TABLE OF CONTENTS

LIST OF FIGURES…………………………………………………..……………4

LIST OF TABLES………………………………………………….…………..…7

1. Synopsis
1.1 Introduction/ Importance of Project……………………………………..8
1.1.1 Performing arts……………………………………………………..8
1.1.2 Types of Performing arts………………………………………..….9
1.1.2.1 Music…………………………………………………….....9
1.1.2.2 Dance…………………………………………………….....9
1.1.2.3 Theatre……………………………………………………...9
1.1.2.4 Magic…………………………………………………….....9
1.1.2.5 Puppetry……………………………………………………10
1.1.2.6 Circus………………………………………………..……..10

1.2 About
Project……………………………………………………………………..10
1.3 Aim………………………………………………………………………...11
1.4 Objectives………………………………………………………………….11
1.5 Scope/ Limitations…………………………………………………………11
1.6 Validity…………………………………………………………………....12
1.7 Methodology………………………………………………………………13
1.8 SiteAnalysis……………………………………………………………….14
1.8.1 Temperature and Rainfall Data of Delhi…………………………….14
1.8.2 Location map………………………………………………...………15
1.8.3 About site…………………………………… ………………………16
1.8.4 Roads and Connectivity………………………………………….….16
1.8.5 Site surroundings……………………………………………………17
1.8.6 Wind direction and Sunpath…………………………………………17
1.8.7 Vegetation……………………………………………………………18
1.8.8 Lutyen’s Bungalow Zone……………………………………………18
1.8.9 Bye-Laws…………………………………………………………….18
2. Case Studies
2.1 National center for Performing arts Mumbai…………………….………19
2.1.1 Location………………………………………………………….…19
2.1.2 Site…………….…………………………………..………………..19
2.1.3 Site
Plan…………………………………………………………………20
1|NCPA, Delhi
 2.1.4 Theatres in NCPA…………………………………………………..20
2.1.4.1 Tata theatre………………………………………………….21

2.1.4.2 Jamshed Baba Theatre…………………………..………….23

2.1.4.3 Gogrej Dance Theatre……………………………….……..26
2.1.5 Miscellaneous spaces……………………………………………….26
2.1.6 Recording Studio …………………………………………………..27
2.1.7 Structure…………………………………………………………….27
2.1.8 Sunken Garden………………………………………………………27
2.2 Triveni Kala
Sangam………………………………………………………………..….29
2.2.1 Location…………………………………….………………………29
2.2.2 Architect………………………………………..…………………..30
2.2.3 Area……………………………..………………………………….30
2.2.4 Site
Plan…………………………………………………………………30
2.2.5 Access………………………………………………………………30
2.2.6 General Planning and Layout…………………….…………………31
2.2.7 Exhibition Gallery…………………………………………………..31
2.2.8 Music Studios….……………………………………………………31
2.2.9 Audio Visual Studio………………………………………………..32
2.2.10 Auditorium………………………………………………………....32
2.2.11 Open Air Theatre………………………………………………........33
2.2.12 Inferences…………………………………………………………..33
3. Literature Study
3.1 Perorming arts in India……………………………………………….......34
3.2 Entrance Foyer………………………………………………………..….37
3.3 Offices and Associated areas………………………………..………..….37
3.4 Public Entrance…………………………………………………………..38
3.5 Library…………………………………………………………………..38
3.6 Auditorium and Stage formats…………………………………..………38
3.7 Predominant types of production……………………….…………….…39
3.8 The viewer…………………………………………………………….…40
3.9 Backstage Work Flow…………………………………………………....41
3.10 Auditorium Design………………………………………………………...42
3.11 Auditorium Acoustics………………………………………………….…42
3.11.1 Reverberation……………………………………………………..42
3.11.2 Echo……………………………………………………………….42
3.11.3 Interference………………………………………………………..43
3.11.4 Factors affecting acoustics in a room……………………………..43

2|NCPA, Delhi
 3.11.5 Diffusers…………..………………………………………………46
3.11. Reverberation Time…………….…………………………………..48
3.12 Seating Layout………………………………………………………..…..50
3.13 Other Factors……………………………………………………………...50

3.14 Travel Distance……………………………………………………..……..51

3.15 Exit Numbers…………………………………………………………..…..51
3.16 Exit widths……………………………………………………………..….51
3.17 Exit Route…………………………………………………………….……51
3.18 Performers access through auditorium…………………….………….......52
3.19 Horizontal Sightlines……………………………..……………….………52
3.20 Vertical Sightlines……………………………….…………………….….53
3.21 Public Address……………………………………………………..………54
3.22 Rehearsals…………………………………………………………………54
3.23 Broadcasting and recording……………………………………………….54
3.24 Aids for the hard of Hearing………………..…..…………………………54
3.25 Fire protection……………………………………………………………..54
3.26 Ceiling zone…………………………………………………………….…55
3.27 Seating Capacity………………………………………………………..…55
3.28 Orchestra Pit…………………………………………..……………..........56
4. Design Philosophy
4.1 The Existing
Design……………………………………………………………………58
4.1.1 Entrances to the Site……………………………………………......58
4.1.2 Design Philosophy……………………………..…………………..59
4.1.3 Buildings…………………………..………………………………60
4.2 Concept
4.2.1 Proposal……………………………………………………………61
4.2.2 Interactive Spaces………………………………………………….62
4.2.3 Survey…………………………………….………………………64
5. Area
Requirements……………………………………………………………..68
6. Bibliography…………………………………………….………………..70

LIST OF FIGURES

3|NCPA, Delhi
1. Orissi Dance………………………………………………………………………8
https://www.google.com
2. Temperature and Rainfall data , New Delhi………………………………………14
https://www.climate data.org
3. Physical Map of India…………………………………………………………….15
https://www.bestwebsiteinindia.com/blog/top-14-most-important-maps-of-india/
4. Boundary Map of Delhi …………………………………………………………..15
Google earth
5. Sprawling Lawns of IGNCA……………………………………………………....16
6. Maatighar…………………………………………………………………………..16
7. Canals of India Gate………………………………………………………………..16
https://en.wikipedia.org/wiki/
8. Rajpath Road Newtwork, New Delhi……………………………………………....16
9. Google earth.
10. Site surroundings……………………………………………………………………19
11. National Center for Performing Arts………………………………………………..19
https://www.ncpamumbai.com
12. View from Nariman Point………………………………………………………......19
https://www.google.com
13. View from entrance……………………………………………………………..…..19
https://www.google.com
14. Site Boundary……………………………………………………………………….20
Google Earth
15. Site Plan……………………………………………………………………………..20
https://www.slideshare.net
16. Fan shaped Auditorium plan, Tata Theatre……………………………………….....22
17. Entrance Foyer………………………………………………………………………22
https://www.slideshare.net
18. Rotating Stage……………………………………………………………………….22
https://www.ncpamumbai.com
19. Foyer…………………………………………………………………………...……22
https://www.ncpamumbai.com
20. Main Entry to the Restaurant……………………………………………………..…22

21. Lighting Fixtures……………………………………………………………………23

22. Ceiling Plan………………………………………………………………………..23
23. Seating Plan, JBT………………………………………………………………….23
https://www.slideshare.net
24. View of Auditorium……………………………………………………………….23
https://www.ncpamumbai.com
25. Auditorium Layout………………………………………………………………...24
http://www.icsonline.co.in/ncpaweb/explore-auditoriums-dance.html

4|NCPA, Delhi
26. Foyer………………………………………………………………………………25
27. Entrance…………………………………………………………………………...25
https://www.google.com
28. Interior of rehearsal room…………………………………………………………25
https://www.google.com
29. Ceiling Plan……………………………………………………………………….25
https://www.slideshare.net
30. Seating plan. Godrej Dance Theatre………………………………………………25
http://www.icsonline.co.in/ncpaweb/explore-auditoriums-dance.html
31. Foyer………………………………………………………………………………26
32. View of Theatre…………………………………………………………………...26
33. Sunken Garden……………………………………………………………………27
https://www.google.com
34. Location Map, Delhi………………………………………………………………29
https://www.google.co.in/maps.
35. Site Plan…………………………………………………………………………...30
36. Entrance Lobby……………………………………………………………………31
37. Exhibition Gallery…………………………………………………………………31
38. Wooden Panel with Glass wool……………………………………………………32

