2. NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)
INTRODUCTION:
INDIA HAS WITNESSED VAST VARIETY OF CULTURES AND
TRADITIONS WHICH ARE PASSED ON FROM GENERATIONS . INDIAN
CLASSICAL DANCE FROMS ARE ONE AMONGST THOSE ART FORMS,
WHICH ARE CULTURALLY PRESERVED HERITAGE OF INDIA. IN THE
PRESENT DAY SCENARIO, DANCE HAS GAINED A COMMERCIAL
STATUS WITH THE ADVENT OF VARIOUS OTHER WESTERN DANCE
FORMS, WHEREIN THE INDIAN CLASSICAL DANCE FORMS HAVE
BECOME MORE OR LESS A NATIONAL HERITAGE “TO BE
PRESERVED, BUT LESS “TO PASS ON TO”. HENCE THE IMPORTANCE
OF TRADITIONAL DANCE ORIENTED SPACES HAS DIMINISHED.
THERE IS A NEED TO “RECREATE THE DIMINISHING
CHARACTER OF DANCE ORIENTED ARCHITECTURE, THEREBY
REVIVING THE INDIAN CLASSICAL DANCE FORMS TO
PROPAGATE IT AS A DIVINE RITUAL AND NOT A MERE
FORM OF ENTERTAINMENT”.
OBJECTIVES OF NRITYA GYAN :
CLASSICAL DANCES OF INDIA HAVE ALWAYS BEEN
PERFORMED AND NURTURED IN SPECIFIC SPACES
ACCORDING TO THE RESPECTIVE DANCE FORMS.
KUTHAMBALAM, THRISHUR KERALA KUTHAMBALAM, SRI SWAMI
TEMPLE, KERALA
DANCE WAS THEN PERFORMED FOR GOD AND
INFRONT OF A FEW SELECTED PRIVILEGED
AUDIENCE.
TEMPLE OF THANJAVUR DANCERS PERFORMING WHILE
THANJAVUR DANCE FESTIVAL
AS YEARS PASSED, DANCERS WERE ALLOWED TO
EXPRESS THEIR EMOTIONS THROUGH
PERFORMANCES TO LARGER AUDIENCE IN OPEN
AIR SPACES, THUS CAME THE OPEN AIR
PLATFORMS FOR DANCE INTO EXISTENCE.
ODISSI ANGURI BAGH. RED FORT, DELHI
THESE SPACES RELATE TO THE TIME PERIOD
WHEN DARBARI DANCE WAS NURTURED. THE
EXUBERANCE, INTRICASY, AMBIENCE AND
FLAMBOYANCE OF THE SPACE ADDED TO THE
BEAUTY OF THE PERFORMER. THESE SPACES
REVOLUTIONISED DANCE FROM MERELY A RITUAL
TO A MEDIUM OF ENTERTAINMENT.
CLASSICAL DANCE AND THEIR SPATIAL
PATTERNS :
CLASSICAL DANCES ARE CATEGORIZED INTO 3 FORMS. TEMPLE
DANCE FORMS, DARBARI DANCE FORMS AND CLASSICAL DANCE
DRAMAS OR COURTYARD DANCE FORMS. EACH OF THESE DANCE
FORMS FOLLOW SPECIFIC PRINCIPLES AND TECHNIQUIES IN
ADDITION TO BEING PERFORMED IN A PARTICULAR PATTERN.
BHARATNATYAM
ODISSI AND BHARATNATYAM ARE TEMPLE
DANCE FORMS, WHICH HAVE BEEN NURTURED IN
TEMPLES FOR AGES AND ARE STILL PERFORMED
TO PAY TRIBUTE TO THE DEITIES.
