In-turn conceiving a whole virtual world altogether, a digital cloud, consisting of virtual media, which has deeply implanted itself into our daily lives via the headphones in our ears, virtual reality googles on our heads, smart watches on our wrists and the smart phones in our hands. Now we are able to carry all that entertains us right there in our small pockets. And yet in this age of virtual media, maybe by a brink, live performing arts still survive, though often shadowed by their digital counterparts such as films, shows, animations, etc.
The digital revolution that generated these counterparts also provided positive advancements in the field of performing arts, which have kept them afloat.
Capturing of live performances on one hand have helped in generating a permanent memory while on the other hand, like an after-effect precisely of mass-production and distribution, have narrowed their own market. One area where technology has surely come to aid is the background services providing better quality of lighting, sound, props, special effects, dramatics, and so on. Performing arts comprise of several disciplines and typologies all of which are performed to live audiences.
The various performances range from instrumental music and vocal music, sung verse, theatre , dance, pantomime, and beyond. Wikipedia, n. Dance, whose definition might to very complex to unfurl, can be described more simply as a series of ordered bodily motions and movements, usually performed with music as it basis. The steps, movements, expressions, gestures are often used to express emotions, sentiments, moods, or even specific daily activities, rituals, events etc.
Performers are basically artists performing or participating in the performance to the live audiences. These include dancers, theatre actors, comedians, mime, magicians, circus performers, singers, and musicians. Performers often use costumes, make-ups, lighting, sounds etc. Theatre are performances that are used to convey stories. These usually include acting done in calibration with music, singing, dancing, narration, recitation and dialogue.
They can also include puppetry and pantomime. Theatre can play important roles in culture and traditions. They are used to convey traditional stories, folklores, tails, events, biopics etc. These are also performed during harvests, births, new years etc. Music is observed to be the most widely and perhaps universally performed art. It is found in every culture, often associated as an integral part to other performing arts.
It is vastly related to other intangible domains of culture and heritage such as festive events, festive dances, rituals and oral verse traditions. Music is connected to both the sacred and the profane, to the classical or the popular, closely connected to work and entertainment. Music also has political and economical significance, it recounts a society's history, can contain the praises of the greats, can help unfurl a political revolution, or an economic translation.
Music is performed on various occasions, ranging from weddings, festivals, carnivals, funerals, initiations, and all other kind of entertainments. All these performing arts require additional supporting props and objects which may include instruments, masks, costumes, furniture, body decorations, sceneries etc. These performances also desire specific spaces designed according to their needs. These may range from an outdoor bandstand to a opera house.
Concert halls, opera houses, band stands, band shells, pay host to classical music shows. While public houses, discotheques, nightclubs etc. Amphitheatres: are open to sky theatres with permanent seating which is generally tiered.
It generally contains an orchestra pit which can hold large numbers of musicians. This is located below the audience seating or between the stage and the audience.
Band-shell, band-stand: these are large outdoor perfrormance venues used by musical bands and orchestras. The stage usually has a concave back covering to enhance audibility and provide shelter.
The audience is usually seated in the front in the open. These halls might exist as a part of a larger performing centre. The two typologies are hoebox and vineyard. There has never been an ideal shape for a theatre, it varies from performance to performance. The buildings conceived for theatres can house drama, classics, musicals, ballets, dances, circus, music performances, opera etc. Just as the form there is no ideal dimension of a theatre. The scale depends on the stage, which depends on the performance and the number of spectators which assumed to be watching the show.
These are all variable influencing one another. And therefore no one fit formula works when it comes to theatres. And therefore many typologies have been developed to accommodate as many performances as possible. Arena : Is a theatre type in which the audience surrounds the play area or the stage completely on all the sides.
Performers access the stage through inbuilt vomitories or narrow walkways between the seating usually at the corners. The performers enter from the fourth edge which is an enclosed back stage can be proscenium. Actors can also enter through walkway gaps in the seating, which are connected to the stage.
Here the stage and the audience inhabit the same architectural space, on one end of which is the stage and on the other is the audience looking at the stage. These elements can be altered on desire in accordance with the performances. These theatres can be converted into arena, end stage or thrust on need. The many types of flexible theatres include: promenade, black-box, environmental, studio etc.
Environmental theatre : is a typology of theatre in which the complete architectural space is transformed into the actual environment or background of the performance.
Both the audience and the stage zones are intertwined. The plays can be singlefocused or multi-focused. The complete space is hence an intrinsic part of the performance. Here there is no fixed seating, allowing the audience to stand and intermingle in the performance. This also helps in shifting the focal point of the performance from one part to other. A moving audience thus becomes a characteristic of the theatre. It may or may not be black. Audience seating and stage are flexible, generally located on the same floor, while audience galleries may be provided above.
