CONSERVATORY for MUSIC and PERFORMING ARTS by Deepti V..Pdf

VISVESVARAYA TECHNOLOGICAL UNIVERSITY Belgaum, Karnataka- 590014

Architectural Design Project (THESIS) 2016-2017

“CONSERVATORY FOR MUSIC AND PERFORMING

ARTS” In partial fulfillment of the requirements for the award of the Degree

Bachelor of Architecture

Submitted by: DEEPTI VINOD Guide Professor: PROF. RAMAKRISHNA B

ACHARYA’S NRV SCHOOL OF ARCHITECTURE (Affiliated to VTU, Belgaum. Accredited by COA, AICTE, New Delhi) Acharya Dr. Sarvaplai Radhakrishnan Road, Sarvapalli, Bangalore- 560090

Certificate

This is to certify that this is a bonafide record of the Architectural Design Project completed by Ms. Deepti Vinod of VIII Semester B. Arch, USN no 1AA13AT036 on Project titled- “CONSERVATORY FOR MUSIC AND PERFORMING ARTS” at Bangalore. This has been submitted in partial fulfillment of requirements for the degree of B. Arch awarded by VTU, Belgaum during the year 2016-2017.

______Signature of Guide Signature of HOD Signature of Principal

Name of the Examiners Signature with Date

1.______

2.______Conservatory for Music and Performing Arts| 3

ACKNOWLEDGEMENT

I am deeply indebted to my guide Prof. Ramakrishna B along with Ar. Anitha Muthukrishnan for their invaluable guidance and constructive criticism rendered during the course of this project

I wish to express my gratitude to Prof. Vasanth Bhat, Dean, Acharya‘s NRV School of Architecture, under whose encouragement all possible facilities were provided for the successful completion of the project.

I would also like the express my warm appreciation to the members of the faculty of the College along with my family and friends for their co- operation during the course of my work.

Several people have directly or indirectly contributed to the success of this project. It is my pleasure acknowledging the help of these people.

Deepti Vinod

(1AA13AT036)

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TABLE OF CONTENTS

INTRODUCTION 5

GLIMPSE OF THE PROJECT 7

LITERATURE STUDIES 9

CASE STUDIES 41

OBJECTIVE 63

DATA COLLECTION 65

SITE ANALYSIS 75

DESIGN OUTPUT 78

CONCLUSION 91

REFERENCES 92

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INTRODUCTION

A Conservatory or Conservatoire for Music and Performing Arts is an institution mainly for the study, training and research of Music, Dance and Drama. Such an institution can also be called a School of Music and Performing Arts. Music and Performing Arts Academy, College of Music and Performing Arts etc.

Conservatories are suitable for students who wish to develop their performance, conduction or composition to a professional standard. Typically they offer a high percentage of practical training combined with academic study and professional development for those considering a career in the creative arts. Individual teaching is the strength of most components.

A Conservatory for Music and Performing Arts aims at providing a challenging academic program that fosters a collaborative exchange of ideas and thoughts in a culturally rich environment exemplifying the notion of a global community. It will provide the highest level of education in music, dance and drama, facilitate research and offer an education both practically and theoretically. To enhance and develop students‘ lives in making every student a success in the making. It also stimulates creativity, expression and aesthetic judgment. It also promotes the local culture through the performing art forms and also empowers future educators with effective teaching methods.

My thesis topic is a CONSERVATORY FOR MUSIC AND PERFORMING ARTS. In India, due to the rapid growth in fields like Medicine, IT, Architecture etc, the amount of importance which was once given to Indian art forms is not there anymore. So, the aim of this thesis is to restore the once given importance to Indian Performing arts by providing a huge platform to the people. Providing this as a career choice to the many people who wish to do so. For those believe that it is still not too late to restore our interest in performing arts. The aim if this is not something which will be achieved over night but it is not impossible. It is sure to benefit not just the students who hope to become aspiring artistes but also supporting the fact that Arts can also be a successful career choice.

My topic is a CONSERVATORY FOR MUSIC AND PERFORMING ARTS. Conservatory for Music and Performing Arts| 6

This conservatory is going to be residential. This project is going to include a campus catering to the requirements of various performing arts like Dance (Indian Classical and Indian Contemporary), Theatre and also Music (Hindustani and Carnatic). It would also include courses and facilities to learn about the broader aspect of art forms all over the world.

With this project, India is sure to gain its place on the map of famous Performing Arts and Music Schools all over the world, but still remaining one of its kind.

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GLIMPSE OF THE PROJECT

The conservatory is proposed to come up right opposite to the Clark‘s Exotica Resort which is nestled away by approximately 2.5 km from the AH43 highway which is the Bellary-Hyderabad highway.

It seeks to not only provide a unique and all rounded education but also build character and personality in its students and prepare them for careers in music, dance and drama as performers, arrangers, song writers/choreographers/ play writers, composers, producers, teachers and more.

As the conservatory is related to the creative arts, it will aim at developing the creative ability in the students and help enjoy their courses by providing sufficient amount of knowledge and listening experience.

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The master plan consists or 9 major spaces i.e

I. Admin Block II. Auditorium III. Main academic block for music and drama IV. Separate dance studios with attached lecture hall V. Student accommodation VI. Faculty/guest accommodation VII. A display area VIII. A cafeteria IX. Parking.

The open air theatre, auditoriums and recording studios do not have to be just for the students‘ benefit. It can also be booked and used for other public shows and projects. Since the project is mainly focusing on the cultural aspects of India, and little lesser on the international arts, the context of the topic has been kept in mind while designing the conservatory. In order to keep it more stuck to the context many traditional elements would be added in the design to give the students a more down- to-earth feeling/experience but at the same time manage to provide them with all the modern technology required to help students gain knowledge and exposure into their field of selection in the performing arts.

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LITERATURE STUDIES

For my literature studies I have selected the world renowned Juilliard School, New York and the Royal Welsh College of Music and Drama, Cardiff.

Both the academies being renowned and experienced in their field really helped me gain a wider perspective of my topic with respect to the functioning, the courses provided, the architectural elements and highlighted elements of the place. While the Juilliard School is placed at the center of the Lincoln center in New York which is such a busy area, the transition between the outside and inside is made well. The Royal Welsh College is more architecturally inclined compared to the Juilliard School with its roof and the illusion of a single building when in fact they happen to be all separate buildings. Both having positives and negatives, I have taken the positives into consideration in my design and also learnt from the negatives and tried to avoid them in my design.

I. The Juilliard School, Lincoln Center, New York II. The Royal Welsh College of Music and Drama, Cardiff, Wales.

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The Juilliard School, Lincoln Center, New York INTRODUCTION

The Juilliard School located in the Lincoln Center for the Performing Arts on the Upper West Side of Manhattan, New York City, is a performing arts conservatory established in 1905. It is informally referred to as Juilliard. The school trains about 850 undergraduate and graduate students in dance, drama, and music. It is widely regarded as one of the world's leading music schools, with some of the most prestigious arts programs. In 2016, QS Quacquarelli Symonds ranked it as the world's best institution for Performing Arts in their inaugural global ranking of the discipline.

The School was named for Augustus Juilliard, a wealthy textile merchant whose bequest was used to establish the Juilliard Graduate School in 1924. In 1926, it merged with the Institute for Musical Art to become the Juilliard School of Music. With the additions of a Dance Division in 1951 and Drama Division in 1968, the name was shortened to The Juilliard School.

