Escolar Documentos
Profissional Documentos
Cultura Documentos
REPORT SUBMITTED TO
INU PRADHAN SALIKE
TRIBHUWA UNIVERSITY
INSTITUTE OF ENGINEERING
DBEPARTMENT OF ARCHITECTURE
PULCHOWK CAMPUS
2017
1. INTRODUCTION
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1.1 ARTS
The arts refer to an outlet of expression that is usually influenced by culture and which in
turn helps to change culture. The arts are the physical manifestation of the internal creative
impulse. Major constituents of the arts include literature (poetry, novels, short stories, epics),
performing arts (music, dance, theatre), culinary arts (baking, chocolatiering, wine making),
media arts (photography, cinematography) and visual arts (drawing, painting, ceramics,
sculpting). The arts are interdisciplinary for e.g. Visual elements combination with
performance (film) and written words (comics). An art can be means of entertainment for
laymen while if educated it may convey a deeper meaning.
1.2 IMPACT OF ARTS
Individual Community
Material/ Cognitive / Interpersonal Economic Cultural Social
Health Psych.
Involvement Direct
Builds Increases sense Builds individual Wages to paid Increases Builds social
interpersonal ties of individual social networks employees sense of capital by
and promotes efficacy and collective getting people
volunteering, self-esteem Enhances ability to identity and involved, by
which improves work with others efficacy connecting
and Arts Audience
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puppetry, circus, public speaking, recital, etc. which are performed in front of live audiences.
According to Baffe and Peters (2000), performing arts has been classified as
Music (playing music or singing, opera, hyms, raps, etc)
Dancing (ethnic, folk, ice dancing, ballet, etc)
Acting (plays, musicals, mimes, comedy)
Literary (reading poetry, storytelling)
Multimedia or others (music videos, street performances, circuses,etc)
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retail, housing, business offices, or other amenities were attracted by art and related
activity. Hence cities around the world recognized that PCA could cause revitalization
of the urban cores at a time when many residents and businesses were leaving for the
suburbs. Planners and community leaders recognized the arts as a key anchor for city
centre vibrancy. This effect was a guiding force in the development of Arts Centre
Melbourne and the entire Melbourne arts precinct as well as redevelopment initiatives
in the US, Europe and Australia that began in the late 1980s and still it continues to
drive the development of new performing arts especially in Asia and South America
in the present context.
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This includes direct and indirect support for arts vis--vis tax incentives, small
business loans, and similar inducements for commercial sector involvement, as
well as less formalized donations and investments in unincorporated activities
A high incidence of working artists in a particular place is a strong indicator of
cultural vitality and provides at least some measure of the support available for
key types of artistic endeavors.
The Generation 4 PAC creates public value opportunity by making diverse programs
accessible to diverse audiences. It provides critical support for high quality programs,
enables innovation in the development of content and delivery and provides essential
support to emerging ideas of artistic expression. The Generation 4 PAC must also be
nimble, provide a high level of technical and functional accommodation, look beyond
its traditional performance venues and usual delivery mechanisms to meet its
audiences where they want to engage and be able to take risk to supplement programs
already present in the community. It is a learning environment through which new
experiences are generated and new knowledge is created that enhances cultural
awareness, expression and understanding.
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The
Roman Theatre
classical period of performing arts began from 6th century Greek era. The forms that started
to evolve was large open air theatres (amphitheatres). These amphitheatres took advantage of
sloping hillsides for their terraces seating. The Greek theatre buildings (theatron) consist of
three important parts: the skene (back stage), the orchestra or a dancing place which was
present at centre. The orchestra was a large circular area about 150 m across. This place was
used for the performance, the choral performance and for religious rituals as well. These
types of theatres were built to cater audiences ranging from 25000 people. Due to heavy
mass of audience for which the dramas were performed, their drama style was melodramatic.
During that period, heavy and shiny costumes were used so that the audience could recognize
the characters from far away. The chorus was sung by at least 50 actors so that the whole
mass could hear it. Then came the Roman theatres which were similar to Greek theatres and
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developed magnificently in keeping with Romes imperial status. However, the Roman
theatres were built upon their own foundations being completely enclosed from all sides.