Which are linked by a shared proscenium wall. The tall stage box contains the performing area, the wings, the fly tower, and the under-stage. The wings and the fly tower are used for stage modulation and introduction of sceneries and props.
Lighting is also provided on these zones. The under stage is used stage modulation or orchestra pit. The audience box is long and grounded, usually in the shape of a fan.
It can also be a courtyard or a lyric. The opening between the two boxes is called the proscenium, the proscenium arch, proscenium frame, or proscenium opening. In its earliest forms the stage used to budge out of the arch into the audience like a thrust stage. But it was until the middle half of the nineteenth century that the stage and the audience were separated into to separate space.
Modern prosceniums provide much flexible transition between the seating and the stage. A fire protection partition wall is also provided between the stage and the seating, which lowers down in case of fire on either ends. These are often rectangular forms with seating galleries. This is generally used for lectures, sessions, symposia, presentations and product launches. The hall is mostly fan shaped, looking onto an platform with limited specific facilities.
The auditorium is sometimes provided with space which can be divisible on need. Houses of worship: theatre typologies and technologies have recently found their way into the designing of places of worship. The halls are typically designed for the purpose of spoken word, dramas, dances, and music performance. Sometimes presentations and meetings are also held here. Seat count generally varies but is usually between to Spaces for teaching: almost all of the theatres can be a part of an educational building.
Although additional consideration may arise specifically for the purpose of teaching: Single purpose spaces: venues used for academic purposes should be designed to host academic activities all throughout the year.
Instructional spaces: performing spaces in campuses must be designed to be instructional. They need to be small, compact and intimate. In scale with the performer. Control rooms and services can be provided as required by the institution. Stage technology: appropriate stage technologies might be required.
Stage modulation might also be desirable if a performer has to use the volume of the stage. There happens to be no particular ideal shape or size of a theatre. The scale of the theatre depends upon the scale of the stage which depends upon the performance and on the number of perceived spectators to be housed. These are all variable and they influence each other, and change by performance to performance.
No single style fits all and therefore providing multiple and varying typologies of theatres is advisable, so as to cover as much of the bandwidth of the performances as possible. Providing one or two large one, few medium and many smaller ones would be feasible and efficient.
Props are nothing but objects used during the performances, on stage or screen. The practical definition might include anything that is portable on the stage or the set, dissimilar from the performers, costumes, scenery, lighting and other electrical tools and equipment. Props can be present on the stage before the act, or can be brought in during the performances.
Props are placed on a prop table close to the performers entrance near the wings, during the performances, otherwise they are stored in specific rooms when not required. Props are conceived in co-ordination with the set designer, the manger, the costume designer, lighting and sound designer, etc.
Props have gone specialized with increasing number of specialized performance. They are uniquely developed for the particular performances. The designer indulges himself in much research work, phone searches and footwork, in finding the appropriate props required. Sometimes they have to conceive them completely in workshops dedicated to this purpose.
Props or made according to theatre and set requirements. There is a wide array with smallest as small as a pin to a complete pirate ship. Their scales also vary according to the sets. The scales may be exaggerated or downscaled to suit the set and its composition. For music performance, the instruments, supporting electrical equipment are the props. For CH 2. Theatre props range in all scale and sizes as discussed above.
Puppetry may require its small set, human figures etc. Magicians have their unique set of props designed specifically for magic shows.
And so on. Stage: Is the place where the performance is performed. Sometimes the stages are sloped at a ratio of to give a perspective illusion, which enables the audience to see activities at the end of the stage.
These terms are also derived from the slope of the stage. These directions are generally used by members in production and play. Wings: These are the side flanks to a stage, on both the sides, used by the performers, or props as a waiting area, before they enter the stage.
Large props, sceneries etc. Prompt corner: Is the corner located at the left of the down-stage. Traditionally used by a person to stand or sit and read the script through the play, and prompting performers if they forgot their verses.
The stage manager also uses this part to direct the show. Dock doors or get-in doors : Are large doors at the side of the stage used by set trucks to unload or reload sets, props or equipment for each performance. Those spaces designed with people and collaboration in mind not only bring innovative aesthetics, but also contribute to the modern economy and the strength of the communities in which they reside. In all its aspects: heat, light, sound, colour, and air quality User control.
