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MUSIC GURUKUL- AN ARCHITECTURAL

MANIFESTATION OF MUSIC AT AMRAVATI,
ANDHRA PRADESH
By
NIRALI K. GILBILE
A REPORT
Submitted in partial fulfillment of the requirements for the degree of

Bachelor of Architecture.
2017
Copyright © NIRALI K. GILBILE 2017

IR@AIKTC aiktcdspace.org
CERTIFICATE
This is to certify that the Design Dissertation titled Music Gurukul - An Architectural
Manifestation of Music is the bonafide work of the student Nirali K. Gilbile from Final Year B.
Arch of AIKTC School of Architecture and was carried out in college under my guidance.
Sign of the guide:
Name of the guide: Prof. Sandeepkumar Prajapati
Sign of the Dean: ___________________
Date:
DECLARATION
I hereby declare that this written submission entitled “Music Gurukul - An Architectural
Manifestation of Music” represents my ideas in my own words and has not been taken from the
work of others (as from books, articles, essays, dissertations, other media and online); and where
others’ ideas or words have been included, I have adequately cited and referenced the original
sources. Direct quotations from books, journal articles, internet sources, other texts, or any other
source whatsoever are acknowledged and the source cited are identified in the dissertation references.
No material other than that cited and listed has been used.
I have read and know the meaning of plagiarism and I understand that plagiarism, collusion, and
copying are grave and serious offenses in the university and accept the consequences should I engage
in plagiarism, collusion or copying.
I also declare that I have adhered to all principles of academic honesty and integrity and have not
misrepresented or fabricated or falsified any idea/data/fact source in my submission.
This work, or any part of it, has not been previously submitted by me or any other person for
assessment on this or any other course of study.
___________________
Signature of the Student:
Name of the Student: Nirali K. Gilbile
Roll No: 11ARC05
Date: Place: New Panvel

TABLE OF CONTENTS
1. ABSTRACT .........................................................................................................................................
2. INTRODUCTION ...............................................................................................................................
3. LITERATURE REVIEW ....................................................................................................................
4. RESEARCH DESIGN .........................................................................................................................
5. SITE SELECTION AND ANALYSIS ................................................................................................
6. CONCLUSION ....................................................................................................................................
7. ARCHITECURAL SPACE PROGRAMME.......................................................................................
8. LIST OF FIGURES .............................................................................................................................
9. LIST OF TABLE .................................................................................................................................
10. LIST IF MAPS ...................................................................................................................................
11. BIBLIOGRAPHY ..............................................................................................................................

