLABUS OF KU MEDIEAVAL, RENAISSANCE AND BAROQUE
FIRST SEMESTER • SOUND RECORDING AND AMPLIFICATION

• MUSIC THEORY AND NOTATION

• PRACTICAL MUSIC I EIGHTH SEMESTER
• INTRODUCTION TO ETHNOMUSICOLOGY
• ENGLISH I OR NEPALI I (FOR FOREIGN STUDENTS ONLY)
• PRACTICAL MUSIC VII
• ANTHROPOLOGY AND SOCIOLOGY OF NEPAL II
SECOND SEMESTER • CLASSICAL WESTER MUSIC II: CLASSICAL,
• STUDY SKILLS ROMANTICA, MODERN
• ADVANCED MUSIC THEORY • AUDIO STUDIO TECTHNIQUE
• PARACTICAL MUSIC II • PRACTICAL MUSIC VIIIWORLD MUSIC III: AFRICA
• ENGLISH II OR NEPALI II( FOR FOREIGN STUDENTS AMERICA, SOUTH EAST AND FAR EAST ASIA
ONLY)

TRIBHUWAN UNIVERSITY , INSTITUTE OF ENGINEERING SUBMITTED TO:

SUBMITTED BY: ABHISHEK ACHARYA UPADHYAY
DEPARTMENT OF ARCHITECTURE
PURWANCHAL CAMPUS, DHARAN -8 , SUNSARI
TITLE: स्वरमयम : A Center of Music
ROLLNO. :- (PUR075BAR002)
DEPARTMENT OF
ARCHITECTURE 1
SUPERVISOR: AR. MILAN BHATTARAI
CHANGING/ BACKSTAGE
REHEARSHA/MAKE
UP/OFFICE
STORE /WC
STAGE

SEATINGS

FOYER WC

TC CANTEEN

STAIRS RECORDING
STUDIO
W/C

DANCE STUDIO RECEPTION VOCAL ROOM

 AUDITORIUM

W/C
CLASSROOM

STAIR

COURTYARD EXTENDED AREA

PRINCIPAL CLASSRO
ROOM OM

DANCE
ADMINISTRATION STUDOO
CLASS
ROOM

ENTRANCE
PARKI
NG