39. OAT, Triveni Kala Sangam………………………………………………………..33

40. Seating Layouts of Auditorium…………………………………………………….39
41. Backstage operation flowchart……………………………………………………..40
Neuferts- edition 3
42. Auditorium Aisles………………………………………………………………….43
Neuferts- edition 3
43. Reflection of Sound on a Diffuser…………………………………………………47
http://artsites.ucsc.edu/ems/music/tech_background/TE-02/teces_02.html
44. Example of Diffuser………………………………………………………………..47
https://www.google.com
45. Reverberation time required for different rooms…………………………………..43
Sabine, W. Collected Papers on Acoustics (1922). (Harvard University Press.Reimpresión
Dover, 1964).*
46. Theatre Seat dimension……………………………………………………………50
Neuferts- edition 3
47. Exit routes………………………………………………………………………….51
NBC
48. Horizontal Sightlines………………………………………………………………53
Neuferts- edition 3
49. Horizontal sightlines for performers………………………………………………53
50. Vertical Sightlines…………………………………………………………………54
51. Orchestra Pit………………………………………………………………………56
5|NCPA, Delhi
52. Relationship between public spaces………………………………………………57
53. Site Analysis………………………………………………………………………58
54. Lutyen’s Delhi Axes………………………………………………………………59
Google Earth
55. IGNCA Admin / Research building………………………………………………59
https://www.ignca.org
56. Maatighar…………………………………………………………………………59
57. Traditional craftwork……………………………………………………………..59
58. Media Centre………………………………………………………………….….60
https://www.ignca.org

59. Exhibition Gallery…………………………………………………………………60

60. Read and Pink Sandstone building……………………………………………...…61
61. Site plan Proposal………………………………………………………………….61
62. Semi Covered Theatre……………………………………………………………..62
63. Interior of theatre, performing venue……………………………………………...62
64. Sitting around Trees……………………………………………………………….63
65. Semi covered sitting……………………………………………………………….64

6|NCPA, Delhi
LIST OF TABLES

Table 1-Temperature and Rainfall data of New Delhi……………………………………14

Table 2-Bye- laws : Parameters and their value…………………………………………..18

Table 3- Comparison of theatres in

NCPA…….………………………………………………………………………………..28

Table 4-Volume in cu. Ft. required for different music type…………………………...…44

Table 5-Absorption Coefficient of different materials…………………………………….49

7|NCPA, Delhi
CHAPTER 1: SYNOPSIS
1.1 INTRODUCTION
When we talk about the value of arts and culture to society, we always
start with its intrinsic value: how arts and culture can illuminate our
inner lives and enrich our emotional world. And we, as emotional
beings, cherish this. If Science runs the world, then maybe Art is what
we run the world for. Art also helps us express our feelings either by
using our voices, bodies or inanimate objects.

With the cities growing into urban sprawls and agglomeration, the need
for planned cultural spaces is often ignored. Therefore it becomes
important to come up with such proposals, especially in big Metropolitan cities like Delhi, where the fast life
and work pressure makes people forget the importance of art in our lives.

Delhi is a city with great historical importance and rich cultural Heritage. It is also the Capital city of India
and among the cities with the largest number of heritage sites in India. Therefore , it owns the responsibility
of setting the stone to spread cultural awareness across the nation by setting example.

There are already a number of Liberal art Centers in New Delhi, for eg. National Gallery Of Modern art,
Indira Gandhi National Center For Arts but still there aren’t many Performing Arts Center of National
Importance.

Someone once said “Art is energy, emotion, entertainment

and sometimes economics.” Realizing the importance of
this quote, and my keen interest in Performing arts, I
decided to choose this topic.

1.1.1 PERFORMING ARTS Figure 1. Orissi Dance

The performing arts are those forms of art in which individual people perform separately or together. The
artist's own body, face, and presence is needed for the performance. Performance art differs from the plastic
arts, which use materials such as clay, metal or paint which can be moulded or transformed. Therefore
performing Arts have different requirements of space .

8|NCPA, Delhi
1.1.2 TYPES OF PERFORMING ARTS

1.1.2.1 MUSIC
Music is an art form whose medium is sound and silence. Its common elements are pitch ( which governs
melody and harmony), rhythm (and its associated concepts; tempo, meter, and articulation), dynamics, and
the sonic qualities of timbre and texture.

The creation, performance, significance, and even the definition of music vary according to culture and
social context. Music ranges from strictly organized compositions (and their recreation in performance),
through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although
the dividing lines and relationships between music genres are often subtle, sometimes open to individual
interpretation, and occasionally controversial. Within "the arts", music may be classified as a performing
art, a fine art, and auditory art.

1.1.2.2 DANCE
Dance is also used to describe methods of non-verbal communication (see body language) between humans
or animals (bee dance, mating dance), motion in inanimate objects (the leaves danced in the wind), and
certain music genres.

Choreography is the art of making dances, and the person who does this is called a choreographer.

Definitions of what constitutes dance are dependent on social, cultural, aesthetic artistic and moral
constraints and range from functional movement (such as folk dance) to codified, virtuoso techniques such
as ballet. In sports, gymnastics, figure skating, and synchronized swimming are dance disciplines while
martial arts "kata" are often compared to dances.

1.1.2.3 THEATRE
Theatre is the branch of the performing arts concerned with acting out stories in front of an audience using
combinations of speech, gesture, music, dance, sound and spectacle—indeed any one or more elements of
the other performing arts. In addition to the standard narrative dialogue style of plays, theatre takes such
forms as plays, musicals, opera, ballet, illusion, mime, classical Indian dance, kabuki, mummers' plays,
improvisational theatre, stand-up comedy, pantomime, and non-conventional or art house theatre.

1.1.2.4 MAGIC
Magic, along with its subgenres of, and sometimes referred to as illusion, stage magic or close up magic is
a performing art in which audiences are entertainedby staged tricks or illusions of seemingly impossible
feats using natural means. It is to be distinguished from paranormal magic which, it is claimed, are effects
created through supernatural means. It is one of the oldest performing arts in the world.

Modern entertainment magic, as pioneered by 19th century magician Jean Eugene Robert-Houdin, has
become a popular theatrical art form. In the late 19th and early 20th centuries, magicians such
as Maskelyne and Devant, Howard Thurston, Harry Kellar, and Harry Houdini achieved widespread
commercial success during what has become known as "The Golden Age of Magic". During this period,
performance magic became a staple of Broadway theatre, vaudeville, and music halls. Magic retained its

9|NCPA, Delhi
popularity in the television age, with magicians such as David Copperfield, Doug Henning, Penn & Teller,
and David Blainetransitioning away from traditional venues.

1.1.2.5 PUPPETRY
Puppetry is a form of theatre or performance that involves the manipulation of puppets – inanimate objects,
often resembling some type of human or animal figure, that are animated or manipulated by a human called
a puppeteer. Such a performance is also known as a puppet play. The puppeteer uses movements of her hands,
arms, or control devices such as rods or strings to move the body, head, limbs, and in some cases the mouth
and eyes of the puppet. The puppeteer often speaks in the voice of the character of the puppet, and then
synchronizes the movements of the puppet's mouth with this spoken part. The actions, gestures and spoken
parts acted out by the puppets are typically used in storytelling.

1.1.2.6 CIRCUS
A circus is a company of performers who put on diverse entertainment shows that may
include clowns, acrobats,trainedanimals, trapeze acts, musicians, dancers, hoopers, tightrope
walkers, jugglers, magicians, unicyclists, as well as other object manipulation and stunt-oriented artists. The
term circus also describes the performance which has followed various formats through its 250-year modern
history. Philip Astley is credited with being the father of the modern circus when he opened the first circus in
1768 in England. A skilled equestrian, Astley demonstrated trick riding, riding in a circle rather than a straight
line as his rivals did, and thus chanced on the format which was later named a "circus". In 1770 he hired
acrobats, tightrope walkers, jugglers and a clown to fill in the pauses between acts. Performances developed
significantly through the next fifty years, with large-scale theatrical battle reenactments becoming a significant
feature. The traditional format, whereby a ringmaster introduces a varied selection of acts that mostly perform
choreographed acts to traditional music, developed in the latter part of the 19th century and continued almost
universally to be the main style of circus up until the 1970s.

1.2 ABOUT PROJECT

According to the 12th year plan by the ministry of
culture,The National Centre of Performing Arts, New Delhi will be a state‐of‐the‐
art ‘cultural multiplex’ that will house a set of auditoria/performance spaces of varying size and spec
ifications and present round the year, world class productions of India’s varied arts from across the country.
It will also become a destination for international productions. Apart from hosting visiting cultural shows, i
t will also develop its own repertoire and be a vibrant cultural hub that will showcase the best of performanc
es from India and abroad. The Concert Hall which forms a part of building plans for IGNCA complex will b
e developed . It will be a state‐of‐the‐
art performance venue comprising auditoria of varying capacities, with adequate parking and support faciliti
es 15‐20 acres of land identified in Central Delhi (at India Gate Hexagon) in the lawns of Indira Gandhi
National Centre of arts will be allotted for the Project.