IN TEMPLE DANCE FORM, STEPS FOLLOW SIDE TO
SIDE, DIAGONAL AND SEMI CIRCULAR PATTERNS
WITH A DANCER REQUIRING A SQUARE OF ABOUT
1.34 M TO ACHIEVE FULL STEPS.
PATTERN OF BHARATNATYAM AND ODISSI IN PLAN
TYPICAL ELEVATION OF TEMPLE DANCE FORMS
MOHINIATTAMKATHAK
PATTERN OF KATHAK IN PALN
PATTERN OF MOHINIATTAM IN PALN
DILWARA TEMPLE SABHA MANDAPA
IN ELEVATION, ODISSI DANCERS
GO ACCORDING TO THE FLOWING
NATURE OF WATER, WHEREAS IN
BHARATNATYAM MOVEMENTS
ARE VERY STATIC AND ATHLETIC
WITH FULL STRETCHES..
IN ELEVATION, KATHAK DANCER STRICTLY
FOLLOWS PRINCIPLE BASED MOVEMENTS AND
REQUIRES A SQUARE OF ABOUT 1.45M IN
LENGTH TO ACHIEVE FULL STRETCHED STEPS
WHEREAS IN MOHINIATTAM MOVEMENTS
NEED 1.4M. MOHINIATTAM DANCERS
PERFORM IN THE SEQUENCE OF CRESENT
MOON.
CONCEPTUALIZATION OF PLAN BASED ON DANCE FORMS:
KATHAK AND MOHINIATTAN ARE DARBARI DANCE FORMS.
Final Year Thesis Project
DANCE ORIENTED SPACES :
3. CLASSICAL DANCE AND THEIR SPATIAL
PATTERNS :
KUCHIPUDI IS FOCUSED MORE ON FAST RHYTHMIC
FOOTWORK AND USAGE OF PROPS, WHEREAS KATHAKALI
EMPHASISES ON EXUBERANT FACIAL EXPRESSIONS AND
VIBRANT COSTUME WITH LESS OF DANCE AND MORE OF
ABHINAYA (ACTING).
KUCHIPUDI AND
KATHAKALI ARE
CLASSIFIED INTO
CLASSICAL DANCE
DRAMAS.
KUCHIPUDI
KATHAKALI
PUNE BEING THE CULTURAL
AND EDUCATIONAL CAPITAL
OF MAHARASHTRA, THE CITY
OF PUNE PROVES TO BE THE
IDEAL PLACE TO DESIGN
NRITYA GYAN.
IN PUNE, BALEWADI BEING THE HOME TO MANY
EDUCATIONAL INSTITUTES AND A SPORTS COMPLEX IS
KNOWN TO BECOME THE CULTURAL AND EDUCATIONAL
HUB OF PUNE. THUS BALEWADI IS CHOSEN AS THE SITE TO
DESIGN NRITYA GYAN. BALEWADI IS ALSO SURROUNDED BY
RIVER MULA ON THE LARGER SIDE.
SITE ANALYSIS:
DESIGN PROPOSAL:
THE PROJECT WOULD BE FINANCIALLY AIDED BY A CLASSICAL
DANCER AND JOINTLY VENTURED BY THE GOVERNMENT AND
ART ASSOCIATION OF INDIA.
NRITYA GYAN WOULD IMPART RESIDENTIAL PROGRAMMES
SUCH AS BASIC, AVANCED AND DOCTORATE PROGRAMMES
IN ODDISSI, BHARATNATYAM, KATHAK, MOHINIATTAM AND
KUCHIPUDI RAGINGING FROM 2 YEARD TO 4 YEARS .
SITE PLAN
ZONING PLANS:
THE ZONING OF THE SITE IS
DIVIDED INTO THREE PARTS –
PUBLIC AREAS WHICH
INCLUDES ADMINISTRATION
BLOCK, CAFÉ, AUDITORUM,
PARKING AND AMPHITHEATER.
SEMI PRIVATE ARES WHICH
INCLUDE DANCE SCHOOLS.
PRIVATE AREAS WHICH
INCLUDE STUDENT, STAFF AND
TEACHER’S ACCOMODATIONS.
NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project
ADMINISTRATION ZONE
INSTITUTIONAL ZONE
ACCOMODATION ZONE
VISUAL BARRIER
PARKING AND SERVICE
ROAD
GREEN COVER AND
WATER EDGE
VARIOUS ZONES:
VEHICULAR PATH PEDESTRIAN PATH
CIRCULATION PATH ZONING PLAN
4. VIEW OF CAFÉ FROM RIVER SIDE
CAFÉ IS DESIGNED INTO OPEN AND SEMI OPEN SITTING
SPACES WITH MAJOR SITTING AREA ORIENTED TOWARDS
RIVER SIDE
VIEW OF AMPHITHEATER FROM RIVER SIDE
BIRDS-EYE VIEW OF AMPHITHEATER
COLLONADE OUT OF
AMPHITHEATER
SUPPORTING THE ROOF OF
AMPHITHEATER
VIEW OF ADMINISTRATION BLOCK AND THEORY TEACHING CLASSES
ADMINISTRATION BLOCK IS
DIVIDED INTO ADMINISTRATION
AREA, THEORY CLASS ROOMS,
LIBRARY AND A COURTYARD.
ENTRY VIEW OF ADMINISTRATION
BLOCK
ELEVATION OF ADMINISTRATION BLOCK TOWARDS LIBRARY
PUBLIC ZONE:
PUBLIC, STAFF AND STUDENT’S
PARKING,
ENTRANCE AND PLAZA,
ADMINISTRATION BLOCK,
AMPHITHEATER,
AUDITORIUM AND
CAFE
GROUND FLOOR PLAN
NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project
5. GROUND FLOOR PLAN
KTAHAK DANCE HALLS
BHARATNATYAM AND ODISSI
GURUKUL IS DESIGNED ON
THE CONCEPTS OF NRITYA
MANDAPA PRESENT IN THE
TEMPLE ARCHITECTURE AND
THE PREVAILING FEATURES
OF VASTU PURUSH MANDALA
VIEW OF SEMI OPEN
DANCE SPACE
SECTION OF KATHAK AND MOHINIATTAM DANCE HALLS
VIEW OF KATHAK AND
MOHINIATTAM DANCE HALLS
KATHAK AND MOHINIATTAM
GURUKUL
SECTION OF BHARATNATYAM AND ODISSI DANCE HALLS REAR VIEW OF DANCE HALLS
VIEW OF DANCE HALLS FROM YOGA ZONE
BHARATNATYAM
AND ODISSI
GURUKUL
KUCHIPUDI AND
KATHAKALI
GURUKUL
DESIGNED TAKING
THE FLAMBOYANT
KATHAK AND
MOHINIATTAM
GURUKUL IS
NATURE OF RAJWADI AND
PALACIAL ARCHITECTURE
WHERE THESE DANCE FORMS
HAVE BEEN NURTURED.
KUCHIPUDI AND KATHAKALI GURUKUL IS
DESIGNED BASED ON THE TYPICAL DANCE HALL
DESIGN PRESENT IN THE TEMPLE COMPLEXES CALLED
AS KUTHUMBALAMS.
AERIAL VIEW OF THE
DANCE GURUKULS
SEMI PRIVATE
ZONE
SECTION OF KUCHIPUDI AND
KATHAKALI DANCE HALL
VIEW OF DANCE HALL
NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project
6. GROUND FLOOR PLAN
VIEW OF ROW HOUSES FOR PERMANENT
FACULTY AND EXCHANGE PHD STUDENTS
VIEW OF ACCOMODATION FOR
UNDERGRADUATE TO PHD STUDENTS
VIEW OF LOWER STAFF ROW HOUSES
VIEW FROM THE MOUNTS
SEPARATING THE DANCE HALLS AND
THE ACCOMODATION ZONE
SECTION THROUGH SEATING AREA
SECTION THROUGH SEATING,
LOBBY AND GREEN ROOMS
THE DESIGN OF THE AUDITORIUM IS INSPIRED FROM THE TYPICAL ENGLISH THEATER SYSTEM AND THE
BAITHAK SYSTEM OF KUTHUMBALAMS.THE AUDITORIUM IS THE MAIN AND STRIKING MASS PRESENT IN
THE PUBLIC ZONE GIVING CHANCE TO THE STUDENTS TO EXPERIENCE A WORLD CLASS
PERFORMANCE AREA.