INDEX
ACKNOWLEDGEMENT
1. ABSTRACT……………………………………………………………………………………….…….
2.1 INTRODUCTION……………………..……………………………………………………… 1 - 7
2.1.1 Background Study
2.1.2 Problem Statement
2.1.3 Objectives
2.1.4 Methodology for Case Studies
2.1.5 Scope
2.1.6 Limitations
3.2 LITERATURE REVIEW…………………………………………………………………… 8 - 40
3.2.1 Definitions and Descriptions
3.2.2 Articles by Other Authors
3.2.3 Case Studies and Inferences
4.3 RESEARCH DESIGN……………………………………………..…………………...…. 41 - 52
4.3.1 Parallels between Music and Architecture
4.3.2 Acoustics and Room Design
4.3.3 Standards and Data Collection.
5.4 SITE SELECTION AND ANALYSIS……………………………………..………………. 53-66
6. CONCLUSION………………………………………………………………………………. 67-69
7. ARCHITECTURAL SPACE PROGRAM…………………………………………………….... 70-78
8. LIST OF FIGURES…………………………………………………………………………….. . 79-82
9. LIST OF TABLE……………………………………………………………………………….. 83
10. LIST IF MAPS………………………………………………………………………………… 84
11. BIBLIOGRAPHY…………………………………………………………………………….. 85
ACKNOWLEDGEMENT
First and foremost, I would like to thank my guide Prof. Sandeepkumar Prajapati for guiding me and
keeping me on the right track and at the same time giving me my own room to work in my own way
throughout the thesis process.
Also, I would extend my special thanks to my parents, especially my sister for helping me to
complete my thesis book and bear all of my unscheduled work patiently and prioritizing it at the
same time and also, my friends Rajat Nair, Shayan Bamne, Aniket Sakre and Omkar Satam for
guiding me and helping whenever required.
I would also thank panel members (Prof. Sujit and Prof. Yaman) and Prof. Saddam for their
assistance in providing information during the study.
Lastly, I would acknowledge all those people whose names cannot be mentioned here but have
helped me during the case studies, site analysis as well as for providing the required data to make this
thesis a satisfying effort from my part.
ABSRACT
Music has always played a very important role. If we consider all the societies and cultures, music
being an art form which speaks about the evolution of that society or culture. If we look back to the
history of Indian Classical Music, it has developed through very intricate interactions amongst people
of different cultures from many years which can be dated back to 3000-1200 BC.
However, the evolution of music got influenced from not only cultures but with the advancements
and improvements in the music in terms of notations, scale, rhythm, instruments, language, etc. From
these advancements the concept of ragas evolved which can be found in c.700 A.D. From
c.1200A.D-c.1700A.D., various styles like qawwali, naqsh and many more other forms of music
were invented. Eventually, gharanas which are also called as schools emerged which further led to
the concept of performing and accommodation for the performers of royal courts who were
accommodated by the royals. The guru-shishya parampara in music became more popular when the
musicians performed in the royal courts in front of the people and the person who got interested in
that style of music was free to take lessons from the gurus and staying with him at the same time.
The performances in the royal courts thus further gave aesthetics to music. Thus, the gharanas gave
music a new approach in terms of form and interpretation both in terms of music and architecture.
The evolution of music thus did not remain confined to the notes or the rhythm but also started
evolving in terms of the space and the quality.
The old tradition of music has to be preserved as they are a very important part of musical heritage.
But, the approach for the Indian classical music, especially the guru-shishya parampara which was
earlier followed as gharana style is becoming very superficial. Also, the gharana style of teaching is
not becoming inviting for large number of people because of varied approach towards music and the
wide range of music which is getting popular nowadays. Also, the absence of royal patronage has
also resulted as a setback.
The mutual relations between the two art forms, that is, music and architecture will intervene a new
approach where architecture will act as a tool which will express the art of music, especially the
structure of gharanas, in terms of quality of space externally as well as internally which will increase
the prominence of this style of school and thus provide a space for the gharana which are getting
extinct in this date.
KEYWORDS: Indian Classical Music, Guru-Shishya Parampara, Gharana, Rhythm, Space,