The School was designed by Diller Scofidio and Renfro Architects.

One of the most famous halls with perfect acoustics is the Alice Tully Hall which was designed separately by Pietro Belluschi.

A walk through Juilliard‘s modern multi-story home in Lincoln Center gives a brief introduction to what their education is all about.

Practice rooms – 84 of them, plus 22 more in the residence hall, rehearsal rooms, classrooms and studios signal the disciplined labors Juilliard students devote to their training. 6 large concert and production spaces reflect the school‘s commitment to public performance. At nearly all hours of everyday, the school is filled with activity. Students using most of the 200 plus pianos available to them. In each of the 35 private teaching studios, instructors are helping students refine a phrase, a gesture. The most widely known auditorium here is the Alice Tully Hall which is acclaimed for its acoustics.

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Lincoln Center Plaza

Satellite View

Right: The Juilliard School, Left: David Geffen Hall

Campus Overview

Entrance from Juilliard towards Lincoln Center Plaza Conservatory for Music and Performing Arts| 12

DEGREES AND PROGRAMS- DANCE

The Dance Division offers four-year undergraduate programs leading to a Bachelor of Fine Arts (B.F.A.) with liberal arts requirements, or a Diploma without liberal arts requirements.

Dance Technique

• Ballet Technique (5 levels)

• Modern Dance Technique (4 levels)

• Partnering (4 levels)

Dance Performance and Repertory

• Repertory, Collaborations, Performance I

• Elements of Performing

• Repertory, Collaborations, Performance II

• Second-year Seminar

• Repertory, Collaborations, Performance III

• Repertory, Collaborations, Performance IV

Dance Studies

• Alexander Technique

• Dance Composition I

• Dance History I

• Dance History II

• Anatomy/Kinesiology

• Acting for Dancers

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Music Studies for Dance

• Music Studies I for Dancers

• Music Studies II for Dancers

Stagecraft and Production for Dance

• Stagecraft

• Senior Production

• Seminar for Seniors

Dance Electives

• Voice for Dancers

• Jazz

• Tap (2 Levels)

• Dance Composition II

• Solo and Duet Repertory

• Senior Production Choreography

• Choreographers and Composers

Dance Undergraduate Studies

Programs

• Dance, B.F.A.

• Dance, Diploma

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DEGREES AND PROGRAMS- DRAMA

The Juilliard Drama Division is dedicated to providing the 21st-century theater artist with the necessary tools, artistic and personal, to meet the demands of all aspects of our work in an ever evolving performing arts landscape.

Drama Undergraduate Studies

Programs

• Drama, B.F.A.

• Drama, Diploma

Courses

Drama Undergraduate and Graduate Studies: Acting

• Dramatic Interpretation I

• Dramatic Techniques I

• Dramatic Interpretation II

• Dramatic Techniques II

• Dramatic Interpretation III

• Dramatic Techniques III

• Dramatic Interpretation IV

• Dramatic Techniques IV

Drama Undergraduate Studies

• Theater History

• Prose and Poetry

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• Shakespeare Text I

• Shakespeare Text ll

Drama Graduate Studies

Programs

• Drama, M.F.A.

• Playwriting, Artist Diploma

Courses

Drama Graduate Studies

• Vibrant Traditions in American

Theater

• American Theater Landscape

• Current Events and the Judicious

Mind

• Playwriting Techniques and Practices

• Methodologies of Directing

• Elements of Production and Design

• Pedagogy of Drama

• Prose and Poetry

• Shakespeare Text I

• Shakespeare Text II

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DEGREES AND PROGRAMS- MUSIC

Juilliard‘s renowned Music Division is the largest and most diverse of the School‘s three divisions, with some 600 students from more than 40 countries. Its distinguished faculty includes internationally renowned soloists, chamber, and orchestral musicians, as well as leading pedagogues and scholars. They offer courses in

BRASS

COLLABORATIVE PIANO

COMPOSITION

GUITAR

HARP

HISTORICAL PERFORMANCE

JAZZ STUDIES

ORCHESTRAL CONDUCTING

ORGAN

PERCUSSION

PIANO

STRINGS

VOICE/OPERA

WOODWINDS

Their programs include a Bachelor of Music (B.M) which is a 4 year program, an Undergraduate Diploma and also a Graduate Diploma both being 3 year programs. Conservatory for Music and Performing Arts| 17

The courses that come under the Undergraduate Diploma are,

Ear Training

Keyboard Studies

Music Theory and

Analysis

Music History

Music Literature

Piano Literature

Music Studies

The courses that come under the Graduate Diploma are,

Ear Training

Keyboard Studies

Music Theory and Analysis

Music History

Departmental and General Practicums

Entrepreneurship and Career Development in Music

Departmental Requirements in Music

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DESIGN

In keeping with the Brutalist style, Juilliard features rigorous geometries and highly cantilevered forms. The Juilliard building, set on a regular structural grid, was designed in steel and concrete with a travertine veneer.

As part of the Lincoln Center Redevelopment Project, the Juilliard School needed another 45,000 square feet (4,200 m2) of space and wanted Alice Tully Hall‘s interiors and public spaces to be more welcoming.

They extended the travertine cladding of the original building and created an adapted extension of the Brutalist geometries on the upper stories. The fourth-story row of recesses housing windows is extended with the glass displaced and extending beyond the recesses, differentiating the extension from the original building and subtly beginning to break the original Brutalist box.

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The underside of the extension tilts up at a 16-degree angle. A dance studio punches through the curtain wall, overlooking Broadway. The transparency of the entry makes it feel like an extension of the Broadway sidewalk. A grandstand of bleacher-style seating on the far corner of the plaza rises at a similar angle to the canopy.

The Juilliard extension cantilevers over a sunken public plaza and a new 38-foot-6- inch-high glazed lobby. The lobby‘s floors are made of Portuguese ataija azul limestone. The east and south elevations are sheathed with a mullion-less, one-way cable wall system, allowing for maximum transparency.

Most of the building‘s interior is extremely simple, with walls often left as bare concrete aggregate with wall-to-wall carpeting on the floors in several areas. The theaters, on the other hand, are far more finely detailed.

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PERFORMANCE HALLS

Peter Jay Sharp Theater (907 seats): It is Juilliard‘s largest performance venue. Ceiling is 60% movable up and down by 7ft. The Peter Jay Sharp Theater is at street level next to Juilliard‘s West 65th Street entrance.

Paul Recital Hall (275 seats): Juilliard‘s Paul Hall, is one of the school‘s five main performance spaces. A minimum of 4 events happen per day. It houses 5 of the school‘s organs. Paul Hall is on the first floor of Juilliard.

Morse Recital Hall (125 seats): Morse Hall is at street level next to Juilliard‘s West 65th Street entrance.

Stephanie P. McClelland Drama Theater (195 seats): This theater is located on the fourth floor of Juilliard.

Rosemary and Meredith Wilson Theater (98 seats): The newest of Juilliard‘s five main performance spaces, this small venue is a theater used for many of the school‘s smaller and experimental productions. This theater is on the third floor of Juilliard.

Another small hall is the Harold and Mimi Steinberg Drama Studio for about 70 spectators.