Greek Theatre
In 16th century, there was rise of Shakespearean theatres. It was in this period that
commercial theatre started. The globe theatres were constructed of wooden framings, infilled
with wattle and daub and roofed with thatched. Then throughout the 18 th century opera
rapidly became entertainment of the choice for aristocracy in most of the Europe and
eventually for large number of people living in the cities and towns throughout Europe.
In
th
Platform Stage (Medieval Pageant wagon (Medieval 19
Stage) Stage)
century, the growth of performing arts for all social classes started during which time music halls
was unique development. In 20th century there was use of different technologies to create
dramatic effect. Theatre became international in the 20th century. Rapid modes of communication
travel and fostered worldwide touring companies; cultural exchange of artists, theories, and
production; and international publication of dramatic texts. Numerous Experimental movements
of varying duration included symbolic, expressionism, and theatre of the absurd, epic theatres,
documentary drama, and environmental production. However, realism remained the most
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popular mode of writing and stage in west, and the picture-framed playhouse- enhanced by
lighting, sound, and other technologies-remained the most common style of Theatre architecture.
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Dabali. These Dabalis and Mandapa continued to be main location for public
entertainment.
Later Ranas replaced Dabalis with imitation of theatrical traditions of Royal Indian
courts and western style. The Ranas and their acquaintances began to enjoy Nepali, Hindi
and Urdu plays. Rangakarmis (artists) were kept on a payroll and were frequently hired to
perform to entertain the autocrats, their family and guests. Only female rangakarmis were
hired, as the rulers were wary of any possibility of brewing immoral liaisons inside the
palace with the presence of male rangakarmis. So, inside
Kartik Naach
the palace it was an all-woman show with women
masquerading as men to play the male characters. The gender sensitivity in the theaters
outside the palace gave rise to an exactly opposite trend, in the form of all male shows,
where the men played roles of women. The Natyashala, a hall for performing plays and
dance, was built inside the Singha Durbar in 1930s. The Natyashala (Dance House) had a
proper seating arrangement for the audience and a balcony large enough to accommodate the
family and relatives of the Ranas. These theaters experimented with multimedia; i.e., visual
and audio effects, though in a non-technical way. For example, heavy stones were rolled
from upstairs down to the empty space right underneath the stage to create the sounds of
thunder or of war. Similarly, multiple curtains painted with the scenes depicting the story set-
up were also used.
In 1940s Nepal got driven into modern form. With involvement of dramatist Bal
Krishna Sama plays were written and played in secular theme by directors like Hari Prasad
Rimal and Gopi Nath Rimal. In 1950s Juddha Shumsher built Jana Sewa for public. In 1960s
government of Nepal began to support to the contemporary theatre. In 1990s, the popularity
of cinemas and invasion of television pushed live theatre to the cultural background. In this
way, Nepalese historical background of theatre and performances are confined within valley
only.
In Nepal history of performing Art started from
Malla period. King Pratap Malla played drama in Nasal
Chowk of Hanumandhoka. Performances used to take place
in open elevated squares. After the democracy, there was
proper development of performing arts. Bal Krishna Sama,
father of modern Nepalese drama wrote famous dramas like
Prempinda, Mutu ko betha etc. Later on, Rastriya Nach
Ghar, City Hall, Royal Nepal Academy were constructed for
the development of the drama. Newari Acoustic
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invoke the power of the space that was there in earlier times. For example, a dramatic
performance with mask, song and drums creates the ambience of the all-time real
myth and the visible space becomes the stage for such performance.
The heritage of Nepali folk theatre is very old. People living in different geographical
terrain, from an altitude of sixteen thousand to two thousand feet above the sea level
have given rise to diverse folk traditions and theatrical forms.
The movement of the people from the country to the urban area has a unique
theatrical value. As mentioned by Portoghesi in his book, the architectural patterns
follow the patterns of life and living styles. The theatrical spaces of the Kathmandu
architectural patterns are made by people's performance culture. A free movement of
the people their culture helped to the design the frontality of the Newari houses and
different interaction spaces and building of the Kathmandu valley. There is a unique
relationship between the frontality of the theatre and spectators' participation. Free
movements of the people within and without the frontality of the architectural
locations is the main feature of the performance culture in Kathmandu.