10 | N C P A , D e l h i
1.3 AIM:
➢ To Promote Art and Culture both nationally and internationally.
➢ To give a Boost to Traditional Indian art Forms and give such artists a national level Platform.
➢ To encourage young talent to pursue rich Indian traditions of dance and music

1.4 OBJECTIVES:
➢ To Design a Performing Arts Center that can serve the cultural needs of the city.
➢ To Design a Performing Arts Center in which National Level events can take place
➢ To Design a Center that promotes art and culture and ensure performing arts gets a boost both
nationally and internationally.
➢ To Design a Performing arts Center with a huge auditorium with state-of-the-art facilities and
technology.

1.5 SCOPE/ LIMITATIONS

• The scope of my thesis is only limited to only architectural drawings and not structural
drawings.
➢ The details of Electrical Layout and Acoustic Design will be provided in this Thesis
➢ NCPA Delhi, shall be a centre for research, understanding and promotion of the performing
arts. It shall cater to dance, theatre and music in particular also including the contemporary art
form. It will also have a research centre for music and dance form.
➢ The institute and Research Centre shall be for Indian Dance and Music forms but the Auditoria
facility shall be provided keeping other contemporary forms also.

11 | N C P A , D e l h i
1.6 VALIDITY

12 | N C P A , D e l h i
1.7 METHODOLOGY:

CHOOSE A TOPIC AND SITE

LITERATURE REVIEW
SITE VISIT CASE STUDIES
-CODES
-LIVE CASE STUDIES
-ARTICLES/ JOURNALS
-LITERATURE CASE
SITE ANALYSIS -BOOKS
STUDIES
-INTERNET

DATA COMPILATION – FRAMING REQUIREMENTS

DESIGN CONCEPT

-BUBBLE
DIAGRAM

PHILOSOPHY
(WHOLE TO PART
OR PART TO
WHOLE)

-CIRCULATION

SINGLE LINE PLANS, BUILDING

SECTIONS, SITE SECTIONS,

DETAILED DRAWINGS, 3-D

MODELLING

COMPILATION

-SHEETS

-REPORT

13 | N C P A , D e l h i
 1.8 SITE ANALYSIS

LOCATION: 37 25’ 19.1’’N 122 05’ 06’’W

Mansingh Road near Andhra Bhawan, New Delhi

CLIMATIC ZONE: Sub tropical Semi- Arid climatic zone

EARTHQUAKE ZONE: Seismic Zone 4

TOTAL SITE AREA: 49.4 acres

1.8.1 TEMPERATURE AND RAINFALL DATA OF DELHI

Table 1, figure 2. temperature and rainfall data , New Delhi

14 | N C P A , D e l h i
1.8.2 LOCATION MAP

figure 3. Physical Map of India figure 4. Boundary of Dehli

Site for NCPA

LOCATION MAP

15 | N C P A , D e l h i
1.8.3 About Site
The National Center for Performing arts is proposed in the sprawling lawns of Indira Gandhi National
Center For arts, located in the Rajpath region of Delhi

figure 5. sprawling lawns

figure 7. Canals of India Gate

figure 6. Matighar

1.8.4 Roads and Connectivity:

The whole Site is surrounded by four major road links:

• Dr. Rajendra Prasad Road in the North - leads

to Parliament House
• Mansingh Road in the East- meets Akbar
Road connecting White Collar Houses
• Janpath Road in the West- leading to C.P. (the
commercial hub of the nation)
• Rajpath Road in the South- leading to India
Gate
figure 8. Road Network, New Delhi

16 | N C P A , D e l h i
 1.8.5 SITE SURROUNDINGS

Figure 9. site surroundings

1.8.6 WIND DIRECTION AND SUNPATH

17 | N C P A , D e l h i
1.8.7 VEGETATION

1.8.7 LUTYEN’S DELHI

Another important thing to know about the site is that it lies IN THE Lutyen’s Bungalow Zone (LBZ) .
city of New Delhi Designed on Garden city Principles with a central avenue comprising of the
President’s House and surrounded by government buildings and residential bungalows. As a result the
buildings constructed there are obligated to follow a different set of Bye Laws.

It is necessary that all new buildings have:

a) external plaster painted in white color only or
b) stone cladding, Sandstone finish as used in Rashtrapati Bhawan /
Baroda House / Jaipur House / Bikaner House.

1.8.8 BYE- LAWS

Entity Value
FAR 2
GROUND COVERAGE (%) 40
SETBACKS Front- 35m , Rear and Side – 15m
MAXIMUM HEIGHT 15m
Table 2- Bye laws of the site

18 | N C P A , D e l h i
CHAPTER 2: CASE STUDIES
1. National Center for Performing Arts, Mumbai

2.1.1 LOCATION

Location: NCPA Marg, South Mumbai,

Surrounded by Commercial Area
Established in : 1959
Founder: Dr. Jamshed A. Baba
Architect: Phillip Johnson & Patel Baltiwala
Access: 6 entry Gates
Area: 3200 sq. m

figure 10. National Centre For Performing Arts

Figure 11. view from nariman point figure 12. View from entrance

2.1.2 SITE

• NCPA Complex has an area of 3200m SQ. built at

Nariman Point on land reclaimed from sea
• Site can be accessed through 6 gates and can be
divided into 6 major blocks
• Oberoi Hotel, Nariman Hotel and Marine Drive are
some of the major landmarks
Heritage Building of Church Gate Station is 1 km away

Figure 13. site boundary

19 | N C P A , D e l h i
2.1.3 SITE PLAN

Figure 14. Site Plan

2.1.3 THEATRES IN NCPA:

1. Tata Theatre
2. Jamshed Baba Theatre
3. Geodrej Dance Theatre
4. Experimental Theatre
5. Little Theatre

20 | N C P A , D e l h i
2.1.3.1 TATA THEATRE
Designed by Philip Johnson, Tata Theatre was opened in 1982. It is used for Music concerts, Dance
and Drama performances. It’s Total Seating Capacity 1010 persons. One of the special feature of this
Theatre is that it has a rotating stage . The total height of the Auditorium is 15m.

AUDITORIUM- fan shaped

Figure 15. fan shaped auditorium

202 seats in each

bay divided into
6 aisles

21 | N C P A , D e l h i
ENTRANCE
• Separate entrances for audience and performers

• Entry for performers was also used as service

entry

• 2 emergency exits provided near the stage

STAGE
• Floor Hardwood timber flooring on concrete figure 16. Entrance foyer

• Size 9m (d) x 17.5m (w) at its maximum width:

• Height 3m at upstage: 6m at downstage rotatable stage

• Operation electronically controlled

• Rotation 180°

• Rotation time 80 sec.

DRESSING ROOMS
• Ground floor- Solo rooms 4 (11.6 sq.m. each) figure 17. Rotating Stage

• Mezzanine- Group rooms 2 (23 sq.m. each)

Figure 18. Foyer figure 19. Main entry to restaurant

22 | N C P A , D e l h i
 • Halogen lights (yellow)
• Can be dimmed or brightened as per
requirement

Figure 20. Lighting Fixtures

Figure 21 Ceiling plan

2.1.3.2 JAMSHED BABA THEATRE

This theatre follows a more pragmatic shoe-box concept with a somewhat steep yet regular rake for the
seating. Colours and materials received the close eye of Dr.Bhabha himself. Total Seating Capacity is
1109 seats.

Figure 22. JBT Seating Plan figure 23. View of auditorium

23 | N C P A , D e l h i
 \
Figure 24. Auditorium Layout

STAGE
• Stage entry

From east & west foyer 2 Nos. (Stage Right & Left)

• Floor Hardwood timber flooring on MS framing (No traps, No revolve)

• Size 23.7m (w) x 14.6m (d) (Behind house-curtain)

• Top-of-stage from 1m auditorium level

DRESSING ROOMS(BACKSTAGE):
• Ground floor, solo rooms 3 (9 sq.m. each)

• First floor, solo rooms 4 (9 sq.m. each)

• Second floor, group rooms 2 (18.5 sq.m. each) (7 persons)

• Third floor, group room 1 (46.5 sq.m. each) (18 persons)

ORCHESTRA PIT
• Forestage orchestra elevator 19m (w) x 4m (d) : travel -2.9m(below stage),

0.0m (auditorium level) to + 1m (Stage level);locking @ 400mm increments(9)

• Capacity 60 musicians

• Below-stage pit, fixed portion 15.4m (w) x 4.2m (d) x 3.1m (h)

24 | N C P A , D e l h i
Figure 25. Foyer figure 26. Entrance

Figure 27. Interior of rehearsal room

Figure 28. Ceiling Plan

25 | N C P A , D e l h i
2.1.3.3 DANCE THEATRE GODREJ

SEATING CAPACITY

• 185 seats

STAGE

• Floor Timber flooring on MS

slotted angle frame;

• 0.65m from auditorium level

• Wing-to-wing 9m (w) x 5.6m

(d) height: 2.34 m

DRESSING ROOMS (2 nos)

• Ground floor - 13.8 sq.m & 17

sq.m

• Common lobby - 19.6 sq.M

Figure 29. Seating Plan

2.1.4 MISCELLANEOUS SPACES

• Foyer( non-A/C)

• Area-158 sq.m

Figure 31. foyer

Figure 30 View Of theatre

26 | N C P A , D e l h i
2.1.5 RECORDING STUDIO
• Studio is equipped with state-of-the-art multi track

• recording equipment based on the Pro Tools HD

platform

• Main recording hub , interconnected to all five

theatres

• through fiber optic cable spreading an area of 24,000sqm.