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Peter Jay Sharp Theater Paul Recital Hall

Morse recital hall

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ALICE TULLY HALL

The Alice Tully Hall has exactly 1087 seats. After renovation, the hall now has a three-story glass lobby which features a café and bar, and a cantilevered extension juts out over a sunken plaza. The Alice Tully Hall is designed with wood batten with dampening behind, and lavender carpet, ―casting 1930s-ish mauve lights in the foyer.‖ Though the theater's lobby is large, it is depressed several feet below grade.

Narrow passageways lead to the side entrances of the concert hall. The passageway walls are lined with dark gray felt and the floors are covered with gray industrial carpeting.

The theater is wrapped in a skin of dark wood. Panels peel out to form gill-like acoustic baffles along side walls, form a compound curve around the base of the stage, or become pivoting pyramid shapes that bounce sound. At the rear of the stage, a pattern that looks decorative turns out to be a mechanism for diffusing high- frequency sound. Most strikingly, sections of the balcony and side walls give off a soft pinkish light as LEDs hidden behind them turn on. Concertgoers have burst into applause as the theater lights dim and the walls begin to glow.

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GLORYA KAUFFMAN DANCE STUDIO

The Glorya Kaufman Dance studio overlooks the Broadway street.

Students at Juilliard are trained in Classical ballet, modern dance, tap, jazz, contemporary and classical partnering. The school accepts only 12 men and 12 women every year.

An interesting fact about this studio is that ―Glorya Kaufman Dance Studio‖ is written 1001 times on the wall.

If that wasn‘t enough, they also wrote it out backwards on the same wall just so that you can read it correctly in the mirror.

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LILA ACHESON WALLACE LIBRARY

The Lila Acheson Wallace Library is a comprehensive resource for the School's performance and research needs. The collection includes more than 83,000 music performance and study scores, including scholarly editions of composers' collected works and other historical editions; 26,000 books (both print and e-books) on music, dance, drama, and general academic subjects; 26,000 sound recordings (LPs, compact discs, reel-to-reel, cassette, and DAT tapes), and 2,900 videos.

Juilliard's library is the proud home of the Juilliard Manuscript Collection — one of the world's greatest collections of autograph manuscripts, composer sketches, engraver proofs, and first editions.

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MEREDITH WILSON RESIDENCE HALL

Meredith Willson Residence Hall occupies the 11th through 29th floors of Lincoln Center‘s Rose Building. Looking out over the Hudson River in one direction and Lincoln Center Plaza in the other, each suite in the residence hall comprises three double rooms, two singles, two-and-a-half baths, and a living room. Most floors have two practice rooms with Steinway L pianos. There is a student lounge, complete with comfortable couches, a large-screen TV, and a billiard table; a computer room; laundry room; fully equipped fitness center; health clinic; and, on the first floor of the Rose Building, a full-service cafeteria.

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FOCAL POINTS

Students rushing to class on the red metal staircase will often produce sounds that resemble a musical scale.

The centerpiece of Juilliard's 278-seat Paul Recital Hall is its 3,173-pipe Holtkamp pipe organ.

The staircase inside the main entrance to the Irene Diamond Building is a popular spot for students to congregate between classes.

The Glorya Kaufman Dance Studio is known for its floor-to- ceiling windows overlooking Broadway. Conservatory for Music and Performing Arts| 28

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The Royal Welsh Academy of Music and Drama, Cardiff, Wales

INTRODUCTION

The Royal Welsh College of Music & Drama is a conservatoire located in Cardiff, Wales.

The College was established in 1949 as Cardiff College of Music at Cardiff Castle, but has since moved to purpose-built accommodation within the castle grounds of Bute Park near Cardiff University. It later changed its name to the Welsh College of Music & Drama before being awarded its Royal title in The Queen's Golden Jubilee in 2002, making it the fifth conservatoire to be awarded this title.

The college provides education and training in the performing arts, with approximately two-thirds of its 550 students studying music-related courses and the rest studying drama-related courses. It was the first and is only one of two All- Steinway conservatoires in the UK, along with Leeds College of Music.

The architects being Jason Flanagan, Paul Bavister, Jason Sandy, Anne Heucke, Kibwe Tavares, Armando Elias.

Area being 4,400 sqm.

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DEGREES AND PROGRAMS- MUSIC

The music department offers courses in, Strings, Brass, Woodwind, Percussion, Vocal & Opera, Kepboard, Harp, Guitar, Jazz, Historical Performance, Music Composition and Music Conducting.

Their Undergraduate courses include (depending on course selected),

BMus (Hons) Music

BMus (Hons)

BMus (Hons) Jazz

Their Postgraduate courses include (depending on course selected),

Music Performance

Orchestral Performance

Brass Band Conducting

Multi Instrument Woodwind Performance

Repetiteurship

MA Opera Performance

Collaborative Piano

Jazz

Historical Performance

Composition

Orchestral Conducting

Choral Conducting

Brass Band Conducting

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DEGREES AND PROGRAMS- DRAMA

The Royal Welsh College of Music & Drama is one of the UK‘s leading drama schools. The College was ranked as the top institution in the UK for drama training by the Guardian University Guide twice in the last three years, and the BA (Hons) Acting course received a satisfaction score of 100% in the 2015 National Student Survey. Under Drama there is Acting, Musical Theatre, Design for Performance and Stage & Event Management.

Their Undergraduate and Postgraduate courses include (depending on course selected),

BA (Hons) Acting

MA Acting for Stage, Screen & Radio

BA (Hons) Design for Performance

MA Design for Performance

BA Stage Management & Technical Theatre (Lighting Design)

BA (Hons) Stage Management & Technical Theatre

MA Stage & Event Management

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DESIGN

The Royal Welsh College of Music & Drama is Wales‘ national conservatoire. Wrapping an existing building with a striking new façade, the college has been transformed and modernized. The new buildings are situated inside the Grade I listed Bute Park, where they directly face Cathays Park, the civic centre of Cardiff which consists of a number of important listed buildings.

The winning design of an international design competition, the project includes three performance and rehearsal spaces, teaching rooms, studios and library facilities and is set in a Grade I listed Royal Park.

The design focuses on the core needs of the school community, namely an acoustically magnificent collection of performance and learning spaces which encourage and motivate the buildings‘ occupants.

Designed from the outside in, each performance space forms a new façade and the recital hall sits amongst the woods adjacent to the existing building. These elements are unified by a single floating roof.

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The new entrance to the college opens out on to stunning views over Bute Park and an arcade forms a new spine linking the whole functioning as exhibition space for the Design & Costume Department, whilst doubling as the ‗lungs‘ for the scheme as its natural stack effect ventilates the public spaces.

They have incorporated sustainable solutions; a green roof, natural ventilation and ground source heating and cooling.

The individual components of the building are united under a single blade like roof. Each of the performance spaces has been conceived as a separate building so that the mass is broken up and human scale is introduced at street level. Interior finishes of stone and timber create warm and tactile spaces for users.

Although the building appears to be a single structure it is in fact three separate new buildings and a renovated existing structure.

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FACILITIES PROVIDED

In June 2011, the Royal Welsh College‘s dream of having its own world-class performance and rehearsal spaces became a reality as it opened its doors to new £22.5 million facilities. The new buildings incorporate:

The Dora Stoutzker Hall, Richard Burton Theatre, Four state-of-the-art full- sized double height rehearsal studios, the Linbury Gallery, Cafe bar and terrace overlooking the beautiful Grade I listed Bute Park.