The present scenario of Nepali theatre is characterized by one the one hand by
experiments with the new forms and on the other by preservation of the culturally significant
heritage of theatre. Closed space in being giving more emphasizes as performing space as
development of new technology even though use of traditional space like dabu, chautari, pati
and street also exist there.
Dabali
Dabali or Dabu id most pronounced form of theatre in Kathmandu. It is a raised platform in a
courtyard or open place which is used for cultural and religious performances and other
rituals. It has been a cultural node for open air public performances in newarii community.
Dabalis are usually attached to a built space (temple) and open in three remaining sides.
These spaces incorporate public interaction and association factors in an open space
composition making the ambience more vibrant. Generally square or rectangular in shape
these places were used for cultural, political and social programs where large crowd could
gather but recently Dabali has been used for market place and gathering space as well.
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Dabali Space
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Arena
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b. Thrust
A theatre in which the stage is extended so that the audience surrounds it on three sides. The
thrust stage may be backed by an enclosed proscenium stage, providing a place for
background scenery, but audience views into the proscenium opening are usually limited.
Actor entrances are usually provided to the front of the thrust through gaps in the seating or
is connected to backstage area by its upstage end. A thrust has advantage of greater intimacy
between audience and performer than proscenium, while retaining the utility of backstage.
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Thrust(apron) stage Thrust Stage with
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As in arena, the audience in thrust may view the stage from three or more sides. If a
performance employs the fourth wall, that imaginary wall must be maintained in multiple
sides. Because the audience can view the performance in various perspectives, it is usual for
the blocking, props and scenery to receive thorough consideration to ensure that no
perspective is blocked from view. A high-backed chair, for instance, when placed stage right,
could create a blind spot in stage left action.
c. End stage
A theatre in which the audience seating and stage occupy the same architectural space, with
the stage at one end and the audience seated in front facing the stage. It is open and therefore
is more flexible than proscenium arch theatres. The seats are raked up. The modern theatres
and school theatres are often end or a mix of this and proscenium arch. These are popular
theatres and take a wide variety of production mostly play text.
End Stage
Flexible theatres
Flexible theatre is a generic term for a theatre in which the playing space and audience
seating can be configured as desired for each production. Often, the theatre can be configured
into the arena, thrust, and end stage forms as described above. Environmental, promenade,
black box, and studio theatre are other terms for this type of space, suggesting particular
features or qualities.
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a. Environmental theatre
A found space in which the architecture of the space is intrinsic to the
performance, or a theatre space that is transformed into a complete
environment for the performance. The audience space and performance
space are sometimes intermingled, and the action may be single-focus
or multiple-focus. In environmental theatre, the physical space is an
essential part of the performance.
Environmental Theatre
b. Promenade theatre
A theatre without fixed seating in the main part of the auditorium, this
allows the standing audience to intermingle with the performance and
to follow the focal point of the action to different parts of the room.
Multiple-focus action and a moving audience are the primary
characteristics of the promenade theatre.
Promenade Theatre
d. Studio theatre
A flexible theatre with one or more audience galleries on
three or four sides of a rectangular room. The main floor can
usually be reconfigured into arena, thrust, end stage, and flat Black Box Theatre
floor configurations. The room usually has some
architectural character.
e. Courtyard theatre
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Proscenium Theatre
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It is the form most conductive to the productive to the total uniform effects. It is
limited in seating capacity because the principal direction of expansion is away from the
performance, good seeing becomes limitation for expansion. In essence it is not an intimate
theatre shape, since the audience and the actors are each in separate.
b. Thrust and open stage
Some larger drama theatres take the form of a thrust stage, with the
audience surrounding three sides of the performance
platform. The term open stage can be used interchangeably
with thrust, but implies a more frontal arrangement. These
and similar forms can accommodate high seat count within
an acceptable distance to the stage. Audience balconies can
increase the intimacy Thrust and Open Stage of the room.