AUDITORIUM :
AERIAL VIEW OF
PRIVATE ZONE
THE ACCOMODATION ZONE
IS COMPLETELY SEPARATED
FROM THE PUBLIC AS IT’S
PLANNED IN THE LAST HIERARCHY
THROUGH POSITIONING.
THE WHOLE SCHOOL IS PEDESTRIAN
CIRCULATED.
PRIVATE
ZONE
THE PRIVATE ZONE CONSISTS
OF ONLY ACCOMODATION AREA
FOR STUDENTS, TEACHERS AND
OTHER STAFF MEMBERS.
NRITYA GYAN (AN INSTITUTIONAL ABODE FOR DANCERS)Final Year Thesis Project
7. 5 STAR HOTEL AT PRABHADEVI
CONCEPTUAL
ZONING AND
CIRCULATION
DIADGRAM
THE PROPOSED 5 STAR BUSINESS CLASS HOTEL IS DESIGNED TO MEET THE REQUIREMENTS OF TODAY’S URBAN POPULATION WITH
HIGH END LUXURY AND ADVANCED SERVICES.
THE SITE IS MAJORLY DIVIDED WITH A LOOPING VEHICULAR CIRCULATION INTO TWO MAJOR BUILT MASSES OF HOTEL BUILDING
AND BANQUET WITH SUBORDINATE FUNCTIONS. THE INTERNAL PLANNING AND CIRCULATION OF BOTH THE MASSES IS
MAINTAINED KEEPING FORMAL, INFROMAL, PUBLIC, PRIVATE AND SERVICE AREAS SEPARATE.
ARCHITECTURAL DESIGN IS EMBELLISHED WITH DOUBLE HEIGHT LOBBIES FOR GRANDEUR, HUGE PORTICOS AND WELCOMING
ENTRANCES, INVITING POOL AREAS AND GRACIOUS LANDSCAPES AS WELL AS CHIC LOUNGES. IN ADDITION TO THE THEME BASED
RESTAURANTS WITH 24 HR CAFÉ INCLUDING REJUVINATING SPA AND HEALTH CLUB, THIS PROJECT HAS 10 FLOORS OF VERY
COMFORTABLE SUITES AND ROOMS. HIGHLY ADVANCED SERVICES AND WELL DESIGNED SERVICE AREAS ARE CORE TO THIS
DESIGN IN WORKING OF THE PREJECT.
CONCEPTUAL ZONING
AND CIRCULATION
DIADGRAM
GROUND FLOOR PLAN
RENDERS OF INTERIOR SPACES
THE SITE QUALITY AND ORIENTATION PROVED TO INSPIRE AND
PRODUCE A BOMERANG SHAPED FORM FOR THE UPPER ROOMS AND
SUITE FLOORS. THIS SHAPE WAS DEVELPOED TAKING MAXIMUM VIEW
OF ARABIAN SEA AND BANDRA–WORLI SEA LINK INTO CONSIDERATION.
LATER
EXPANSION
PROPOSED
DESIGN SITE
SITE
SITE LAYOUT
4th Year Design Project
8. HIGH RISE AND HIGH END RESIDENTIAL
PROJECT AT CADDEL ROAD - DADAR
SITE LAYOUT
THE TREND OF HIGH RISE BUILDINGS PROVIDING HIGH END LUXURY HAS TAKEN MUMBAI, THE
FINANCIAL CAPITAL OF INDIA TO EXPLORE NEW LEVELS AND TECHNIQUES OF ADVANCED
CONSTRUCTION SYSTEMS. THIS PROJECT GIVES A GLIMPSE OF THE EVOLUTION OF LUXURY
HOUSING STYLE IN MUMBAI TO BE EXPECTED IN THE UPCOMING 10 YEARS.
THIS PURELY RESIDENTIAL HIGH RISE DESIGN, BRIDGES THE GAP BETWEEN LUXURY AND ADVANCED
CONSTRUCTION TECHNIQUES. THE BUILDING RANGES TO THE HEIGHT OF 50 RESIDENTIAL FLOORS
WITH 2 PARKING LEVELS AND A PODIUM WITH LUXURIOUS SPA, HEALTH CLUB, POOL AREA,
SPACIOUS AMPHITHEATER AND COZY SITOUTS. THE TYPICAL TYPOLOGY OF HOUSING RANGES FROM
2BHK, 3BHK, 4BHK AND DUPLEXES WITH A PENT HOUSE ON THE TOP FLOOR.