These new buildings complement and enhance the College‘s existing facilities which include the Anthony Hopkins Centre - an award-winning restoration of the former castle mews building, which opened in 1999. It houses two modern recital galleries: the Weston Gallery and the Corus Recital Room, S4C Studio Theatre, Professional recording studio, Courtyard performance space and Music practice rooms.

And, in the Raymond Edwards Building: The Bute Theatre (capacity 150 - 200), The Caird Studio Theatre (flexible seating capacity), Sir Geraint Evans Recital Room, Practice rooms, Classrooms ,Design studios, Theatre Design workshops, Extensive library, IT Suite

Liberty Severn Point, the Royal Welsh College of Music & Drama‘s halls of residence, fully managed by Liberty Living, is a secure and comfortable environment which complements the College‘s unique community spirit. Based just 10 minutes walk from the College.

The Café Bar Conservatory for Music and Performing Arts| 37

Rehearsal Studio Anthony Hopkins Center

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LINBURY GALLERY

The Linbury Gallery is a 15mt high arcade which is used to display the works of the College‘s design students. This exhibition gallery can accommodate up to 40 exhibition stands and can also be used as a drinks reception before a performance in the theatre.

FOYER

The hugely versatile and interesting foyer space hosts regular lunchtime recitals, popular weekly Jazz and Folk sessions and a range of other ad hoc performances and exhibitions. The stunning glass-walled, three-storey high foyer and open-air terrace overlooks the beautiful Bute Park and is highly flexible for networking, dinners, receptions and exhibitions.

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Inferences

JUILLIARD SCHOOL, NEW YORK

• Usage of space has been done with utmost care.

• The incorporation of Brutalism makes Juilliard stand out in the whole of Lincoln centre which has all other sorts of theaters and buildings related to performing arts.

• The acoustics of the Peter Jay Sharp Theatre is said to be perfect due to careful analysis of the area and heights.

• Small features like the musical staircase, the writing of Glorya Kaufman Dance Studio 1001 on the wall, the angle of the plaza parallel to the building‘s canopy etc are all the small features that makes one remember the design of the building on a whole.

• The provision of a suite rather than just a room for the students helps in socializing.

• All these positive features can be taken into consideration for my project.

ROYAL WELSH COLLEGE OF MUSIC AND DRAMA, WALES

• The illusion of having a single building where as they are separate buildings made to look as one because of a single floating roof

• They have made every space unique in its own way therefore creating a magnificent design.

• It has been designed from the outside in making each hall have a separate façade of its own.

• The foyer has been designed to be very versatile allowing it to be used for multiple purposes.

• All these positive features can be taken into consideration for my project. Conservatory for Music and Performing Arts| 41

CASE STUDIES

For my case studies I have chosen the Meghdoot Complex, New Delhi and Nrityagram, Bangalore.

The Meghdoot Complex mainly consists of 3 built structures, Rabindra Bhavan, Lalit Kala Art Gallery and the Meghdoot Theatre. It is more modern in its design and functionality compared to Nrityagram. The Rabindra Bhavan consists of 3 academies that is, Sangeet Natak Akademi, Lalit Kala Akademi and the Sahitya Akademi. It was designed by the architect Habib Rahman. Nrityagram on the other had is a completely vernacular design with its thatched roofing, stone pathways, open spaces, and the open air theatre. Both, The Meghdoot Complex and Nrityagram are very contrasting and contradicting both functionality wise as well as design wise, starting from their location and up to the materials used for construction.

I. Meghdoot Complex, New Delhi II. Nrityagram , Bangalore

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Meghdoot Complex, New Delhi

The complex stands on a 1.45 hectare site amongst other art institutions forming the cultural center of New Delhi.

The complex has two main entrances, one from the Ferozshah road and another from the Copernicus Marg.

It consists of an administrative block i.e. Rabindra Bhavan, an exhibition block i.e. the Lalit Kala Art Gallery and a theatre block i.e. the Meghdoot Theatre.

The Meghdoot Complex also has a lot of lush green open spaces, accessible entry, parking for about 20 four wheelers, a separate two wheeler parking near the other entrance and also a canteen.

On the ground floor of the Rabindra Bhavan is the Kaustubh Auditorium which is linked to the Lalit Kala Art Gallery by means of a shaded walkway.

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Parking

Meghdoot Theater Complex

Rabindra Bhavan

Canteen Conservatory for Music and Performing Arts| 44

RABINDRA BHAVAN

Rabindra Bhavan was built to mark the birth centenary of Tagore, who in addition to being a poet and novelist, was an artist, playwright and composer. The building houses the Sangeet Natak Akademi, Lalit Kala Akademi and the Sahitya Akademi.

Rabindra Bhavan, Y-shaped in plan, is a four-storey structure that houses the offices of the three academies. The space here, is mostly occupied by the Sangeet Natak Akademi. Ground floor consists mainly of SNA‘s library & Gallery of Musical Instruments and entrance towards meghdoot theatre, 1st 2nd and 3rd floors are the Lalit Kala, Sangeet Natak and Sahitya Akademis respectively.

It was designed by architect Habib Rahman.

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DESIGN

The administrative block, Y-shaped in plan, is a four-story structure to house offices of the three academies and a library.

A 1.2m roof overhang protects building surfaces from the streaking effects of rain. Centre-hung windows have a double row of continuous sloping R.C.C. chhajas, blocking off strong sunlight yet permitting breezes to flow in.

The long walls of Rabindra Bhavan are of brick masonry, whilst the end walls of the wings are in random rubble stone masonry.

The main entrance into Rabindra Bhavan is where the 3 wings meet. The entrance hall, lift and staircase are placed here, though each of the 3 wings have have their own staircase for internal vertical circulation.

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SANGEET NATAK AKADEMI (SNA)

The Sangeet Natak Akademi, New Delhi - India's national academy for music, dance and drama - is the first National Academy of the performing arts set-up by the Republic of India.

In furtherance of its objectives the Akademi coordinates and collaborates with the governments and art academies of different States and Territories of the Union of India as also with major cultural institutions in the country.

The Akademi establishes and looks after institutions and projects of national importance in the field of the performing arts.

The National School of Drama, set up in 1959, was the first of their two national institutions of dance -- Jawaharlal Nehru Manipur Dance Academy in Imphal and Kathak Kendra (National Institute of Kathak Dance) in New Delhi - were set up in 1964 respectively. National Projects of Support to Kuttiyattam - the age-old Sanskrit theatre of Kerala - Chhau dances of eastern India and Sattriya traditions of Assam have been lauched subsequently.

The Akademi Awards are the highest national recognition conferred on eminent artistes. SNA FUNCTIONS

The academy functions as the apex body of the performing arts in the country to preserve and promote the vast cultural heritage of India expressed in music, dance and drama. It also works with governments and art academies in states and territories of the country. SNA established several institutions over the years: Manipur Dance Academy, Imphal , Sattriya Centre, Kathak Kendra (National Institute of Kathak Dance), New Delhi in 1964, Ravindra Rangshala.

Centers: Centre for Kutiyattam, Thiruvananthapuram, a national project in the support of Kuttiyattam (the age-old Sanskrit theatre of Kerala), Chhau Centre, Baripada/ Jamshedpur, Northeast Centre.