1.7.2 Spaces for acoustic (unamplified) music
Concert and recital halls are theatres for the performance of music. The requirements of
acoustic (non-amplified) music determine the volume, shape, and even the architectural
detailing of the hall. At the same time, the hall must support the visual presentation of the
performance and provide an intimate patron experience. A universal characteristic of these
buildings is that performers and audience share the same spacethere is no architectural
separation between stage and auditorium. Today, concert halls arent used exclusively for
acoustic music. A new hall must have enough flexibility to allow other uses, like popular
(amplified) and ethnic music, dance, lectures, meetings, and film presentations.
a. Recital hall
A space designed for soloists and small ensembles (up to chamber
orchestra size), with a seat count typically in the range of 150 to 800.
This form is a descendant of the court music rooms of the Renaissance.
It is often rectangular in plan, with an open concert platform at one end
of the room and seating galleries on the other three walls.
b. Concert hall
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A space designed primarily for symphonic music, with a seat count typically in the range of
1,100 to 2,000. The upper limit for a successfully intimate room is about 2,200 seats.
Shoebox concert hall
The classic concert hall form is the shoebox, named after the
rectangular shape and approximate proportions of a tennis-shoe
box. The shoebox form has high volume, limited width, and
multiple audience levels, usually with relatively narrow side
seating ledges.
Vineyard concert hall
Shoebox Concert Hall
Some modern concert halls have audience seating in terraces
reminiscent of a vineyard. The seating may completely or
partially encircle the concert platform. An important early
example of the vineyard form is the Berlin Philharmonie. A
hall with partial encirclement may be called a modified
vineyard. The Walt Disney Concert Hall in Los Angeles is a
contemporary example of this form.
Vineyard Concert Hall
b. Multiform theatre:
A multiform theatre can be reconfigured to change
the actor-audience relationship and the seat count.
By moving large architectural elements, the one-
room form of the concert hall can be transformed
into a two-room theatrean auditorium and stage
with a proscenium. Side wall seating towers can be
positioned to narrow the room, or otherwise change
its proportion. Often the orchestra (stalls) floor can
be leveled and the seats removed to create a large, Multiform Theatre
flexible flat floor area. (Many of the theatre forms
described here can be designed with this flat floor capability. It was a common feature of
eighteenth and nineteenth century opera houses.
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Showroom
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1.7.6 Amphitheatre
Originally Greek, later adapted slightly by Romans is
still occasionally reproduced. They were built on huge scale in
Greek with 20,000 seats and is still in use. The term originated
to describe a Roman open-aired building with tiered seats,
generally oval in shape used for staging gladiator contests,
wild beast shows, or mock sea battles. Amphitheatre are Amphitheatre
appropriate for large scale productions. There is an awesome
grandeur about such theatres which could match the chosen production. The plays full of
ceremony and movement would be suitable for Amphitheatre rather than the ones that
require intimacy and naturalistic quality.
1.7.7 THEATRE
The theatre is the branch of performing arts is concerned with acting out stories in front of an
audience, using combination of speech, gestures, music, dance, sound and spectacles.
Anyone or more of these are performing arts. In addition to standard narrative dialogue styles
of play, theatres take such forms as plays, musicals, opera, ballet, ballet, illusion, mime,
classical Indian dance, improvisational theatre, standup comedy, and non-conventional or
contemporary forms like postmodern theatres, post dramatic theatre, or performance art.
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the safest ways for novices to learn about and adjust stage lighting. If it is to contain a
control desk or bench, it should be 2m in depth
Some drama studios incorporate a closed lighting control room, with access from
outside the studio. This design can create communication and supervision difficulties,
if the teacher is unable to see students in the lighting box, or control the class from the
lighting box
Teaching Areas
Drama studio
Drama studio is required for teaching acting skills and techniques and sometimes also used
for rehearsing plays. The clear play area of 100m3 is required. There should be some space
for the seating arrangement as well. The studio should be flexible in nature which means
arrangements of learning space and seating space can be changed according to the
requirement of the performance.
Dance studio
The floor of the dance studio shouldnt be slippery and should not be too hard. It should have
wall mirrors of minimum 2m high along at least one wall. The mirrors should have a drapery
controlled by chord pull. Ballet bars should be installed on wall of the room at ascending
heights of 1m, 1,15m and 1.2m. The walls and ceilings should be treated acoustically and
provision of movable sound system is desirable.