2.1.6 STRUCTURE
• All the Auditoriums having column beam structure

• JBT and TATA theatre have good span column free space,

• Coffered ceiling is cast for making the space column free.

• Cantilevers more than 10 feets is projected at the entrance of TATA theatre.

• Building is finished with different materials like stone, plastered etc.

2.1.7 SUNKEN GARDEN (75-100 members)

• Located next to the dance theatre godrej.

• Reception space also used for small-scale

performances

• Stepped seating leading down to a Figure 32. Sunken garden

performing area.

27 | N C P A , D e l h i
THEATRE JAMSHED BABA TATA THEATRE EXPERIMENTAL
THEATRE THEATRE
ARCHITECT Patel Manohar and Phillips Johnson Patel Manohar and
Associates Associates
USE Can host any event Indian music, dance and Ideal for both
from stage Indian epic other art forms traditional folk and
and classical concerts to performance type
western dance presentation
SEATS 1190 1010 285
SPECIALITY Heavily ornamented Fan shaped, rotating Flexible seating
interiors with orchestra stage, and the convex , stage unit can provede
pit concave ceiling as well complex asymmetrical
as wall provide with seating arena
even distribution of
sound

Table 3. Comparative analysis of theatres.

28 | N C P A , D e l h i
2. Triveni Kala Sangam
2.2.1 LOCATION
205, TANSEN Marg, Near Mandi House, New Delhi
Triveni Kala Sangam is located in the Cultural core of the city of New Delhi. Surrounding it,
are other cultural complexes like Sri Ram Auditorium, Sangeet Bhawan, etc.

Figure 33. location map, New Delhi

Architect Joseph Allen Stein (1957-1977) in India, who also designed several important
building in New Delhi, like India International Centre and India Habitat Centre, Lodhi
Road.Designed in modern architecture style, the complex is noted for its "multiple spaces for
multiple purposes" and use of jali work , which was one of the first buildings by noted
American Stein's hallmark.

29 | N C P A , D e l h i
2.2.2 ARCHITECT: JOSEPH ALLEN STEIN

2.2.3 AREA : 1 Acre

2.2.4 SITE PLAN

Figure 34. site plan

2.2.5 ACCESS:
Access to the site is form the Tansen Marg, the road that leads to the Bengali Market. There
is not much heavy traffic on this road.

30 | N C P A , D e l h i
2.2.6 GENERAL PLANNING AND LAYOUT
The centre is organised into a four storey classroom block with
a canteen and shaded dining/ tea terrace to the north. And a
ground floor gallery back with a shaded roof terrace above to
the west

Opposite to the gallery is a covered stage opening onto an

outdoor garden theatre which is heart of the complex. The
wooden partitioned cubicle serves as the reception office. A
staircase opens into this area and connects various floors to
basements. To the right of the main entrance is the “Sridharni
Gallery” and straight ahead is the corridor, which houses the
classrooms.

Figure 35 Entrance lobby

2.2.7 EXHIBITION GALLERY

It is located right next to the main entrance. The gallery is curved in
plan and is supported on a beam-column structure.

The displays are hung on the walls A special framework of wood is

attached on the roof, which has spotlight on it.

Figure 36. Exhibition Gallery

2.2.8 MUSIC STUDIOS

• The music studios are used for teaching instrumental and vocal music.
• There are 3 studios in all, each 15'-0"x15'-0", two for instrumental and one for vocal.
• These studios are located on the second floor. The access is from a 6'-0" wide singly loaded
semi-open corridor, which overlooks the O.A.T below.
• The flooring is bare except for mattresses on which the artists and students sit.
• Storage space is provided along one length of the wall, which is adequate.

31 | N C P A , D e l h i
2.2.9 AUDIO VISUAL STUDIO
The AV studio is located in the basement of phase 1. It has facility of recording of playback voices
and music and a separate chamber for listening.

2.2.10 AUDITORIUM

The auditorium has a total of 250 seats with 152 seats below and 98 seats in the foyer. The stage is
75mm high. The sound and light control rooms are in the foyer.

It is a proscenium theatre with actors and audience in separate spaces. The side walls have teakwood
paneling whereas the rear walls, stairwalls and railings have sound absorbing treatment of teakwood
slates over fibre glasswood insulation. The ceiling is coffered in exposed concrete with a few
acoustical panels, placed randomly. The control room is located behing the audience seating. It
includes both sound and lighting control. The lights for the stage are concealed in the depth of the
coffers. And are not visible to the audience. The seats are placed over precast slabs, combining the
built-in AC ducts. This leads to the unusually high rankingof seats for a hall of this size.

Figure 37. Wooden Panel with glass wool

32 | N C P A , D e l h i
2.2.11. OPEN AIR THEATRE.
OAT is located between the teaching corridor and art
gallery. It has a capacity of 300-400 people.

Figure 38. OAT

2.2.12 INFERENCES:

PROS
• The center has a good location and is accessible ( on a walking distance from Mandi
House Metro Station )
• It has a lot of open spaces. And therefore there is scope for ventilation.
• Different functions are integrated in a very good manner.
• Orientation is favourable in terms of sun Path and wind.

CONS

• The area experiences Noise due to nearby Railway Line

• There is no parking space inside the complex

33 | N C P A , D e l h i
CHAPTER 3: LITERATURE REVIEW

3.1 PERFORMING ARTS IN INDIA:

Indian Classical Dances:

The origin of Indian dance can be traced back to Bharata Muni (a learned saint) who lived
between the 1st and 2nd century and composed a magnum opus on dance, which is known to
the world as Natya Shastra. In ancient times, dance was not merely a form of entertainment.
On the contrary it was considered a medium of instruction of morality, good values, and
scriptures and the expression of reality.
. All dance forms make ample use of the nine basis rasas or emotions – hasya (joy and
happiness), krodha (anger), bibhats (disgust),bhaya(fear),vira (courage),karuna (compassion),
adbhuta (wonder) and shanta (serenity).

Kathakali
Kathakali literally means story-play and is an elaborate dance depicting the victory of truth
over falsehood. A Striking feature of Kathakali is the use of elaborate make-up and colourful
costumes. This is to emphasize that the characters are super beings from another world, and
their make-up is easily recognisable to the trained eye as satvik or godlike, rajasik or heroic,
and tamasik or demonic.

Mohini Attam
The theme of Mohini attam dance is love and devotion to god. Vishnu or Krishna is most
often the hero. The spectators can feel his invisible presence when the heroine or her maid
details dreams and ambitions through circular movements, delicate footsteps and subtle
expressions. Through slow and medium tempos, the dancer is able to find adequate space for
improvisations and suggestive bhavas or emotions.
The basic dance steps are the Adavus which are of four kinds: Taganam, Jaganam, Dhaganam
and Sammisram. These names are derived from the nomenclature called vaittari. The Mohini
attam dancer maintains realistic make-up and adorns a simple costume, in comparison to
costumes of other dances, such as Kathakali. The dancer is attired in a beautiful white with
gold border Kasavu saree of Kerala, with the distinctive white Jasmin flowers around a French
bun at the side of her head.

Bharat Natyam
Bharat Natyam dance has been handed down through the centuries by dance teachers (or
gurus) called nattuwanars and the temple dancers, called devadasis. In the sacred
environment of the temple these families developed and propagated their heritage. The
training traditionally took around seven years under the direction of the nattuwanar who were
scholars and persons of great learning. The four great nattuwanars of Tanjore were known as
the Tanjore Quartet and were brothers named Chinnaiah, Ponnaiah, Vadivelu and

34 | N C P A , D e l h i
Shivanandam. The Bharata Natyam repertiore as we know it today was constructed by this
talented Tanjore Quartet.