2 BKH MODULE
4 BKH MODULE
3 BKH MODULE
VIEW OF ENTRY PORCH ON
PODIUM LEVEL
VIEW OF BUILDING ENTRY
4th Year Design Project
9. ART PLACE AND MUSEUM
COMPLEX AT KALA GHODA
GROUND FLOOR PLAN
THE CLUSTER OF MASSES IS DEDICATED FOR SPECIFIC
FUNCTIONS, WHICH WOULD BE BRIGED WITH THE FREE
SPIRITED PUBLIC SPACES; LINED AND EMBIBED WITH THE
WORKS OF ARTISTS AND PUBLIC.
THE SITE GIVEN IS THE CULTURAL HUB OF MUMBAI, WHICH
CELEBRATES THE BIGGEST CULTURAL AND ARTIST FESTIVAL OF
MUMBAI, “KALA GHODA”.
CONCEPT:
DESIGNING NOT JUST A MUSEUM, BUT A CULTURAL
GHETTO AND NOT JUST DISPLAYING ARTISTRY BUT
CREATING A VIBE OF FESTIVITY WOULD CREATE A
CULTURE IN WHOLE.
THE FREE SPIRIT OF FESTIVITY
AND
FREEDOM OF ARTISTRY
MUSEUMAUDITORIUM
AND CAFES
SHOPS
AND CAFE
ART
GALLERIES
IT WOULD BE A PLACE TO EXPLORE ONE’S INNER SELF AND
NOT JUST OBSERVE THE WORKS OF OTHERS AND GET
INSPIRED !!!!
MASSING OF ART PLACE AND MUSEUM
VIEW FROM TOP OF SHOPS VIEW FROM AMPHITHEATER VIEW FROM MUSEUM COMPLEX
VIEW OF ENTRY AND ART GALLERIES
3rd Year Design Project
10. COMMUNITY HOUSING
THIS WAS THE FIRST PROJECT WHERE CONTURES WERE INTRODUCED TO
THE CURRICULUM. THE AIM WAS TO RETAIN THE NATURAL BEAUTY OF
THE SITE AND DESIGN A COMMUNITY WITH NATURAL
FLOWING LANDSCAPE.
COMPOSITION OF LEVELS, CANTILEVERED TERRACES,
BRIGES TOGETHER IMBIBED IN TAKING THE
FORM OF THE FINAL PLANNING.
THE PLAY OF CUT-FILL INDUCED IN MAKING THE
SECTIONS ORGANICALLY COMPOSED AND GIVING
THE MOST ORGANIC DEVELOPMENT AROUND THE
SERPENTILE ROAD.
3rd Year Design Project
HAND DRAFTING
PRIMARY 2nd Year Design Project
SCHOOL
HAND DRAFTING
THE PROJECT AIMED AT BASIC PLANNING PATTERN AND CONCEPTUAL ELEVATION
DESIGN. AS THE SITE GIVEN WAS IN RURAL SETTELMENTS, THE DESIGN REQUIRED TO
BE ON THE BASIS OF VERNACULAR ARCHITECTURE YET COMBINED WITH MODERN
DESIGN ELEMENTS. WHILE PLANNING, BASIC SHAPES LIKE SQUARE, CIRCLE,
PENTAGON, ETC. WERE POSITIONED ON A GRID WHICH ULTIMATELY TOOK THE
FORM OF THE BUILDING MASS.
THE CONCEPT OF COLLISION OF BASIC FORMS WAS INTERPRETED IN PLANNING,
WHICH HELPED IN CREATING AMBIANT SPACES.
THE ELEVATIONAL CHARACTER OF THE WHOLE BUILDING MASS WAS ASO KEPT
SIMPLE, KEEPING BASIC GEOMETRICAL SHAPES INTO CONSIDERATION.
ELEVATION
SECTION
GROUND FLOOR PLAN