Music studio
In music studio students are taught vocal lessons. A provision for piano is desirable to teach
the students tunes of different instruments. For teaching classical tunes basically a bare room
with raised platform for the teacher to sot and play harmonium and space for students to sit
around is required and a sound system being a must. Marker boards and seating
arrangements with desk and chair for individual vocal practice should be done for teaching
music theory. Store room for storing musical instruments, room for vocal practice with
provision for sound system is required. Acoustical treatment should be done in all rooms.
Movement and Yoga Studio
In this studio students are taught the different western and eastern postures which are
important for the theatre artists. Yoga assists in healing holistically at physical, emotional and
spiritual levels. Generally, a peaceful environment with fresh air and connection with nature
is required for the teaching of yoga and movement.
Workshop areas
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Workshop areas for wardrobe for teaching and preparing costumes for students as well as for
the drama production, scenic workshop, prop studio (Art and Craft studio), Lighting Studio,
Makeup studio, etc. should be provided of appropriate sizes.
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2. CASE STUDIES
2.1 Rastriya Nach Ghar
General Information
Selection Criteria: National level building of Nepal and study auditorium requirements
Location: Jamal, Kathmandu
Orientation: East
Site context: commercial zone
Capacity: 750
Planning
Auditorium away from noisy road
Foyer as buffer Space
Construction technology: frame structure, cavity wall & multilayer roof with
metal truss
Arch style: Neo traditional, Exposed Brick, slope roof tile
Material Brick, Tile, RCC, CGI sheet, Parquet, Vinyl tile, Velvet curtain,
bamboo ply, teak ply, planks, acoustic ceiling, POP
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Stage: Front stage, back stage, wings, green room, rehearsal room
Other Spaces
Technical space
Projection room
WC
Stair, ramp, lift
Open courtyard (Dabali)
Gallery
Circulation in theatre
Pedestrian entrance, Vehicle entrance, VIP entrance
Ticket Counter in entrance
Exit directly to open air & fire Escape metal stair from Hall
Foyer with WC, smoking area, waiting seats etc.
Stage
The stage has parquet flooring. The splays of the proscenium reflect sound to the audience.
The scenery and backdrops also contribute to conditions for good hearing. The curtains used
in the stage are of velvet which is a good sound absorber.
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Seating Arrangement
Concave Shape
Seating Concentric Circle, first row of seat from stage 5.8m
Stage is raised 1.8m from floor level
The rise of level between seats is 15cm
Inclination of seat is 11 degree
Materials used in the seats are velvet and timber which act as good sound absorber
thus even if the hall is not fully seated by audience the acoustics of the hall is still
maintained. The floors are provided with PVC.
The seating has been raked (a total of 14 steps from the lowest seating level to the
highest seating level) to provide good sight line as well as a good sound line.
Finishes
a. Wall
The side of the hall is parallel in front and rear. The wall of hall is made of
cavity with use of wooden panels & acoustical material. The hall has 460 mm
brick wall with 60mm cavity. The construction of the wall consists of
multilayer construction of inner shear wall, cavity in between and external
brick wall.
b. Ceiling
Specially designed sound absorbing materials like suspended acoustical tiles in particular are
used in the ceiling. The tiles act both as sound absorbers and sound reducing barriers. These
tiles are random perforated cellulose fiber tiles and are prefabricated, factory finished
materials. False ceiling near the proscenium is reflective to reflect stage sound to rear the
part of hall. Rear portion of ceiling is treated with sound absorbing materials to control
audience noise and reverberation. All the Technical space is housed
above the ceiling.
c. Furniture
Furniture is of wooden and seats are upholstered in leather which
acts as a good sound absorbent.
d. Doors
Instead of simple flush doors, special types of doors are provided for sound insulation. Since
sound insulation and transmission loss of doors increase with weights, heavy doors have
been used which have a thickness of about 100mm.
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Sound Reinforcement
The loud speakers are placed on the both sides of the proscenium and
also on the side walls at a suitable height to facilitate the balcony
audience as well. Control mechanisms have been used in from the
sound control room at the rear of the hall to maintain the quality of
amplified sound.
Roof
The main structural component supporting the roof is the steel trusses
and the corrugated sheeting has been used for the covering. To prevent
the noise produced on the corrugated sheet due to rain jhingati tiles has
been used on the roofing and also plywood planks below the sheets.
