DESIGN PROJECT

NARRATIVE: MUSIC AND DANCE

SEHAJ BRAR
STUDIO: 3 D

WHAT IS THE PROJECT?

The idea behind this project is to create an

informal interactive space (primarily for
students), where, a platform is provided for
exchange of ideas, learning and
performance in the field of music and
dance.

WHAT IS THE PROJECT?

Delhi clearly lacks a space for students
who are passionate about these forms of
art, without having to spend any money.

A congregational space for people from

different backgrounds/cultures (not only
local but international also), who learn
from each other

WHY HAVE YOU CHOSEN IT?

The percentage of youngsters( till 21 years
of age) has increased from 0.7% in 2012 to
3% in 2015

Delhi being a student centric city, ironically,

lacks the existence of a space that is
student centric; interactive, revelatory,
informative and cheap.

LARGER IDEA BEHIND THE

PROJECT?

We are all aware of the fact that, in

India, students are rarely encouraged to
pursue a career in either of these fields.
It is not easy to change the mindset of a
billion people.

LARGER IDEA BEHIND THE

PROJECT?
However, there needs to be a vent for
students who, for whatever reason(s)
cannot pursue a career in said fields.
Also, I do not wish to confine this project by
dance and music art forms prevalent only
in India. The idea is to explore and learn
about cultures all over the world,
transcending geographical boundaries.

DIFFERENT ELEMENTS OF THE PROGRAMME

1. INTERACTIVE SPACES:
. These spaces will be prevalent
throughout the site, specific to dance
and music, separately.
. And a common space for both art
forms to create a space of innovation
and invention.

DIFFERENT ELEMENTS OF THE PROGRAMME

1. LEARNING SPACES:
These spaces will be segregated for both music
and dance.
However each of these art forms will be subdivided
on the basis of different typologies/styles.
.

On the basis of genre and instruments for

music. E.g. Jazz(drums, saxophone),
electronic(DJ), classical etc.
. On the basis of dance style. E.g. contemporary,
ballroom dancing, classical etc.

DIFFERENT ELEMENTS OF THE PROGRAMME

1. SPACES FOR PERFOMANCES:

. Separate for music and dance.
. A common space where people
from both backgrounds can come
together, put together a piece,
and perform (open to all).
A platform for dancers and
musicians to come together and

CASE STUDIES
IN BANGALORE:
NRITYAGRAM

INTERNATIONAL:
PARIS MUSIC SCHOOL

NRITYAGRAM, BANGALORE

LOCATION: 30 k.m.
from
Bengaluru

rchitect:

Gerard da
Cunha

Established: 1990

Nrityagram is Indias first modern Gurukul for

Indian Classical dances and a community in the
form of a dance village set up by Odissi dancer
Pratima Gaur in 1990.

ABOUT THE ARCHITECT

Gerard da Cunhais an Indian
architect based inGoa. He is
known for utilizing locally
available materials and traditional
construction techniques in
harmony with its ecosystem.
Nrityagramreceived the award
for best rural architecture from
the Vice- President of India in
1991.

When I was starting work there, I had a

site that was flat. No trees, no view,
nothing.
I had to create vistas.
It was an isolated area, so I had to bring a
sense of security.
When you got into the building you felt
secure.
He grouped his buildings around three
main courtyards .

SITE ACCESS

STREET LAYO

NRITYAGRAM

Located on a 10 acre land, near Hessarghatta.

Here classical dance forms like Bharatnatyam,
Odissi and Kuchipudi are taught.

CONSTRUCTION
TECHNIQUES
Built using traditional
forms and techniques, in
order to keep both the
architects and lay people
familiar with them
Stone and thatch are the
primary materials used.
The building, built of
brick, laterite stone,
thermacole, china mosaic,
bottles and stained glass
is rich in colour and form.

RESIDENTIAL COMPLEX
STUDY
SURUPA SEN

The austere facade

of the house is
made of stone and
the doors and
windows are
created out of
salvaged wood
scraps
Sen's praying
corner in the
living room is a
bright space with
flowers, diyas and
idols
ABSENCE OF CLUTTER

The pink and

yellow niches
add to the
white open
kitchen

The
portico is
a neutralhued
space with
simple
wood
furniture
and stone

STRENGTHS
Successfully built a complex which
responds to the immediate
environment.
Successfully tackled the challenge of
creating residential spaces within a
learning centre.
Material palette chosen compliments
the character and concept of the
complex.

WEAKNESSES
Nritygram proved to be neither
comfortable nor climatically suitable
given contemporary expectations.
Interaction between spaces
designated to each dance form and
style is limited.
One thing that Cunha learnt from
Nrityagram is that simply aping the
vernacular no longer suffices.

OPPORTUNITIES
Revival of the traditional methods of
construction using traditional
materials.
Reinvention of the concept of a
village, attracting tourists from all
over the world to a place of recluse.

THREATS
Use of only traditional materials has
made it incompatible to live in.
Need to strike a balance between
what is old and what is new, (using
the latest technology) to create
spaces that revive the past and are
also habitable.

INTERNATIONAL CASE STUDYPARIS MUSIC SCHOOL

ARCHITECT: BASALT
ARCHITECTS
LOCATION: PARIS

PARIS MUSIC SCHOOL

EXISTING FUNCTIONS:
MUSIC STUDIOS
DANCE STUDIOS
AUDITORIUM
SPACES FOR INTERACTION

PARIS MUSIC SCHOOL

FACADE:

The conservatory's
entire exterior is clad
in a shimmering skin
of copper panels
Reference to the
colour of the nearby
sandstone church of
Sainte-Odile and the
recent residential
buildings.

PARIS MUSIC SCHOOL

WHY COPPER?
"Copper allowed us to
create a facade whose
playful folds and
perforations play with
light by filtering
sunlight during the day
and sifting light
outward at night,"
"Copper is used as a
natural material and its
oxidation participates
in the life of the
building."

PARIS MUSIC SCHOOL

THIRD FLOOR
SECOND
FLOOR
FIRST
FLOOR
GROUND FLOOR
BASEMEN
T

 A 300-seat auditorium
at the centre of the
building steps down
from the ground floor
to a stage at basement.
GROUND FLOOR PLAN

BASEMENT PLAN

 Circulation spaces leading to other facilities

including practice rooms and the dance studios
Wide corridors receive natural light from central
skylights surrounding a small courtyard

PARIS MUSIC SCHOOL

The built form is
constantly
interacting with its
surrounding spaces.
To the north:
cantilevered studios
responding to the
apartment building
To the south, the
perforated facade is
constantly
interacting with the
street.

STRENGTHS
The intention of blending the
material palette of the structure with
the city fabric.
Design elements used are done with
respect to immediate surroundings.
Constant interaction between the
built form and the street, within and
without.
Circulation spaces are flexible; act as
interactive spaces.

WEAKNESSES
The strong physical barrier between
the built and the open space.
Lack of space of transition from the
open to the enclosed area.
Every individual functional space
does not relate to each other.

OPPORTUNITIES
A platform for both musicians and
dancers to learn, interact and
perform under the same roof.
An extremely interactive street edge
engages the pedestrian in the
activities happening within the
building.

THREATS
Lies at the juxtaposition of traditional
and modern buildings.
The challenge of blending the
existing structure with the traditional
and modern building types is yet to
be resolved.