In addition, the Akademi subsidizes the work of institutions engaged in teaching, performing or promoting music, dance, or theatre. Gives grants to aid research, documentation and publishing in the performing arts. Organises and subsidises seminars and conferences of subject specialists. Documents and records the performing arts for its audio-visual archive. Renders advice and assistance to the government of India in the task of formulating and implementing policies and programmes in the field. Carries a part of the responsibilities of the state for fostering cultural contacts between regions in the country, as well as between India and the world. Organises its annual festival of music, dance and theatre in NCT Delhi. Conservatory for Music and Performing Arts| 47

SNA LIBRARY

The SNA library has a specialized collection of books on music, dance, and drama comprising over 20,000 volumes. The books are chiefly in English and Hindi, although several other Indian languages are also represented, such as Marathi, Bengali and Tamil.

A number of journals on performing arts, Indian and foreign, are available in the library; the files of back numbers are especially useful to researchers. The library also maintains files on personalities in the performing arts, consisting of clippings from newspapers and periodicals. They also have an online public access catalogue of the books available. They have a back side office for the library which also houses the archive section of the library. It consists of a separate reading room.

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SNA GALLERY OF MUSICAL INSTRUMENTS- ASAVARI

Inaugurated in February 1964, the Akademi maintains a museum and gallery of musical instruments which showcases the rich heritage and legacy of performing arts as well as musical instruments from different regions of the country.

The collection comprises over 2000 objects relating to the performing arts. These include musical instruments, masks, puppets and headgears.

Methodical collection began in 1968 when the Akademi organized an exhibition of about 400 folk and tribal musical instruments in Delhi. Acquisitions have been made regularly since then, and the holdings supplemented by gifts from musicians and visiting troupes.

Out of their 600, 200 instruments are on permanent display representing instruments from different streams of music. The instruments have been classified as Wind instruments (aero phonic) including Bansuri and Nagaswaram, String instruments (chordophonic) including Dilruba and Veena, Percussion instruments (membrano phonic) including Tabla, Mridangam and (idio phonic) Bortal, and Ghatam.Among the rare instruments are the Kachwa Sitar of North India and Gettu Vadyam of Tamil Nadu.

As part of this gallery, SNA also has a gallery of masks and puppets.

• Masks: The gallery has also a variety of masks from all over India. These include Chhau masks of Jharkhand, Zari masks of Uttar Pradesh and Krishnattam masks from Kerala.

• Puppets: The large collection of puppets in the museum include the Kathputli (string puppets) of Rajasthan, Benir Putul (glove puppets) of West Bengal, Kalasutri Bahulya (string puppets) of Maharashtra, Tolu Bomalatta (shadow puppets) of Andhra Pradesh and many more.

Many exhibitions of musical instruments, masks and puppets from the Akademi‘s collection have been held in India and abroad like Hong Kong, Rome, Moscow etc.

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LALIT KALA ART GALLERY

The pentagonal exhibition block, one side of which follows the curve of an adjacent traffic island.

The gallery has circular columns running through. The galleries around a central service core have continuous exhibition spaces with provision for natural and artificial light.

Jalis have been discreetly used in various parts of the building to reduce glare and provide subdued natural light. 4 floors out of which 2 are mezzanine. Right below the Foyer area is where paintings and art works are stored when not in display. Huge frameless glazed windows provide ample sunlight/ natural light into the foyer area. The galleries have movable ceiling light fixtures whose distance and angle can be adjusted.

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MEGHDOOT THEATRE COMPLEX

As soon as one enters the theatre complex, there is a small garden. On the left side is a staircase supported by a red brick wall on either side. This staircase leads to the Meghdoot Theatre which is an open air theatre with a seating capacity of about 200- 250 people. The stage being very unique, has a huge tree at the center. Free standing brick walls are used as the stage wings. Right behind the stage are the green rooms and wash rooms. Once backstage, towards the right side is the editorial room. Towards the left side is a passage which leads to two riyaaz (practice) rooms. The in between space separating the two rooms is used as a common green room. The room on the right side is much smaller. Has smaller green rooms on either side which can also be doubled as a seminar hall. Has a dias with a projector. Acoustically treated and fully air conditioned. Seating capacity is about 50-75. The room on the left side is much bigger and can also be used for programs. There is a very small level difference between the stage and the seating. Seating capacity is about 100. Backside entry/exit leads to parking.

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Nrityagram, Bangalore. INTRODUCTION

Located in Bangalore, Nrityagram is India's first modern Gurukul (residential school) for Indian classical dances and an intentional community in the form of a dance village, set up by Odissi dancer Protima Gauri in 1990. The residential school offers training in Indian classical dance forms, Odissi, Mohiniattam, Kathak, Bharatnatyam, Kuchipudi, Kathakali and Manipu ri, eight hours a day, six days a week for seven years, following the ancient Guru- shishya tradition.

Nrityagram is a community of dancers in a forsaken place amidst nature. A place where nothing exists, except Dance.

Here, the gurus and students work in the fields within Nrityagram, which has 10 acres of land, and grow their own food.

Nrityagram is a community of dancers in a forsaken place amidst nature.

A place where nothing exists, except Dance.

It was designed by Gerard Da Cunha, following the vernacular architecture of the region.

Site Area: 10 acres

Location: Hessarghatta, outskirts

Of NW Bangalore.

Completion: Inaugurated in 1990

Vicinity: Hesarghatta village, cut off from the main city.

Architect: Gerard Da Cunha. The buildings are built of mud, giving the feel of a village. Open areas have large green cover and many trees dot the place.

Accessibility: The nearst bus stop is the Hesarghatta village stop, from there an auto ride takes on to Nrityagram.

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FUNCTIONS AND COMPONENTS

Nrityagram is a gurukul 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 classical dances of India. The Gurus and students work together in the fields and grow their own food.

The gurukul is a place of holistic living. It comprises of the Odissi gurukul. Kathak gurukul, Mohiniattam gurukul, a temple, yoga center, amphitheater, office, service block, guest cottages, dormitories and various gardens.

While there are only a small number of students undertaking the full six years of training (3+3), the school also runs a large number of workshop activities.

Temple and Yoga Centre: As soon as one enters Nrityagram, on the right side is a Temple with a Yoga Centre.

The temple built by Ray Meeker in 1998. The temple is made of raw mud and fired after it was built. The temple is decorated with panels depicting the elements, dance motifs, mudras and designs from costumes and ghungroos or anklets.

Reminiscent of the Stonehenge, the Yoga Centre is and open structure attached to the temple. It is a circular space, built on a platform. This space is also used for in- house performances under an open sky.

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Raymond‘s Gurukul: The Raymond's Gurukul, the main dance hall, is designed uniquely. It has a curved roof with a skylight on top. Right outside Gurukul on the left side is a tiny seating area. One must leave their footwear outside before entering. Once entered, on the right side is the Odissi dance hall which is semi open. Seating provided for visitors to spectate the dance. Entrance of dance hall has a stone lintel resembling the entrance of a temple. The famous Odissi dancer, Surupa Sen‘s room is in this Gurukul. The door of her room was a rustic door with ―Surupa‘s Home‖ hand painted above it. Cantilever staircase leading upto an attic. Presence of a courtyard. All walls are of stone.

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GUEST COTTAGES

These brick-red mud cottages are round structures, inspired by the yurts of Tibet and Ladakh. They have traditional designs and wall patterns painted with white rice flour paste. Though traditional on the outside they do have modern facilities on the inside.

These cottages have housed some of the greatest maestros of dance and music, who have come to perform at the Vasantahabba.