Again, acoustical tile has been used on the visible portion of the ceiling
which also gives better aesthetic looks to the ceiling, thus concealing all
the mechanical and service cables and ducts.
Wall acoustics
The electrical and mechanical room is located in the basement of the building. The service
cables and ducts on the upper part of the auditorium i.e. the catwalk is insulated by the
mineral fiber board.
Back Stage
Green Room- ladies & Gents
Make up rooms with wash room
And changing room with wardrobe
Rehearsal room
INFERENCES
Basements can be used as a parking space in commercial areas and can be possible to
generate financial support to an extent.
If ramps are not provided provision of lifts should be made for differently abled
people
Lobbies can be used as a buffer space to control the external noise.
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To study the architectural character of the public building, both exterior and interior.
Location
It lies in the center of the capital city, Kathmandu, in the Exhibition road,
Bhrikuti Mandap and is therefore easily accessible from all parts of the city. Adjacent
to the complex are the old Bus Park, Mahendra Police Club, Nepal Tourism Board and
Bhrikuti Mandap Exhibition Hall. Since the site lies lower the main road it can be
perceived by the passerby walking around the location.
Components and functional analysis of City Hall
There are various entrances that leads to the different parts of the buildings. There
are separate entrances that lead to the main hall, Administrative office, and also
separate entrance is provided for the VIP at the west.
The ground floor houses administrative office, and caf. The staircase in the center
is there providing a vertical access to the first floor. This is a provisional access for
the office and can be defined as an escape route in case of emergency.
A large skeletal staircase at the front leads people directly towards the main foyer
whereas the office area is hidden from direct approach. Service entrance is also
hidden which is located at the east side with a provision for vehicular access. The
complex seems to be planned about the axis created by the main entrance.
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Lobby
The lobby space in the city hall is more defined
and usable as it also acts as a spill out area,
gathering and interacting space and also the
space for holding exhibition. The lobby space is
designed as a mezzanine opening up two
floors. The lobby enjoys the depth of height as
a void is introduced on the second floor.
(Shrestha, 2012)
Auditorium
The main hall had the capacity of 700 + 24 (Balcony) persons. For the 18 th SAARC
summit in 2014, the seating of the hall was rearranged and now it has the capacity
of 546 persons. The auditorium is accessible through the main staircase via a foyer.
The hall is made by erecting 21 thick brick wall. The auditorium has two aisles,
which divides the seating into three parts.
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Office
Service
VIP Lounge
Toilet
Main Entry
Auditorium
Staircase
Lobby
Stage
The auditorium is facilitating with AC facility. The hall is covered by timber truss
and asbestos sheet. As the hall is not designed for theatrical performances, there is
no orchestra pit. Separate changing rooms and dressing room have been provided
at the back stage.
Seminar hall
There are two seminar halls at the two side of the hall on the second floor. Each
seminar hall has a capacity of 100 persons each and it has temporary chairs
arrangement.
Architectural expression
Architectural style
The massing of different forms, its color combination and faade treatment makes
this symmetrical design remarkable. Based on modern principles of design, the
building reveals the symmetric nature along the axis of entry. The building exhibits
dynamic nature in form. Various forms used to create a variety in design. Use of
different colors and textures for different surfaces adds visual interest in the exterior
look. Vertical linings on the front faade give verticality to the structure. (Shrestha,
2012)
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Evacuation Plan
There are three exits form the main block and 4 exits from the auditorium. And from
VIP annex three exits are provided.
Mandala theatre
General information
Selection criteria: Study of Black box theatre spaces
Location: Anamnagar, Kathmandu
Orientation: East
Site context: commercial zone
Activities: Performing dramas and plays
Capacity: 130
Auditorium Specification
Stage level is same level of audience
Size of black box: 22-0 X 12-0
Depth of stage: 26-0
Green room, costume rooms, meeting room, staff room
located above the stage
Audience entry from rear of the theatre and actors from backstage,
2 exits from side as well as rear part of the theatre.
Inference
Tight lobby space area, open
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The four main areas of the Kuala Lumpur Performing Arts Centre are:
Inference
Rather than expressing a singular Malaysian identity, the design is deliberately neutral
to allow the performances within to reflect the pluralistic society.
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All materials were locally sourced and local tradesmen were employed.