Kuchipudi
The dance drama that stil exists today and can most closely be associated with the Sanskrit
theatrical tradition is Kuchipudi which is also known as Bhagavata Mela Natakam. The actors
sing and dance, and the style is a blend of folk and classical. Arguably this is why this
technique has greater freedom and fluidity than other dance styles.
Bhagavata mela natakam was always performed as an offering to the temples of either
Merratur, Soolamangalam, Oothkadu, Nallur or Theperumanallur.

Kathak
This north Indian dance form is inextricably bound with classical Hindustani music, and the
rhythmic nimbleness of the feet is accompanied by the table or pakhawaj. Traditionally the
stories were of Radha and Krishna, in the Natwari style (as it was then called) but the Mughal
invasion of North India had a serious impact on the dance. The dance was taken to Muslim
courts and thus it became more entertaining and less religious in content. More emphasis was
laid on nritya, the pure dance aspect and less on abhinaya (expression and emotion).

Odissi
Odissi is based on the popular devotion to Lord Krishna and the verses of the Sanskrit play
Geet Govinda are used to depict the love and devotion to God. The Odissi dancers use their
head, bust and torso in soft flowing movements to express specific moods and emotions.
The form is curvaceous, concentrating on the tribhang or the division of the body into three
parts, head, bust and torso; the mudras and the expressions are similar to those of
Bharatnatyam. Odissi performances are replete with lores of the eighth incarnation of Vishnu,
Lord Krishna. It is a soft, lyrical classical dance which depicts the ambience of Orissa and the
philosophy of its most popular deity, Lord Jagannath, whose temple is in Puri. On the temple
walls of Bhubaneshwar, Puri and Konark the dance sculptures of Odissi are clearly

Manipuri
This dance style was originally called jogai which means circular movement. In ancient texts
it has been compared to the movement of the planets around the sun. It is said that when
Krishna, Radha and the gopis danced the Ras Leela, Shiva made sure that no one disturbed
the beauty of the dancing. Parvati, the consort of Lord Shiva also wished to see this dance, so
to please her he chose the beautiful area of manipur and re-enacted the Ras Leela. Hundreds
of centuries later, in the 11th century, during the reign of Raja Loyamba, prince Khamba of
the Khomal dynasty and Princess Thaibi of the Mairang dynasty re- enacted the dance and it
became known as Lai-Haraoba, the most ancient dance of Manipur.

35 | N C P A , D e l h i
MUSIC IN INDIA

Hindustani music
Hindustani music is an Indian classical music tradition that goes back to Vedic times around
1000 BC. It further developed circa the 13th and 14th centuries AD with Persian influences and
from existing religious and folk music. The practice of singing based on notes was popular
even from the Vedic times where the hymns in Sama Veda, a sacred text, were sung as
Samagana and not chanted. Developing a strong and diverse tradition over several centuries,
it has contemporary traditions established primarily in India but also in Pakistan and
Bangladesh.
In contrast to Carnatic music, the other main Indian classical music tradition originating from
the South, Hindustani music was not only influenced by ancient Hindu musical traditions,
historical Vedic philosophy and native Indian sounds but also enriched by the Persian
performance practices of the Mughals. During the Medieval age especially in the Mughal era
various Gharana became famous due to excellence and class in type of musics like raga,
almost all from the lineage of Tansen one of the navratna of Mughal Emperor Akbar.
Classical genres are dhrupad, dhamar, khyal, taranay sadra..

Carnatic music
The present form of Carnatic music is based on historical developments that can be traced to
the 15th - 16th centuries AD and thereafter. However, the form itself is reputed to have been
one of the gifts bestowed on man by the gods of Hindu mythology. It is one of the oldest
musical forms that continue to survive today.
Carnatic music is melodic, with improvised variations. It consists of a composition with
improvised embellishments added to the piece in the forms of Raga Alapana,
Kalpanaswaram, Neraval and in the case of more advanced students, Ragam Tanam Pallavi.
The main emphasis is on the vocals as most compositions are written to be sung, and even
when played on instruments, they are meant to be performed in a singing style (known as
gayaki). There are about 7.2 million ragas (or scales) in Carnatic Music, with around 300 still
in use today.

THEATRE IN INDIA
The earliest form of the theatre of India was the Sanskrit theatre. It began after the
development of Greek and Roman theatre and before the development of theatre in other
parts of Asia. It emerged sometime between the 2nd century BCE and the 1st century CE and
flourished between the 1st century CE and the 10th, which was a period of relative peace in
the history of India during which hundreds of plays were written. With the Islamic conquests
that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely.
Later, in an attempt to re-a India as one of the means of entertainment. As a diverse, multi-
cultural nation, the theatre of India cannot be reduced to a single, homogenous trend.

36 | N C P A , D e l h i
 Traditional Indian theatre
Kutiyattam is the only surviving specimen of the ancient Sanskrit theatre, thought to have
originated around the beginning of the Common Era, and is officially recognised by
UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. In addition,
many forms of Indian folk theatre abound. Bhavai (strolling players) is a popular folk theatre
form of Gujarat, said to have arisen in the 14th century CE. Jatra has been popular in Bengal
and its origin is traced to the Bhakti movement in the 16th century. Another folk theatre form
popular in Haryana, Uttar Pradesh and Malwa region of Madhya Pradesh is Swang, which is
dialogue-oriented rather than movement-oriented and is considered to have arisen in its
present form in the late 18th - early 19th centuries.

3.2 Entrance foyer

The entrance foyer may be required to accommodate the following:
● ticket check if at entrance, and not at points of entry into the auditorium
● information in the form of leaflets and other handouts describing productions and events,
notice boards providing information on events and, possibly, a reception/information desk
● circulation and waiting area
● seating (desirable for ambulant disabled)
● directional signage directing the public to the various facilities (consider carefully colour, size
and type face for clarity and for the visually impaired and elderly)
● supervision: some consideration needs to be given to oversee the entrance area by the staff in
order to offer assistance and exercise control
● exhibition and display: space for temporary exhibitions or wall display; display cases for
merchandise and crafts
● access to box office, crèche, cloakrooms, toilets and sales, as well as meeting rooms and other
public facilities
The public needs to be able to easily identify visually the main circulation routes to the
auditorium and other public facilities from the entrance foyer.

3.3 Offices and associated areas

The following staff may require individual offices; with each office being 12–15M SQ:
● Platform/stage manager
● Assistant platform/stage manager
● Secretary

● Chief technician
● Master carpenter
● Property master

37 | N C P A , D e l h i
3.4 Public entrance
● The front entrance provides the main access into, and egress from, the building for the public.
The entrance should be located along the main access route and be clearly visible: the public
should be aware of the entrance by its location and signage. The entrance gives information
about the attitude of the management towards the public and can be welcoming or
intimidating, exclusive or embracing, clear or obscure.
● Access and parking: Provision for passengers to alight at the main entrance by taxi, car or
coach, with a discrete lay by or service road, especially if it is a large building complex, and
close proximity to parking.
● External display: Name of the building and/or company as an illuminated external sign;
posters and advertising material; current and
future attractions on adjustable signs or electronic signs; banners and flags. The building
itself, suitably artificially lit when dark, is also an
external display.

3.5 LIBRARY
• Area required for a simple reading/work place is 2.5 m2
For a PC or individual work place > 4.0 m2 is needed
• fire precaution
• Installation of book security system will prevent theft of book, by giving electronic lock up.
• The more efficient method is to have linked areas which as large as possible without change
in level.

3.6 Auditorium and platform/stage formats

The relationship between the auditorium [the audience] and the platform/stage [the performance] is a
fundamental requirement. The selected format affects the experience for both audience and
performers, seating capacity and auditorium size and shape, from which follows the general
arrangement of the building.
The relationship may be summarized as either the proscenium format or open stage format: the
proscenium format is as if the performance is seen through a window’ or hole in the wall and there is
a clear division between audience and performers; the open stage formats follow the concept of the
auditorium and platform/ stage being within a single volume with the seating confronting, partially
surrounding or wholly surrounding the platform/stage.

38 | N C P A , D e l h i
3.7 Predominant types of production:
The following relationships accommodate a predominant type of production in purpose-built
facilities. Compatible secondary uses may be included in the brief but they do not require any
physical adaptation of the auditorium and platform/stage, or only require a modest level of
flexibility.
For orchestral and choral classical music in a concert hall or recital room, there are three
broad categories: the audience focused towards the orchestra and choir on the platform, with
or without choir stalls, in a single direction; the audience on three sides, semi-surrounding the
platform; the audience surrounding the platform .
Types of single direction relationship include the:
● rectangular box;
● variations on the rectangular box;
● fan-shaped auditorium.