Each unit usually has two guest cottages with a small informal seating right outside.

A group of these units at some places surround a small seating area made of stone slabs and also have fire pits for campfires.

Since these cottages are more private, they do not give permission to look at the space inside the guest cottage.

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STUDENT RESIDENCES

This is for the students who reside in the dance village who have taken up the basic or advanced course, each of which are for 3 years. A maximum of about 10 such students are here. Right outside the residence is an open area without any defined pathway. Can be used as a gathering space and has seating around it in the form of stone slabs. On entering, there is a small, common open kitchen on the right side and a dining area on the left. This residence is in a U shape with the rooms located on the periphery. Each room has a Sanskrit words painted above the door like, Nirvritti or Khandita etc.

AMPHI THEATRE

Scooped out of the red earth, this is one of the most famous structures at Nrityagram. It is here that several thousand people congregate every February for the annual Vasantahabba.The Amphitheatre has 9 culted steps. It also has a platform which is accessed curved by steps one either sides and also from the back side. This platform is supported by 10 stone pillars. The space below the platform will be covered during performances and is used as dressing rooms.The platform also acts as a view point to the entire amphitheater below.The Amphitheatre is set away from the rest of the gurukul, a little isolated.

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SERVICE BLOCK

Built like a reverse 2. Heart of the village. Contains the common dining hall, kitchen, services and accommodation for the cooks. Had a very unique floating staircase which was supported by a stone archway. Spaces in between were filled with smaller stones to lend more stability. This staircase led to a wate tank on top.

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KATHAK GURUKUL

The Kathak Gurukul is little further away from the Odissi Gurukul. Basically a courtyard surrounded by stone archways, one of which leads to the Kathak Dance Hall. This hall in turn has many more stone archways. Blocking the pathway of these archways are stone slabs which may be used for seating. All the walls are of stone. The roof has tiny skylights to let in light.

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OTHER FEATURES

Stone pillars rigidly placed near the entrance for aesthetic purposes.

This is a very unique feature found here. The water would pass through the pipe with gushing force and into the bucket which is connected to a bell. Once the bucket is filled it will go down allowing the bell to go up causing it to ring.

The pathways have unevenly placed stone slabs and have red soil giving it a very earthy finish. The periphery of some of the halls have defined boundaries with stone slabs arranged in a creative manner

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Inferences MEGHDOOT COMPLEX, NEW DELHI

• Meghdoot Complex Theatre being the most interesting space of all had many interesting features like the secluded open air theatre, brick walls as stage wings and also the riyaaz rooms that can be doubled as seminar halls.

• The split levels in the art gallery with the movable light fixtures are interesting features.

• Having a Gallery of Musical Instruments and collecting them over the years and also exhibiting them is also a go way to promote our country‘s vast array of musical instruments.

• Rabindra Bhavan having 3 wings with each wing having its own staircase and elevator for vertical circulation.

• The double row of sloping chajjas in order to block the harsh sunlight.

• All these positive features can be taken into consideration for my project. NRITYAGRAM, BANGALORE

• The vernacular architecture suits the context of Nrityagram.

• The red mud, uneven pathways, stone structures, thatch roofing etc all give the right feeling of a typical gurukul.

• Even the cottages were all basically huts with warli paintings on them.

• All of these gave the feeling of a typical dance village with the dance beats running in the back ground.

• The isolation of the amphitheater serves to an advantage in order to avoid any disturbance.

• All these positive features can be taken into consideration for my project. Conservatory for Music and Performing Arts| 63

OBJECTIVE

The importance of Music and Performing arts in education is significant. Whether the students have the opportunity to perform in productions or help out behind the scenes, studying performing arts not only engages with the creative side of the brain, it also provides an ideal balance in the students‘ patterns of study.

Students gain important life skills as they learn the value of critical feedback, both positive and constructive. They have the opportunity to celebrate the richness and depth of human expression in all its forms. Through creative expression students learn to comprehend our world better and are therefore better equipped to navigate the challenges they might be faced with. The performing arts allow an avenue to develop cognitive abilities that complement study in other disciplines. It builds confidence which benefits public speaking opportunities.

Communication between peers is accelerated as students are exposed to group activities. This experience also provides opportunity for students to display cultural leadership qualities. Some students find their ―voice‖ while studying the Arts. They may discover they are natural problem solvers or leaders. Creative expression is a great way to build self-confidence and can be particularly beneficial for introverted and reserved students.

The Arts can be a source of solitude- a place where a person is able to shut out their surroundings and immense themselves in a creative environment. This process allows the imagination to thrive, aiding internal exploration. It‘s a natural precursor to a well-developed sense to self.

The Arts can act as an agent through which a variety of emotions can be learned, rehearsed and practiced. Adolescents can find it difficult to express the emotions and so the Arts provide a great outlet for people to explore a wide range of feelings including delight, anger and unhappiness. This experience can define a student‘s growing sense of independence and interdependence.

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The main reason for selecting this topic for my thesis is to restore the once given importance to Indian Performing arts by providing a huge platform to the people out there. Providing this as a career choice to the many people out there. For those believe that it is still not too late to restore our interest in performing arts.

In India, due to the rapid growth in fields like Medicine, IT, Architecture etc, the amount of importance which was once given to Indian art forms is not there anymore.

This project is going to be one of a kind and mainly study oriented. It is sure to benefit not just the students who hope to become aspiring artistes but also supporting the fact that Arts can also be a successful career choice.

It can also be a tourist hub by organizing yearly festivals that go on for 7 to 10 days making it world famous, getting performing artistes from all over the world and also form its own performing troupe to travel far and wide for various other festivals, thus hyping our heritage, once again.

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DATA COLLECTION

1. ACOUSTICS 2. CONSERVATION 3. ECOLOGY AND ARCHITECTURE

ACOUSTICS

SYMPTOMS OF POOR SOUND INSULATION:

Sound travels from one area to another through:

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DOORS AND WINDOWS:

To provide effective sound isolation, doors need to be solidly built with sufficient mass. Most doors are 1 ¾‖ thick and not built for adequate sound isolation. They also must seal tightly around the jamb and over the threshold to contain sound.

Windows can provide effective sound isolation if they are constructed with two isolating panes. It is best if each pane is a different thickness over ¼‖ so they do not resonate at the same frequency. Also, separating the panes with an absorptive air space of at least 2‖ greatly improves the sound isolation. Windows that open should also seal tightly with gaskets.

• For poorly constructed doors, it is possible to increase the sound isolation ability by adding mass with materials like 3/4" plywood or sheet metal applied to both sides. Evaluate how this may interfere with the lever set, hinges and jamb.

• To eliminate sound leaking through a single pane of glass, consider adding a second pane of laminated glass. Use glass that is at least 1/4" thick and separate the two panes as far apart as possible.

• If doors and windows do not have seals, or they are torn or missing, add new seals. Magnetic seals work the best but, if they are not an option, make sure to choose a dense, flexible material like neoprene. The goal should be an air tight connection.

• For window panes that are loose in their mountings, re-glaze the openings or seal panes to be airtight.

• Sound isolation for doorways can be increased by adding a second door in front of the original door — similar to the double doors common between adjoining hotel rooms.