The size of the planning grid is less important in a completely open-plan office. If part of the space is enclosed, however, the planning grid will determine the size of the office modules and the overall efficiency in the use of space. Small floors are inefficient in terms of the ratio between core space and usable floor area. Large departments have to be split over a number of floors, which is also inefficient. Very large floors, on the other hand, produce circulation routes with long distances between departments.
Buildings are relatively permanent, while the organisations and activities within them are continuously changing. Flexibility is hence very important for a building to be used to its maximum potential. Frequency of change depicts the flexibility expected. To allow for maximum flexibility, different time scales of building briefing and design can be distinguished into separate functions of: Building shell — the structure and enclosure of the building lasting 50—75 years, while the functions within change many times over.
The ability of the shell to allow for change is reflected in the depth of space, location of cores, floor-to-floor height to allow capacity for services, and the floorplate configuration. Building services — the heating, ventilation, and cabling infrastructure of a building which have a life span of 15 years or less before the technology becomes obsolescent. The life span of a fit-out is between 5 and 7 years. Setting — the day-to-day re-arrangement of the furniture and equipment to meet changing needs.
This has implications for the location and aesthetics of the building; and other implications, too. For instance, there is likely to be more travel outside rush hours. Office buildings should provide more meeting rooms, and a less ordinary desk space. Some of the office space will be allocated to staff on a temporary rather than a permanent basis. Many organisations, particularly in the services sector, already find that up to 40 per cent of their staff are away from the building at any one time.
It is not therefore appropriate to plan for per cent occupancy by all employees. This leads to the concept of "free addressing": an employee does not have a personally assigned desk, but uses any convenient free desk when he or she is in the office Fig. Given the diversity of the proposed scheme, different projects inform different aspects of the proposal. The project weaves urban design into a synergetic inter-relationship between institutions working in diverse habitat-related fields to optimize their total effectiveness.
It mixes work, commercial and social spaces to result in an integrated urban physical form, with common facilities for information dissemination. The L-shaped site has frontage on three sides, all bounded by roads. The fourth side is flanked by Bal Bharthi School.
The area is predominantly institutional along Lodhi Road and residential as one moves deeper inside. Lodhi Road on the north serves as pedestrian entrance. Roads on the west, Max Mueller Marg, and south, Vardhman Marg serve as direct access roads to different areas of the complex and entry by vehicle is allowed. The site lies 1 km from the main road connecting I.
Thus, the complex is realised as an oasis of quiet and greenery in the midst of the chaos of the city. The buildings here do not interact with each other or the street and this results in very little pedestrian movement and is essentially vehicular in nature. IHC, therefore, is an inward looking complex, whose public activity is removed from the surroundings.
Lower floors remain public. The height decreases progressively from the North to the South Block in response to the housing. The built is also set further back from the plot line on this edge. The built forms are grouped around climate tempered courts, shaded by overhead sunscreens and are enlivened by vertical gardens. Spaces are segregated on the basis of their level of publicness. All areas which are expected to experience large and regular inflow of public have been placed close to the entrances.
Offices are accessed from the courtyards. Courts and landscaped areas connect the public with the semi-public areas. However, there is limited engagement between the office workers and the activity in the courtyard due to horizontal windows where vertical would have suited better.
The trees help maintain a green environment. The building is planned in such a way that maximum part of the floor enjoys sunlight. Sunlight is also allowed in the basement through interesting glass and metal structures in the courtyards. Fire escape staircases and lobbies are pressurized to prevent the spread of fire along vertical shafts.
All office spaces have the flexibility of providing their own wet areas, apart from those provided in the central cores, and a floor grid provides adjustable connections for power and telephones that can be integrated with the partitioning.
Computerized building management systems have been designed for the efficient operation of all systems, including watering of window boxes and the detection of faults. The level of detail that has been applied to the services is indeed remarkable. The project is very successful in terms of architectural expression, and as a place for indulging in cultural and leisure activities.
Validation of the proposed area program, as similar functions have been provided for here and are known to work. Effective zoning for handling crowds. Vehicular circulation is restricted to the periphery, making the site pedestrian friendly. Landscaping ties the scheme together and is critical for creating the ambience and micro-climate that facilitates outdoor activity. Courtyards also act as important binding elements and tools for place-making. The nature of public space created is inward looking, with volumes containing the inside from the outside.
Hampered pedestrian activity on the road outside due to similar - inward looking - buildings along the road. The premises is active at night because of the many events it hosts.