Figure 39. Seating layouts of auditorium

39 | N C P A , D e l h i
3.8 The viewer:
• The horizontal angle of polychromatic vision is generally 40 degree without eye movements.
• The horizontal angle to the projector screen at witch distortion on the screen becomes
substantially intolerant is 60 degree measured to the far side of the projected image .
LOCATION OF AUDIENCE
• Audience will not choose a location beyond a line proximity 100 degree to the curtain at the
side of the proscenium .
DESIRABILITY OF LOCATIONS BY AUDIENCE
• Judged by the ability to recognize shapes, and confirmed by free audience, choice of seats, the
following are the desirable locations:

40 | N C P A , D e l h i
3.9 BACKSTAGE WORK FLOW

Figure 40. backstage operation flowchart

41 | N C P A , D e l h i
3.10 Auditorium design:
The three-dimensional volume of an auditorium is conditioned by the limitations set by all members
of the audience able to hear and see a performance, and for the performers to be able to command the
audience. Seating density, floor rake and seating layout are covered by legislation to ensure a
satisfactory means of escape in case of fire, and by an appropriate level of comfort for the audience.
Performance organization requires lighting, sound and broadcasting positions within the auditorium
and a view of the whole performance area from control rooms.

3.11 Auditorium acoustics:

The acoustic performance of the auditorium is a critical design requirement and needs to be
considered as part of the initial brief. Acoustic performance refers to the quality of the sound
– music or speech – heard by each member of the audience, and also the performers on the
platform/stage. Design considerations for the acoustics of an auditorium, when the sound is
not amplified, include:
● Type of production: each type has its own requirements with different characteristics for
music and speech.
● Shape and size of the auditorium: the extent to which the audience surrounds the
platform/stage;
seating capacity; number and depth of balconies; rake of the seating; for concerts, the
proportion of length to width and height to width; for opera, dance and musicals, the location
of the orchestra pit; location of performance lighting and sound equipment and lighting
bridges.
● Setting for the performance: such as permanent architectural setting, within audience,
proscenium stage and so on.
● Volume of the auditorium: calculated as the number in the audience multiplied by a ratio of
volume

42 | N C P A , D e l h i
 to person, according to the type of production: 3.4M3 per person for music and 9M CU. per
person for speech within the auditorium enclosure: for opera the ratio is between 7M3 and
8M3 per person.
● Reverberation time: the difference in time between direct sound to each member of an
audience and
the reflected sound from all surfaces of the auditorium,

Figure 41. auditorium seats

3.11.1 Reverberation

Soundidoes not stopiat the listener's ears, it continuesiand is reflected againiby the other walls of the
room. If theicoefficient of absorption is low, a soundimay bounce several dozen timesibefore it fades
away. This is callediReverberation.

3.11.2 Echo

Large Spaces haveia problem of echos. If the differenceibetween two consequent reverberationsiis more
than 1/30th of a second, then it becomesia discrete echo.

43 | N C P A , D e l h i
3.11.3 Interference

Reflected waves Intersect eachiother causing constructiveiand destructive interference .

3.11.4 Factors affecting acoustics in a room

3.11.4.1 Volume

• It Determinesithe potential of the all to reachia specific reverberance.

• Since reverberationitime differs for various ensemblesiand soloists, it is plannedias per cubic
footage per occupant.
• Inclusioniof Balcony does haveian effect. If balconyiis small in depth i.e. not more than 3-5
rowsithe effect maybeiaddressed by treating the balconyiseparately for orchestra seatingiand
balcony seating.
Type Of Music Cu ft/ occupant

Choiral and Orchestral 300-400

Jazz 250-280

Organ performance 600-800

Table 4, Volume Req. according to the type Of music

44 | N C P A , D e l h i
3.11.4.2 Resonance

• If windowipanels or any otheriwooden sections are noticovered properly, the original sound
mayivibrate with the naturalifrequency of them.
• Vibratingimaterials should be mounted on non-vibratingiand sound absorbing materials.
• Panelsimust be fittediproperly.

3.11.4.3 Focusing and Interference effects

• Focusingirefers to collectioniof sound wavesiat a particular point

• Planeisurfaces spread evenlyiwhereas curved surfaces focus.
• Radiusiof curvature of concave ceiling shouldibe two times the height of the building
• iInterference is caused by interferenceiof direct and reflectediwave
• Constructiveiinterference: maximumisound intensity occurs
• Destructive interference: minimumisound intensity occurs
• By the usage of uniformipainting and absorbent it maybe avoided.

3.11.4.4 Acoustic Clarity

Acousticaliclarity refers to how clear theisound quality is. Can you hear every separate note of a fast-
tempo soloist’s codaidistinctly, or do the notes tend to blur into oneianother? Some blending is often
desired for music, but for speech and opera, greater clarityileads to better speech intelligibility.
Toiincrease clarity, oneishould increase the amount of early sound energyirelative to late sound energy.
This couldibe accomplished by adding absorption in areas farther from the sound source. It is also
achieved by optimizing the simple design tool of audience elevation.

3.11.4.5 Length to Width ratio

It is observedithat the musical “presence” isifirst recognized by time sequencingibetween the direct
source and the audience andithen by the first reflections thatiarrive. To maintain the ratio betweenithese
two the ratio between floor planilength to width should be maintainedibetween 3:2 and 2:1

45 | N C P A , D e l h i
3.11.4.6 Acoustical Warmth

The Acousticiwarmth of a room is influencediprimarily by he weight ofithe walls and the ceiling of the
room.iThis effect is concernediwith the bass response of the room. Dense materialsiare more suitable.
Eg. Woodiis an excellent acousticalimaterial only if it is 2 inches orithicker than that. A halliwith
diffused sound fields generally give a good musical response. Thisican be created by irregulariwall and
ceiling surfaces.

3.11.5 Diffusers

Sound acts likeilight in a lot of ways.iIf you shone a flashlightiat a mirror the light beamigets
reflected back at the angleiof incidence. I.e. ifiyou pointed the light at the mirror
ati45idegreesiitiwouldireflectioffithe surfaceiat 45 degrees and back intoithe room. Soundiworks
just like this. Acousticitreatment is the act ofistopping the soundibouncing off the various
surfacesiof the room. What a diffuseridoes is jumblesiup these reflectionsiso they don’t
reflectiback into the room. Hence helping in the scattering ofisound and spreadingiit evenly across
a room. Reflection points are the placesiin a mix roomithat the audioifrom the speakers hits the
nearestiwalls and ceiling. Theifirst reflections areiknowniasiearly reflections and it is in
theiengineers’ best interestito kill these reflections. Theireason being that if theiengineer hears
theidirect sound vibration fromithe speaker to their ear, they will theniget a second version of
theisame vibration thatiisireflected off the nearestiwalls and ceilingibutiat a slight delay.
Thisiconfuses the brain and ultimatelyimesses upithe stereoiimage, whichiresults iniinaccurate
mixes thaticould sound strangeion different systemsisuch as consumer’siheadphones. These
reflectionsihappen behind the engineeritoo and reflectioff the back wall thus reflecting backiinto
the engineers’iears with an evenilongeridelay.

The bestiway to dealiwith this is to place absorptioniand/or diffusers at the reflection (or mirror)
points.

46 | N C P A , D e l h i
 Figure 42.

Figure 43. diffusers

47 | N C P A , D e l h i
3.11.6 Reverberation Time

According to Merriam Webster Dictionary, Reverberation Time is the time that it takes a sound made in
a room to diminish to one millionth of its original intensity.

Figure 44. reverberation time required for different type of rooms

3.11.6.1 Low reverberation Time

• Good Articulation Of Voice

• But Sound Vanishes Quickly.
• Loss of Richness.
3.11.6.2 High Reverberation Time

• Poor Articulation Of Voice

• Rich sound that an organist would like.

48 | N C P A , D e l h i
3.11.6.3 How to control reverberation time?

According to Sabine’s Formula, Reverberation time is dependant on Absorption by different surfaces in

the room and Volume Of the room. According to the formula:

To Reduce RT:

• Windows and openings

• Arranging full capacity of audience
• Completely covering the floor with carpets
• False ceilings
• Heavy curtains with folds

To increase RT:

• High Ceiling
• Use of diffusers
• Reflective Surfaces
• Increasing Volume
• Adding Steps

Table 5. absorption coefficients of different materials

49 | N C P A , D e l h i
3.12 Seating layout:

The seating layout in an auditorium depends mainly on the selection of format – the
relationship between audience and performance – and the visual and aural limitations
associated with a particular type of production as well as the number of levels and sightlines.
Other aspects which influence the layout, and thereby condition seating capacity, include
factors in the following sections.