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WALLS:

While walls are impenetrable visual barriers, they are often poor sound barriers. And keep in mind it doesn‘t take much to compromise the isolation effectiveness of a wall. In fact if you had a solid 4' x 8' wall and put a tiny hole in it the size of a quarter, you would reduce the effectiveness of the wall by 80%. Identifying the trouble spots will require some thorough checking. The walls you probably want to focus on are interior walls, especially those that are shared with adjoining classrooms or office spaces. To provide adequate sound isolation, walls need Conservatory for Music and Performing Arts| 68

to have a great deal of mass, seal at the floor and ceiling deck, and contain a space of dead air and insulation.

• Sealing walls at the ceiling, floor and around window and door frames is very important and often overlooked during construction. These gaps can be as large as few inches or just a fraction of an inch and are often hidden under trim strips. For large gaps, use a material that will be dense and solid — like gypsum board as opposed to just stuffing the space with fiberglass. For small gaps the only solution may be a silicone caulking.

• Correcting improper wall construction is absolutely critical for adequate sound isolation. It will require a skilled carpenter to extend the wall to the ceiling deck and seal it correctly. Another option is a loaded vinyl sheet plenum barrier.

CEILINGS AND FLOORS:

The ceiling and floor must have sufficient mass to isolate sound.

Ceilings that are roof decks are often too thin or constructed with corrugated steel. And if the ceiling in the room is the floor for a room above, one may hear significant sound transfer. Holes cut into floors and ceilings for ductwork, electrical and plumbing can also cause problems unless correctly detailed. Conservatory for Music and Performing Arts| 69

Metal roofs are often corrugated and not sealed to the walls. Trusses are another typical trouble spot for isolation. Make sure common openings between rooms are sealed. If sound transmission is coming into the room from the floor, a floating floor needs to be installed. To seal holes around pipes, conduit, vents, etc., patch opening with gypsum board or other heavy material and caulk perimeter joint at penetration with an acoustical sealant.

ECHOES AND STANDING WAVES:

Room shape and surface materials play the biggest role in creating unwanted echoes and frequency anomalies such as standing waves. Parallel, flat untreated reflective surfaces such as brick or concrete block walls facing each other are usually to blame. Keep in mind that the two largest facing surfaces in most rooms are the floor and ceiling. In most cases, musical sound reacts best to a wood or tile floor. Surfaces like this provide quick, early reflections to each musician. Carpet will strip out the higher frequencies providing only selective reflection. Rooms that generally provide the most satisfaction have untreated floors with acoustical treatments on the walls and ceiling. The primary goal is to minimize parallel, reflective paths between the surfaces in the room. This is best accomplished with a combination of diffusive and absorptive treatments. These are easily applied to walls and ceilings. To treat large glass surfaces, add heavy, velour drapes over sections of the windows. Walls may be splayed or angled but to be effective this must be done on two planes.

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Rooms that are simply described as "difficult in which to hear" usually are exhibiting problems related to room shape and interior treatments. Hot spots, dead spots, excessive reverberation, a lack of clarity or a combination of these types of problems make proper ensemble difficult if not impossible. These problems are usually treatable with the proper mix of absorption and diffusion.

Too often absorption treatments are applied without properly integrating diffusion. It is important to understand that for a music space to support critical listening, qualities of absorption and diffusion must interact. While proper absorption can balance the dynamics of frequency and control loudness, diffusion must also be present to scatter and blend musical sound.

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AUDITORIUM:

An effective floor plan takes into account all the uses of the performance area, as well as adjacent areas. You‘ll also need to plan for the storage and movement of various equipment. Equipment and materials are commonly moved from rehearsal spaces into performance spaces and back again.

The performance area should be located in proximity to rehearsal and dressing rooms as students with instruments and furniture frequently move between these spaces. Backstage areas are often used as warm-up spaces. Performers also use the backstage area to change clothes, store their instrument cases, and wait for their performance. Traffic moves on and off stage throughout a performance. These adjacent areas should be separated from the audience and foyer to prevent disturbances. You‘ll need dedicated storage areas for many large pieces of equipment, including staging, risers, shells, furniture and pianos. This equipment must be frequently moved into other areas to allow stage use by various groups. You‘ll need an orchestra pit if musical theater, operetta and opera are part of your theater‘s programming. Extensions and covers make the pit usable at the stage and at several floor levels. Other performance area users will have significant equipment needs of their own.

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CONSERVATION

―Conservation‖ means all the processes of looking after a place so as to retain its historical and/or architectural and/or aesthetic and/or cultural significance and includes maintenance, preservation, restoration, reconstruction and adoption or a combination of more than one of these.

Architectural Conservation deals with the issues of prolonging the life and integrity of an architectural character, such as the form and style, and/or its constituent materials, such as stone, brick, glass, metal, wood etc.

In my project, conservation refers to the adaptation of traditional architecture of Karnataka as the topic relates to Indian Performing Arts and is located in Bangalore, Karnataka.

By adapting the vernacular architectural methods of construction, elements or materials found in Karnataka, the space can give the essence or slice of the rural life.

Features of vernacular architecture of Karnataka are varied and constitute the elements intricate designs and forms. The inter-relation between built-form and life- style can be better understood through specific examples.

The Thotti Mane is a traditional design of a house in the rural areas of the Malnad region. The main feature of this is a central, dominating square area which resembles a thotti or pond. This lets in enough light and ventilation. Being the central area, it also acts as a gathering space. It provides circulation space, knitting closely as it were the different parts of the household. There could be several household activities peculiar to the court even as it serves as a spill-over space for other activities in the interior. The thotti mane in my project can be implemented for the housing of the faculty and guest artistes.

The jagali is the Kannada word for what may be rather inadequately described as an open verandah with a raised platform. This is invariably located in the front of the house. It is associated with a large number of functional and symbolic values. It is the buffer between the shared community area in the front of the house and the privacy of the inner house.

The use of brick and laterite very often also goes along exposed masonry, which provides a harmonious match to the red tiles.

Can also implement courtyards as part of the design which can be formed by a cluster of buildings. Another idea can be to have interconnecting courtyard spaces.

Elements such as stone columns, sloping roofs, usage of Mangalore tiles, Kalyanis etc also pertain to traditional architectural elements of Karnataka. Conservatory for Music and Performing Arts| 73

Arrangement of spaces is more linear and spread out. Hence, the masterplan will also be more linear. Attention to green spaces and visual connectivity is also a given.

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ECOLOGY AND ARCHITECTURE

‗Ecology‘ is the study of living systems and their relations to one another. The study of living systems has influenced architectural design in various ways.

It is a concern with how ecological properties in a site impact the building and its occupants.

An Ecological design is defined as any form of design that minimizes environmentally destructive impacts by integrating itself with living processes. Ecological design is an integrative ecologically responsible design discipline. Ecological Architecture merges the interests of sustainability, environmental consciousness, green, natural, and organic approaches to evolve a design solution from these requirements and from the characteristics of the site, its neighborhood context, and the local mirco-climate and topography.

Elements consist of the soil and landscape, site selection, water resources, and waste management.

It is naturally site-sensitive. The location of a building has a direct impact on its performance. The local ecology of the site, its gradient, orientation, and exposure provide specific conditions, while the regional climate offers a more general context for design. We incorporate aspects of passive solar and thermal mass into all of our work as a mechanism of reducing energy consumption.

It emphasizes natural materials and the use of renewable resources that come from the earth in such a way that they can be returned to the earth without causing harm.