Manifestation.
MUSIC GURUKUL - AN ARCHITECTURAL MANIFESTATION OF MUSIC
2.1 INTRODUCTION
2.1.1 BACKGROUND STUDY
2.1.2 PROBLEM STATEMENT
2.1.3 OBJECTIVES
2.1.4 METHODOLOGY
- BASIC RESEARCH
- HISTORICAL RESEARCH
- INTERPRETATIVE RESEARCH
2.1.5 SCOPE
2.1.6 LIMITATION
2.1 INTRODUCTION
1
2.1.1 BACKGROUND STUDY
Music has always been an important part in the Indian history. Music has never confined to just
entertainment but also as a spiritual process of connecting oneself with the universe. It is also used as
a medium for meditation.
But unfortunately, nowadays, the listeners or the admirers of Indian classical music are decreasing
due to the changing preferences and the lack in the passage of the knowledge from the traditional
gharana system teachers (gurus) to the students in which the students aspired in learning this
knowledge fulfilled it by residing at the same place, learning music and after his share of learning is
completed, he passes on his knowledge to the next generation and keeping this tradition alive.
Also, the guru shishya parampara(teacher-student system), which was earlier used as a traditional
way of acquiring the knowledge of music is reducing day by day due to reasons like, the tradition or
the culture is not being followed the way it was earlier. Also, the way of teaching Indian classical
music is changing with the changing interests. Acquiring the knowledge of music has now confined
to just getting the degree but not going into the depths of it by knowing the historical background, its
significance and many such parameters. The reason may be due to the availability of time between,
diversified preferences and interests, etc. Also, there are very less institutions which provide the
scientific way of teaching this art.
But still there are certain groups of people who want to pursue and spread the knowledge of music
from the knowledge acquired from their gurus to the youth, thus resulting in retaining the essence of
Indian classical music and the process of spreading the same.
A music gurukul would help to rejuvenate the sincerity and the interest amongst the people in
pursuing this art resulting in preserving the Indian history and culture of Indian classical music.
2.1.2 PROBLEM STATEMENT
The traditional way which was the gharana style of teaching is getting extinct and more of the
commercialised way of teaching is taking place because of which the future of classical music in the
country is not attracting the students to a training that goes with the time.
2.1.3 OBJECTIVES
To create a training and a perseverance system in retaining the traditional Indian classical music, to
increase its relevance by exhibiting the uniqueness and to enhance their skills through the process.
It will ensure an all round development of the students by getting a step-by-step training in the
chosen style of gharana. It will also help in recognising an individual's talent and field of interest and
will help in nurturing the same
2.1 INTRODUCTION
1
Also, an establishment of integrated music school with residential facilities will be the main
objective.
2.1 INTRODUCTION
2
2.1 INTRODUCTION
3
2.1 INTRODUCTION
4
2.1 INTRODUCTION
5
2.1.4 METHODOLOGY FOE CASE STUDIES
 Historical Research: - This research will help understand the musical evolution in India with
evolution and alterations in spaces with time.
 Interpretative Research: - This research as interpretative research is based on collecting,
analysing and categorising the inter-relations between the fields of architecture.
 To find and achieve the inter-relationship between these two fields and the study will be done
from the raw data in both fields and analysing and categorising the data and form a
theoretical framework to achieve the design process and lastly to study the architectural
examples to illustrate the parallels between music and architecture.
2.1.5 SCOPE
The research will explore the co-relationships between the fields of architecture and music with
mathematical proportions and concept of space.
Also, it will concentrate on gharana style of music.
2.1.6 LIMITATIONS
The project will not include the teaching for vocals and instruments for western music.
2.1 INTRODUCTION
6
3.2 LITERATURE REVIEW
3.2.1 DEFINITIONS AND DESCRIPTIONS
- MANIFESTATION
- GHARANA
- GURUKUL
- PARADIGM
- VEDAS
3.2.2 ARTICLES BY OTHER AUTHORS
NEWSPAPER ARTICLES
1) HINDUSTAN TIMES-AGRA GHARANA ON VERGE OF EXTINCTION

2) THE PATIALA GHARANA AND BEYOND
3.2.3 CASE STUDIES
- INTRODUCTION
- YEAR OF CONSTRUCTION
- PROJECT ARCHITECT
- SITE AREA
- NO. OF FLOORS
- PURPOSE OF CASE STUDY
- THEME OF PROJECT
- OBJECTIVE
- BASIC ZONING AND PLANNING
- SWOT ANALYSIS
- INFERENCE
8
3.2.1 DEFINITIONS AND DESCRIPTIONS
1) MANIFESTATION
An event, action, or object that clearly shows or embodies something abstract or theoretical.
OR
A version or incarnation of something or someone.
2) GHARANA
Any of the various specialist schools or methods of classical muisc or dance.
3) GURUKUL
A residential schooling system in India where students and techer live in the same house.
4) PARADIGM
A typical example or pattern of somethin; a pattern or model
5) VEDA
Any of the four collections forming the earliest body of Indian scripture, consisting of Rig Veda,
Sama Veda, which codified the ideas and practices of Vedic religion and laid the basis of classical
Hinduism. They consists of hymns, philosophy and guidance on rituals.
3.2.1 DEFINITIONS AND DISCRIPTIONS