Figure 45. theatre seat dimension

3.13 Other factors include:

● Acoustics: upholstery must satisfy the acoustic requirements, usually the level of absorbency
when unoccupied; this is especially the case with music.
● Ventilation/heating: for air supply or extract under a seat, space should be allowed in the
floor or riser to receive a grille.
● Upholstery: thickness of padding should provide comfort and avoid fatigue, but should not
encourage excessive relaxation; the material of the
padding and finish must satisfy

3.14 Travel distance

The evacuation from each level of the auditorium within a limited period of time is required in
case of a fire. For traditional seating the travel distance is 18

M measured from the gangway: for continental seating, 15 M from any seat. The aim is to
evacuate the audience of each level within 2.5 minutes.

50 | N C P A , D e l h i
3.15 Exit numbers
At least two separate independent exits must be provided from each level within the auditorium. The
exits should be located with sufficient remoteness from each other to allow alternative directions of
escape. The number of exits per level are two for each level within an auditorium with the seating
capacity up to 500: an additional exit is required for every further 250 seats as
defined by legislation. Egress in case of emergencies should follow the natural flow of movement from
the seats away from the platform/stage.

3.16 Exit widths

The exit widths are laid down by regulations. The base calculation is 45 persons per minute
per unit width of 520–530 mm. The minimum total
exit widths required are outlined

3.17 Exit route

The exits from the auditorium must lead directly to a place of safety. The exit route must be
the same width as the exit and be a consistent width avoiding bottlenecks. The exit doors
from the auditorium, any doors within the route and the final exit doors must open in the
direction of egress. Staircases within the route are subject to the following conditions: the
maximum number of steps, 16: the minimum number, 2; tread/riser to be 275 – 180, as a
recommended ratio, and consistent.
Ramps should be at a pitch of 1.15, in lengths of 10 m maximum with intermediate platforms.
Exit routes for wheelchair users are required to be on the flat or ramped if there is a change of
level, and may be required to be separate from the other routes. Routes are to be enclosed by
fire-resistant material within the building.

Figure 46. exit routes

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3.18 Performers’ access through the auditorium
Performers may have access to the stage through the auditorium during a performance by way
of:
● access along the gangways, with stepped access onto the stage if raised; access through
vomitories exclusively for performers.
The performers’ vomitory can be filled to accommodate auditorium seating if not in use.
Wheelchair location within the seating Regulations require a minimum number of places for
wheelchairs at each level, or 1/100th of the audience
capacity whichever is the greater. Wheelchair locations, as discrete areas, can occur at the rear,
front, side or within the seating. Wheelchairs can be centrally positioned by forming a bay off
a cross gangway. The actual location will be conditioned by the particular seating layout, the
convenient points of entry from the public areas and the escape arrangements in the case of
fire. Separate entrances into the auditorium as well as escape routes should be considered.
Choice of location within an auditorium is desirable, covering each level and within different
sections
of the seating. In the larger auditorium, placing the wheelchair users in a single designated area
should be avoided.

3.19 Horizontal sightlines:

Horizontal sightlines are to be considered only with a proscenium stage and possibly end
stage and platforms for classical and choral music. Given a particular performance area,
sightlines will limit the width
of seating that can be provided in the auditorium. Conversely the sightlines from the side
seats restrict the amount of the performance area that can be used. The narrowest dimension
of the proscenium opening, if adjustable, should be taken as the basis of the calculations.
Each member of the audience should have a direct view of the performance focused towards
the centre of the performance area. Curved or angled rows direct the focus of the audience
towards the centre. The curved rows radiating from the circular stage of a Greco-Roman
theatre is a clear and simple example
of this form with the geometry emanating
from a single point. With a proscenium stage the geometry of the performance area varies
from the setting out point of the seating; the audience should be contained within a 130°
angle peripheral spread of vision from the performer at the point of command on the
performance area for opera, dance, musicals and Drama.

52 | N C P A , D e l h i
 figure 7. horizontal sightlines

Without head movement the arc

to view the whole

of the performance area on plan

is 40° from the eye. An
acceptable degree of head
movement is debatable, where
the seat is focused away from
the stage, as with side galleries,
requiring the head to be turned Figure 48. horizontal
bysightlines,performer
the member of the audience .

3.20 Vertical sightlines

Vertical sightlines may be calculated by establishing:
Lowest and nearest point of sight on the platform/ stage for the audience to see clearly. The
platform/stage height, when raised, can range from 600 to 1100 mm above the lowest level of
the auditorium and point can be the leading edge, or setting line for the performance, at or
above the platform/stage level. If a forestage is part of the proscenium or end stage formats
then point needs to relate to the forestage. If an orchestra pit is included between stage and
seating then point may be regarded as the conductor’s head. With a symphony orchestra in a
concert hall, the ability to see each musician at the front of the stage (who partially masks the
other musicians) may not be critical and point P may be taken as over 600 mm above the
platform level at the front edge.

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 Figure 49. vertical sightlines

3.21 Public address

Loudspeakers may be required within the auditorium for announcements to the audience as a
separate system.

3.22 Rehearsals
Loudspeakers may be required, usually located at the rear of the auditorium, for use during
rehearsals on the stage, so that the director located in the auditorium can communicate with
the performers on the stage. This requirement tends not to be applicable for orchestral and
choral music rehearsals, or for small auditoria.

3.23 Broadcasting and recording

Consideration should be made of provision within the auditorium for television

and radio transmission and for video, film and tape recording of a performance.
Spatial requirements, beyond camera and operator locations, are nominal and
mainly include access for cables and equipment.

3.24 Aids for the hard of hearing

To assist the hard of hearing, consider the applications of one of the following:
● induction loop: magnetic field transmission looped around auditorium
● infra-red system: modulated light signals, radiated from a number of sources
● hard-wired: cable within floor trunking connected to panel in seat.

3.25 Fire protection

The enclosing walls and floors of the auditorium should be fire-resistant as should the doors
and other openings in the walls. Other aspects to be considered,include:
● non-combustibility of materials including finishes and seating
● detector system: smoke detectors in auditorium and associated voids

54 | N C P A , D e l h i
 ● extinguishers: hose-reels, portable extinguishers; automatic sprinkler systems will not
be allowed over seating areas
● alarms: connected to automatic detector system and central indicator panel and,
possibly, direct link to local fire station; alarms should be visual
(flashing light) in auditorium and not audible.
Fire precautions should be discussed with the local fire authority and fire insurers
tructure:
A large span structure will be required, capable of carrying shaped ceiling, lighting bridges
and ventilation ducts. Floors will be sloped, raked, dished or, if a multi-purpose auditorium,
flat. Balconies introduce additional long spans able to carry heavy loads. For sound insulation
purposes the auditorium walls will have to be substantial, which suggests load-bearing
construction.

3.26 Ceiling zone:

The ceiling and ceiling zone are mainly determined by functional needs and include the
following requirements:
● Acoustic requirements: Profiled reflector panels and possible adjustable diffusers to ensure
distribution of sound over the whole seating area.
For non-amplified music the reflectors will need to be suspended over the platform as well.
● Lighting requirements: Access and supporting framework for performance lighting, ‘house’
lighting and also working lights and emergency lights.
● Ventilation requirements: Air ducts and plenums, diffusers, noise attenuation and monitoring
equipment, supporting hangers and means of access for servicing.
● Production requirements: For opera, dance, musicals and drama, a grid and pulley suspension
system for flying or suspending scenery over
forestage, including access by technicians.
● Fire control requirements: Alarm system in voids;
fire dampers in ducts.