The site has an existing vegetation of 123mx55m of tall trees. This can play a huge role in altering the micro climate of the site if the buildings are arranged and oriented in a right manner.

Having connecting courtyards and also central courtyards in the thotti mane can provide sufficient natural lighting and ventilation.

Traditional roofs are sloped, constructed using Mangalore tiles and also have small skylights which let in light.

The types of materials used are: Roofing- Mangalore tiles. Walls- Stone and Mud. Frame work- Timber.

The dance studios can have thatched roofing/ tiled roofing with skylights. Semi open walls, jaali walls etc which provide sufficient natural lighting and ventilation.

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SITE ANALYSIS

The site is 21 acres in area and is located in Swiss Town, Sadhahalli, Bangalore. The nearest landmark being the Clark‘s Exotica Resort located right opposite to the rear side of the site.

The proposed project is a Conservatory for Music and Performing Arts.

DEMOGRAPHICS

. With an estimated population of 8.5 million in 2011, Bangalore is the fifth most populous city in India and the 18th most populous city in the world. Bangalore was the fastest-growing Indian metropolis after New Delhi between 1991 and 2001, with a growth rate of 38% during the decade. Residents of Bangalore are referred to as "Bangaloreans" in English and Bengaloorinavaru or Bengaloorigaru in Kannada. The cosmopolitan nature of the city has resulted in the migration of people from other states to Bangalore Conservatory for Music and Performing Arts| 76

SITE CONTEXT

 Consists of existing vegetation within site  Flat land i.e no contours  ~2.5 km away from Bangalore-Hyderabad highway.  Adjacent Land on either side.  Located within suitable distance from other educational institutions.  Due to existence of a nearby educational institute and a few surrounding resorts in the area, roads are well developed and well maintained.  Access to site is from both the front side and rear side making it easier and convenient.  Left side of the site has another under developed road with connects the roads on either side of the site.  Nearest hospital is the Mother Theresa Hospital, located 4km from the site.  Road width- Front side: 6m (with divider) and Rear side: 6m (without divider) Conservatory for Music and Performing Arts| 77

SITE PICTURES

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DESIGN OUTPUT

Since this project is related to the performing arts topic and mostly focused on Indian Performing Arts, the initial idea was to keep the design minimal and not focus too much on the aesthetics of the project. The space is supposed to be more about the feeling and experience one gains from the place. So, the focus then shifted to the ―experience‖ aspect and led to the thinking of how it could be achieved.

In the priliminary stages, the concept was to implicate the feeling of old South India where there would be elements pertaining to the architecture of South India. Then with a little guidance I came to realise that there was nothing for me the design as these were already existing features.

The evolution of the building forms came through the Hastas/Hand Gestures used in classical dances of India. These gestures only helped me gain a basic form for the buildings and then the plans further evolved from there.

The topic is closely connected to sound, acoustics etc. This introduced a barrier/limitation in my design as spaces have to have certain shapes in order to achieve decent acoustics/ sound proofing. I also had to keep in mind the standards of performing spaces in the project.The space is not just for the students learning there. The auditorium in the project accomodates approximately 650 people. Considering that the city is expanding and people are moving outward, and auditorium of this magnitude will also be occupied even for various performance festivals the are organised in Bangalore like the Bengaluru International Dance Festival being the main one.

Since this is more about what one experiences/ feels, I have tried to keep the whole project as open and linear to the site as possible. The feeling is to be more calm and quiet and feel disconnected from the outside world.

Keeping all these factors in mind, the designed evolved and went through a lot of changes over the months to get to where it is now. Also, many open performance areas have been added within the site because this being a topic connected to music or dance or theatre, one can never have enough performace spaces. The main Academic block has a huge open courtyard with a stage, the auditorium, the kalyani can also be used creatively for performing, right infront of the Buddha statue which emits a feeling of peace and calm. Right infront of the cafeteria is another performing space which can be used by the students more informally.

Separate parking spaces have been alloted for students, administrative office, the auditorium and the faculty/guest artists.

All of the smallest details kept in mind have helped shape this project.

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INITIAL PLANS- Academic Block

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INITIAL PLANS- Admin, Dance Studio, Accomodation. The plan of the admin block was evolved for a classical dance hand gesture called Garuda. Initially the Admin Block was just one floor but I later on came to realize that the admin block has more needs and functions and instead of continuing to expand the same floor, another floor was created to add more dimension to it.

The plan of the dance studio was evolved from a classical dance hand gesture called Matsya. The plan did not necessarily evolve from how the gesture looks but from what it means which is a fish. Although the central part was maintained, the corners being a bit of a hassle were discarded. The 6 studios are arranged to form a courtyard.

The student accommodation was initially to be separate houses like the traditional South Indian thotti mane. But accommodating very few of a large number in each house took of a lot of space on site. This plan then went on to be for the guest/faculty accommodation. Conservatory for Music and Performing Arts| 81

Concept and Zoning, Master Plan, Auditorium and rough Area Statements.

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FINAL OUTPUT- Academic Block

GROUND FLOOR SECOND FLOOR

FIRST FLOOR Conservatory for Music and Performing Arts| 83

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FINAL OUTPUT- Admin Block

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FINAL OUTPUT- Auditorium

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FINAL OUTPUT- Cafeteria

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FINAL OUTPUT- Guest Accomodation

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FINAL OUTPUT- Student Accomodation

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FINAL OUTPUT- Master Plan

The Master Plan is divided into 3 zones i.e Public, Semi-Public and Private.

The public zone is on the right side of the site. It consists of the Admin block, Auditorium and the main parking area for both the blocks.

The semi-public zone is the middle part of the site. It consists of the main Academic block and the Dance Studios.

The private zone is on the left side of the site. It consists of the Student Accomodation, Faculty/Guest Accomodation and the Cafeteria.

Separate parking spaces have been alloted for the students and faculty respectively.

Spread across the site are various other elements like the Kalyani, Buddha Statue, Exhibition Space, Performance spaces, Basketball court+Jogging track etc.

Main entrance is from the South Side which is the front side of the site. The service entry is located on the left side of the site.

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FINAL OUTPUT- Master Plan

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CONCLUSION

The conservatory aims at providing a challenging academic program in music, dance and drama that fosters a collaborative exchange of ideas and thoughts in a culturally rich environment exemplifying the notion of a global community. The students here will grow in the field of arts both practically and theoretically. It will help stimulate creativity, expression and aesthetic judgment. This conservatory will help promote our culture through performing arts.

By establishing this conservatory, where people who are completely involved in the performing arts will get all the possible facilities under one roof. People learning in this facility not only gain knowledge in the performing arts, but also get to discover the hidden meaning of what it is and through this conservatory one can persevere the genres in arts.

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REFERENCES

 http://www.btac.nsw.edu.au/2016/10/importance- drama-performing-arts-education/  http://www.soundcontrolroom.com/design- considerations-for-recording-studios.php  http://www.theatresolutions.net/auditorium- seating-layout/#infographic  https://www.wengercorp.com/Construct/docs/Per formance%20Spaces%20Planning%20Guide.pdf  https://en.wikipedia.org/wiki/Acoustics  https://www.juilliard.edu/  http://www.rwcmd.ac.uk/  http://www.ndta.org.uk/Documents/dance-studio- specification.pdf  http://www.academia.edu/4857140/GENERAL_D ESIGN_CONSIDERATION_OF_ROOM_ACOUS TIC