9

10

11

12

13
INFERENCE
The studies or the reasons of extinction of classical music are very superficial. It is not just the interest
of the audience but also, it depends upon the current reasons of the disappearance of the same. At a very
initial stage it is very important to appreciate the music by understanding it to its depth.
Secondly, if it has to be appreciated, it has to be made relevant with the current audience. To make or
increase this relevance it is important to do several experiments and the process may be slow depending
upon the acceptance of the concept. But this process needs to go parallel with the historical inventions
and then only it will be appreciated. A superficial attempt may again result in extinction of this process.
These experiments are only possible when all the people with same concern come at one place and
arrive at a solution, rather an invention and thus make progress or make relevant one of the celebrated
art of our country, i.e. music. This will not be only dependant on vocal or notational aspects but should
go hand in hand with the technological advancements.
Now, the progress is not limited only with the history, but to look at a larger perspective by recalling the
history, it is time to look forward to the future. This will happen only when the students are attracted
with training or a program that goes with the time.
Music should not be only heard but also be seen which can also be stated as a virtual experience. For
this derivation art has a very important role to play in to extract elements of music. Also, it is not just
arts but the mathematical proportions which help to derive to a design. It has to be a balance between
both, i.e. the relation between the elements of music and architecture to control the aesthetics.
If there is an imbalance between them, then it becomes either too predictable or impossible to achieve
the result. So, again it becomes important to experiment with different elements and to juxtapose the
same, to obtain the desired result.
The conceptual arrival will happen only with collages and juxtapositions. After this it is important to
merge into more visual aspects, i.e. the wall, ceilings, etc. In other words the volume, massing. Music
has to exist with space. If a space is not created music has no existence for it to reach the audience.
Sound has all to do with the spatial envelope as a paradigm of ruled surfaces.

14
CASE STUDIES
1) VISHWASHANTI SANGEET KALA ACADEMY
2) DR. GANGUBAI HANGAL GURUKUL
3) CHINMAYA NAAD BINDU GURUKUL
4) SWARNABHOOMI ACADEMY OF MUSIC
5) RED BULL MUSIC ACADEMY
6) HOUSE OF MUSIC
7) TOHOGAKUHEN SCHOOL OF MUSIC
8) SCIENCE AND MUSICAL EDUCATION CENTER SYMPHONY
9) MUSIC SCHOOL PROJECT CONCEPT "TALLER DE MUSICS"
3.2
15
VISHWASHANTI SANGEET KALA ACADEMY, LONI, PUNE
Vishwashanti Sangeet Kala Academy is

situated besides Mulla Mutha river, Rajbaug,
Loni, Pune. It is a 125-acre campus out of
which 3-acres are dedicated to Sangeet Kala
Academy. This land is owned by MAEER'S
MIT Group of Institutions. The Sangeet Kala
Academy teaches Hindustani vocal with
instruments like harmonium, tabla, bansuri,
sitar and also Hindustani Sugam Sangeet
(light music). The site is a reclaimed land.
Figure 1 Google Image
The construction of the structures started from
2002 and some structures are still under construction. The main entrance is a 3-storeyed structure and
the other structures are 2-storeyed.
YEAR OF CONSTRUTION: 2002
PROJECT ARCHITECT: Mangesh Karad
SITE AREA: 12000 SQ. M.
NO. OF FLOOR: G + 3
PURPOSE OF CASE STUDY: The purpose

of this case study was to study the gurukul based
teaching system and the space program.
Figure 2 Concept
THEME OF THE PROJECT: The project is designed on the Indian concept of realising dignity and
serenity through music and art. the 7 dome shaped structure symbolises 7 notes of music.
OBJECTIVE: This case study was done to understand the planning of the campus and individual
modules with respect to the activities.
BASIC ZONING AND PLANNING PRINCIPLES:
LEGENDS
Administration
Classrooms
Corridor Spaces
Landscaped areas
Figure 3 Zoning Figure 4 Zoning
3.2.3 CASE STUDIES

16
Figure 5 Entrance, Admin Block and Hostel Block

Figure 7 Plan
Figure 6 Interconnecting Corridors Figure 8 Interconnecting Corridors Figure 9 Classrooms
SWOT ANALYSIS
STRENGTH WEAKNESS OPPORTUNITY THREAT

The teaching system The design does not The audition process The structure is not the
would attract more include technological will only take the best barrier free design.
music learners. advanced areas. students
CEILING DOMES
The sound moves towards the constructive centre thereby creating echoes.
The sound diffusing elements should be placed on the curved surfaces
in order for the sound to be dispersed in many directions.
The working stations should not be placed in the centre of the construction.
Instead, furniture with sound diffusing properties should be placed in the
centre. Figure 10
INFERENCE:
The program and the interaction process.
Also the admission process on the basis of audition which will allow only
the best candidates.
Figure 11
Planning follows symmetry.
Geometry in terms of elevation is following dome shaped structure.
3.2.3 CASE STUDIES