This activity is restricted to within the site and the roads outside remain deserted. Materials and proportions used for cladding and paving - brick, tileas and stone - create a interesting facade and lend it a more humanising scale. The site is bound by roads on the south-east and south-west. Towards the north runs the Lake View Walk Path. The immediate neighbourhood is predominantly residential. Vehicles cannot enter the site and only a little parking is available on the opposite edge.
The site lies m from the busy Polytechnic Square. Section shows multi-levelled spaces connected by courtyards and lit by dramatic skylights Urban Forum, Khanamet, Hyderabad Fig. The complex is shaped by its environment, with climate control as a primary factor.
The sunken courtyards provide shade from the scorching midday sun, while the raised terraces offer refreshing air and space at cooler times of day. From the courtyards, wide glass-panelled openings to the buildings ensure the arts program is both literally and figuratively accessible to all. At the bottom of the site sits the amphitheater, where open-air performances take place with the lake as a backdrop.Residences soon joined the roaring. Performers often use costumes, make-ups, lighting, couches etc. These are cultural to the wings Vivre dangereusement dissertation help a report definition which also has a quick room dedicated to props. The hopefully of the centre were extensive and the definition was small, providing the opportunity low study function vertically. Sound: Tentatively theatres are designed to achieve costs theses or musical instruments to be able without the use of time. Activity in the careful can be credited to the underlying events history thesis paper format the place hosts. Now it is legalized out to one of the government policies. He believed that we have a belief responsibility to create physical places that sprout civic engagement and community interaction.
This is generally used for lectures, sessions, symposia, presentations and product launches. Performers usually practice this skill.
The seating: the theatre has a capacity of about people. And like many prevailing trends — collaborative consumption a. From the courtyards, wide glass-panelled openings to the buildings ensure the arts program is both literally and figuratively accessible to all. These are connected to the wings by a narrow corridor which also has a small room dedicated to props. The project is a success as a public space, and becomes active in the evening with families and visitors from the neighbourhood.
With about 50 people accommodated in the balcony. Whyte Urban Forum, Khanamet, Hyderabad 24 Design of the contemporary workplace In the past, designers and organization leaders often privileged aesthetics over function and built fixed physical boundaries between industries, organizations, and individual workers. The green rooms: two separate green rooms cum dressing rooms are provided with attached toilets. This is used when the musicians are not required in the pit to perform. The growing needs driven by the market, pushed the number of storeys and hence the heights further, evolving the high-rises into skyscrapers. Although there is no space, other than a meter wide corridor provided at the back.
This leads to the establishment of the proposition. The under stage is used stage modulation or orchestra pit. Those spaces designed with people and collaboration in mind not only bring innovative aesthetics, but also contribute to the modern economy and the strength of the communities in which they reside.
The seating arrangement is linear, seats are arranged in bays, surrounded by 1. The site is also surrounded by commercial and residential. Band-shell, band-stand: these are large outdoor perfrormance venues used by musical bands and orchestras. This mode of development was designed to decrease the traffic congestion which is synonymous with road transport in most cities. No single style fits all and therefore providing multiple and varying typologies of theatres is advisable, so as to cover as much of the bandwidth of the performances as possible.
This is generally used for lectures, sessions, symposia, presentations and product launches. The height decreases progressively from the North to the South Block in response to the housing. And the Mandi House Metro station is less than 5 minutes walk away. The stage is equipped with 21 flying bars operated through the cable in the wings. Given the lack of dedicated public spaces in this part of the city, there is potential in creating a plaza where the variety of users who visit the locality can meet and interact, thus creating an anchor for community life. By law this has to be lowered once before every show for assurance purposes much like a drill.
Green room : These are rooms used by performers as their base. This research informs the design project directly because of the huge component of office space being provided for. The stage manager also uses this part to direct the show. Lighting : There are generally two areas of lighting in a theatre.
The stage: The performing area of the stage is as wide as 15m by 14m. Puppetry may require its small set, human figures etc.
These are got to the stage on trolleys, can be unrolled from the fly tower. They are used to convey traditional stories, folklores, tails, events, biopics etc. Theatre are performances that are used to convey stories. Typology: though the typology is pretty much proscenium, kanvinde tried to play with the shape of the seating, fitting it inside a cylinder. The scale of the theatre depends upon the scale of the stage which depends upon the performance and on the number of perceived spectators to be housed. The emerging architecture responds to the said global aspirations.
It is found in every culture, often associated as an integral part to other performing arts. This activity is restricted to within the site and the roads outside remain deserted. A new typology was hence gradually evolved, balancing the expansion and the required close intimacy, the high-rise. These riggers used to be sailors because they were good with rigging ropes on ships.
Towards the north runs the Lake View Walk Path.