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5 theatres
Tata theatre: 1010 seats
Jamshed Bhabha Theatre: 1109
seats
Godrej Dance theatre: 185
Little Dance Theatre: 114
Experimental Theatre: 300 movable seats
Other facilities are OAT, gardens, Caf, library and teaching and research
Centre. Jamshed Bhabha Theatre
ACOUSTIC CONSIDERATIONS
Doors: 2cm thick cushioning of leather and foam +15 mm dense wood
inside
Panels of concrete or POP with pointed finish plaster, marbles,
concrete with marble inlays
Wall surfaces staggered at different
angle
Hollow projections act as resonator
Diffusive wooden panel of different
shapes
Woolen carpets used on floor
Inference
Site are located nearby the waterbodies like river or pond
Proper planning and use of the finishing materials are also an essential part
Within a space multiple theatre and studios
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3 SITE ANALYSIS
SITE DETAILS
Location
The site is located at Khumaltar height, ward no. 18 which is the southern part of Kathmandu
Valley. It lies on the way to Godawari and Satdobato. It is about 1 km from the ringroad.
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PERFORMING ART CENTRE
Physical features
Geographically, the site is at latitude of 27 39 4 N and 85 19 51 E. the site has altitude
varying from 1302m to 1308m above sea level, the site slopes from the west runs downward
to east.
Shape and size
The proposed site is 37 ropani 3.5 anna (18922.9774 sq. m.). The east -west length of the site
is 152m m and north-south length is 123 m. The site is roughly rectangular in shape.
Site surrounding
Although the site lies at the outskirt of the valley, the area has developed as institutional,
administrative, and residential as well as research area. There are several residential
buildings as well as housing at its immediate surroundings. Some part of the site is still
surrounded by agriculture land. Some important buildings present in the vicinity of the site.
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PERFORMING ART CENTRE
The site is easily accessible for the people from all part of the valley. The main approach
road is Satdobato- Godawari road (12m wide) and secondary access road is 4m Hattiban-
Gwarko road. The site is 1.1 km far from Satdobato ring road and 2.6 km far from Lagankhel
bus park. The nearest bus stop is located at satdobato at 15 minutes walking distance. Public
transportation service like microbus is available every 5 minute.
Physical infrastructure
1. Water supply: At present Kathmandu valley Drinking Water supply has been
providing water supply services to this area but there is still insufficient supply
of drinking water.
2. Sanitation: The facility of sewage line is available at the site. It runs along
main approached road
3. Electricity and communication: The service of Nepal Electrical Authority and
Nepal Telecommunication in the site.
Byelaws:
According to the byelaws of Lalitpur Metropolitan City, the site lies in the residential sub-
zone. Following are the regulations for the project as per the bye laws.
Set back 1m from the main road for road side land
Frontage 7m from the road side land
FAR 2
Max. ground coverage 40%
Parking 20% of total plot
Geology
The site lies in medium liquefaction zone in terms of seismic susceptibility according to the
environmental mapping report by N-SET. Nepal lies in a seismic prone zone i.e. zone V. so
while constructing a building, earthquake resistant design construction should be considered.
Climatic study
The secondary climatic data have been analyzed and can be summarized as follows:
Maximum temperature: 29.7 C
Minimum temperature: 2.5 C
Maximum Humidity: 88.8%
Minimum Humidity: 72.1%
Maximum rainfall in 24 hrs.: 207.1 mm (August)
Average wind speed: 2.1 km/hrs.
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PERFORMING ART CENTRE
Site Justification
Strength
Although the site is located 1.1 km away from ring road, there is facility of frequent
vehicular services
There is no visual barrier to the site which is one of the most important features of the
public buildings. The site is visually accessible from all the direction.
The site is south oriented and also covers road frontage.
Although there is rapid growth in the population in the area, the peaceful environment
still prevails.
Opportunity
Economic development of the area
Involvement of the institution around the area in various programs and events
The growing potential of the Khumaltar area as it has been developing as institutional,
administrative, residential as well as research zone. The only thing that is missing in
this area is cultural and recreational institution which can be fulfilled by the project.
Weakness
Site is 1.1 km away from ring road and not in centrally located area.
Threat
Traffic congestion
Noise pollution to the neighboring area
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