3.27 Seating capacity:

The maximum capacity within an auditorium depends on the selection of format and the aural
and visual limitations set by the type of production. Other influences on the calculation
include, levels, sightlines, acoustics, circulation and seating density, as well as the size and
shape of the platform/stage (to be described in the following section). To maximize the
seating capacity within these limitations, sightlines may be compromised so that, say, 10 per
cent of the audience experiences 90 per cent of the performance area. This is a debatable issue
mainly associated with the proscenium format, where, to achieve an intimate character in the
auditorium, a desire to provide
perfect sightlines for everyone may have to be overridden. The actual seating capacity
depends on the ability to attract audiences which may be less than the possible maximum.
Also the potential peak demand could exceed the selected capacity on a particular evening: the
aim though should be to spread attendance

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3.28 Orchestra pit: opera, musicals, dance:
The orchestra for opera, musicals and dance is in a pit between the stage and the audience. The
limiting factor is for the conductor to be seen by both the
singers and dancers on the stage and the musicians. The audience requires to hear a balance of
singers and
orchestra, especially for opera. Amplification in musicals makes this requirement less of a
necessity. Allow 1.3M2 average per player, 5M2 for the piano, 10M2 for tympani and
percussion and 4M2 for the conductor. The actual production will have specific
orchestral requirements with variation in the size and composition of the orchestra. The
conductor’s eye level must not be lower
than stage level when
seated on a high stool.
To minimize the gulf between stage and
audience the pit can extend under the stage
front for a distance no greater than 2 M. The
soffit of the overhang should reflect the
sound outward into the auditorium. For
opera, the pit should be designed for a
maximum of 100 musicians: for musicals,
60; for dance, 60–90. The numbers could be
less with touring companies. The floor level
of the orchestra pit should be adjustable,
between 2–3 m, below the stage level to suit
the different requirements of the musicians
and directors. The fire separation between
auditorium and stage
must be maintained including the entry
point into the pit: access must be possible
from both ends. The orchestra pit requires
its own independent ventilation system,
locally controlled. Lifts may be required to
reduce the size of the pit, and its acoustics.
The orchestra pit requires acoustic
treatment and working lights, as well as the
socket

Figure 50.orchestra pit

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Figure 51. relationship between public spaces

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CHAPTER 4: DESIGN PHILOSOPHY
4.1 UNDERSTANDING THE EXISTING DESIGN
Established in 1987 by the Ministry of culture and launched by Prime Minister Rajiv Gandhi, IGNCA
was formed to preserve folk and traditional arts.

Indira Gandhi National Center for arts was built by architect Ralph Lerner. He won the first
prize in the competition for IGNCA.

Figure 52. Site analysis

4.1.1 There are 5 entrances to the site.

Gate 1- Exhibition Building

Gate 2- Main Entrance for Admin and Research Blocks

Gate 3- Main Entrance for exhibition gallery

Gate 4- Main entrance for Media Center

Gate 5- Back Entrance for Parking

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4.1.2 DESIGN PHILOSOPHY :
Ar. Ralph Lerner created an axis that is parallel to Lutyen’s axis of Delhi simply placed 3 buildings
axially along it and linked them. This design was selected for this very aspect of simplicity because it
removes all visual barriers for the user and makes the site plan understandable even without any
signage.

Figure 53. Lutyen’s Delhi axes

There are large open spaces/ gardens between the gardens. The concept behing IGNCA was to bring
together five elements of Fire(heat) Water(canals) , Earth(greenery) , Sky(large open spaces) and
Air(convective currents)together.

The main theme of the center is traditional arts and crafts and the whole place is endorsed in
craftwork created by their own students.

Figure 54. IGNCA Admin building

Figure 55. Maatighar figure 56. craft

Element of earth

59 | N C P A , D e l h i
Ar. Joseph Allen Stein once said, “Regional without modern is reactionary, but modern without
regional is insensitive”.

In this design , we can see that modern and traditional forms are mixed with beauty. The dome
structure made of mud plaster called matighar is just a traditional way of meeting a modern need (
exhibition gallery )

4.1.3 BUILDINGS

Kalanidhi

is a reference library on multimedia collections.Long

Entrance Porch with Greek Columns in the front. It has a front
and a back entrance. And is surrounded with tall Palm Trees

Material : concrete Structure with White Plaster

figure 57. Media centre, IGNCA

Kaladarshana
is the executive unit that transforms researches and studies emanating from the IGNCA into visible
forms through exhibitions is the executive unit that transforms researches and studies emanating from
the IGNCA into visible forms through exhibitions.

Figure 58. exhibition galleries

60 | N C P A , D e l h i
Sutradhara

The administrative section, supporting and coordinating

all the activities. The Member Secretary is the Executive
head of both academic and administrative divisions. It
comprises Administration, Finance, Accounts, Services &
Supplies and International Dialogue Unit.

Figure 59: Red and Pink

Sandstone

4.2 CONCEPT

4.2.1 SITE PROPOSAL

1
2

Figure 60. site proposal

Axis Parallel to the original axis is created and the proposes buildings are placed axially .

1. Research and admin block placed near the existing block in a manner that it does not provide
any hindrance for students on their way to library
2. Multipurpose Auditorium placed in a position near the enrance . It can be used by IGNCA as
they do not have a proper auditorium facility
3. Auditorium for dance and drama
4. Concert Hall
61 | N C P A , D e l h i
4.2.2 INTERACTIVE SPACES
NCPA is said to be a vibrant center. Therefore there need to be plenty of spaces for the
small scale performers to perform in front of a small cozy audience and not just big auditoriums for
well- established artists. It should be a place where idols discover new talent. For that some small
interactive spaces should be given.

Figure 61. A semi covered theatre made from mud and wood

Figure 62. interior of theatre shelter, performing space

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Figure 63. sitting around trees

Figure 64. semi covered sitting

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4.3 SURVEY
I did a survey for performers of Dance , Music and Drama and another for audience, regarding what
kinds of performing spaces people like to perform in or watch performances at and got the following
results:

AUDIENCE:

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PERFORMERS

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66 | N C P A , D e l h i
Inferences:
1. People like watching performances more in open spaces than closed spaces. Therefore if there
is a performing arts center, it should definitely have open perforing areas as well
2. People like semi circular arrangement of seating in auditoriums more than rectangular.
3. People like to perform in ront of a large crown than a small crowd
4. More people are like to visit a restaurant if there is a live performance going on. Stages can be
provided in restaurents.
5. Most performers also prefer open spaces to closed when they perform
6. Most performers would like to perform in a café/ restaurant

67 | N C P A , D e l h i
CHAPTER 5: AREA REQUIREMENTS

4.1 Entrance
4.1.1 Security booth 16m sq
4.1.2 Parking 18000m sq

4.2 Research block

4.2.1 Library 450 m sq
4.2.2 2 seminar rooms 50m sq
4.2.3 4 music rehearsal rooms 40m sq
4.2.4 Orchestra rehearsal room 200m sq
4.2.5 4 dance rehearsal rooms 150m sq
4.2.6 2 halls 100m sq
4.2.7 Experimental theatre 45om sq
4.2.8 Staff room 80m sq
4.2.9 Head of department offices (2) 25 m sq
4.3 Auditoriums total capacity- 2700 seats
4.3.1 Entrance foyer .8 x capacity
4.3.2 Reception 9m sq
4.3.3 Exhibition gallery
4.3.4 Information desk 15msq
4.3.5 Security booth 18m sq
4.3.6 Box office 18m sq
4.3.7 Auditorium foyer capacity x .6
4.3.8 Auditorium capacity
4.3.9 Projection room 20m sq
4.3.10 Sound and lighting control room 18m sq
4.3.11 Wing space 9m sq
4.3.12 Green rooms 15m sq
4.3.13 Dressing rooms 15 m sq
4.3.14 Scenery store 25% of stage area
4.3.15 Props store 30m sq
4.3.16 Costume store 40m sq
4.3.17 Rehearsal rooms 90m sq
4.3.18 A.h.u 9000m sq
4.3.19 Event manager office 15m sq
4.3.20 Tour manager office 15m sq
4.3.21 Chief technician office 15m sq
4.4 Open air theatre 300 ppl
4.5 Admin block
4.5.1 Reception 0.9 m sq
4.5.2 Offices (10) 25 m sq
4.5.3 Accounts department office 30 m sq
4.5.4 Meeting rooms - 50 people 40m sq
4.5.5 Meeting room – 80 people 60m sq
4.5.6 Waiting area

68 | N C P A , D e l h i
CHAPTER 6: BIBLIOGRAPHY

National Building code of India ( NBC )

Neuferts’ 3rd edition book

Convention Centers (Masterpieces) Hardcover – January 3, 2012 by Chris van Uffelen

http://commons.wikimedia.org/http://www.bharatonline.com/

http://www.weather.com/

https://danceacademyusa.wordpress.com

http://carspecreview2015.top/

http://www.cadviet.com

http://www.masongross.rutgers.edu/

http://scribd.com

http://www.trivenikalasangam.org.in

http://www.slideshare.com

https://www.ncpamumbai.com

http://artsites.ucsc.edu/ems/music/tech_background/TE-02/teces_02.html

https://asa.scitation.org/doi/full/10.1121/1.4998721?aemail=author

https://www.earmaster.com/music-theory-online/ch03/chapter-3-1.html

http://www.upv.es/contenidos/ACUSVIRT/info/U0678807.pdf

Sabine, W. Collected Papers on Acoustics (1922). (Harvard University Press.Reimpresión Dover,

1964).*
Beranek, L. L.- Music, Acoustics and Architecture, John Wiley and Sons New York, London 1962

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