17
DR. GANGUBAI HANGAL GURUKUL, HUBLI, KARNATAKA
Gangubai Hangal Gurukul of Music is located in

Hubli, Karnataka. It is a 5-acre campus which
comprises of accommodation facilities for
students and gurus. It also consists of dedicated
classrooms for different gharanas. Gangubai
Hangal Gurukul of Music is established by
Government of Karnataka. The gurukul consists of
6 gharanas and 6 teachers and 6 students per
teacher. The students unit is G+1 structure and the
guru houses are ground floor structure which are Figure 12 Google Image
constructed in locally available materials which compliments on to the climate and has used eco-friendly
techniques for the structure to sustain. The land is contoured and the design is such that the contours are
not disturbed and the topography is incorporated in the design.
PROJECT ARCHITECT: Praveen Bavdekar
SITE AREA: 20,000 SQ. M.
NO. OF FLOORS: G + 1
Figure 13 View
PURPOSE OF CASE STUDY: This study was done to observe and understand the structure and
gharana style of music and the space program provided for the same.
THEME OF THE PROJECT: The project is about weaving two strands of pedagogical
philosophies, the eastern and the western, into a spatial fabric. It is quite innovative with its forms
and spaces as well as the use of traditional forms and materials.
OBJECTIVE: In this case study the main focus was on the pure gharana based music gurukul
where the system of guru-shishya parampara was followed. Also, the concept of using the land as it
is by not disturbing its topographical features and incorporating the same in the design. Also, the
campus is innovative with its forms and spaces and also use of traditional materials in a
contemporary way.
BASIC ZONING AND PLANNING PRINCIPLES
Figure 15 Schematic Section
3.2.3 CASE STUDIES

Figure 14 Zoning
18
Figure 15 Schematic Classroom Section
Figure 16 Openings
Figure 17 Schematic Student Accommodation Room
SWOT ANALYSIS:
STRENGTH : WEAKNESS : OPPORTUNITY : THREAT :

The program holds The design does not The audition process The structure is
very traditional way include technological will only take the not the barrier
of learning. advanced areas. best students. free design.
INCLINED CEILING:
Inclined ceiling have both a sound spreading and sound concentrating

effect.
In most cases, the sound is concentrated because the sound regulation
of the area around the inclined ceiling has not been considered carefully.
The wall area opposite the inclined ceiling should also be equipped with
sound absorbing materials.
All surface above normal ceiling height (2.60 M) including the end
walls should be equipped with sound absorbers.
INCLINED WALLS:
Figure 18
Inclined walls have both a sound spreading and sound
3.2.3 CASE STUDIES
19
concentrating effect.
The sound spreading effect is achieved by inclining the wall in
proportion to other walls and ceiling.
In general, the walls inclined by more than 6 degrees ensures
an excellent sound diffusion.
The most sound diffusion is obtained by applying several
angles.
Figure 19
INFERENCE:
The traditional way of teaching that is, the guru shishya parampara. Also, the program concentrates
on teaching the gharana style of music.
The class room spaces are trapezoidal in terms of volume.
Also, the site is contoured and the design is such that the contours are not disturbed.
3.2.3 CASE STUDIES

20
CHINMAYA NAADA BINDU GURUKUL, KOLWAN, PUNE
Chinmaya Naada Bindu Gurukul is located in the

Kolwan village, Pune, India. It is a gurukul that
comprises of training under music and dance. It is
65-acre campus and propagates the wisdom of the
vedas through the performing arts. It has a goal of
teaching art forms in a vast sense of theory and
practice.
PROJECT ARCHITECT: Nitin Killawala,

Shailesh Bagtharia Figure 20 Google Image
SITE AREA: 65-acres
PURPOSE OF CASE STUDY: In this case study the structure holds the traditional use of built and
open space and incorporating the same into the design.
THEME OF THE PROJECT: The primary aim was to serve a venue for various national and
international camps. The master plan for the same offered a unique challenge in the integration of the
spiritual as well as the residential clusters. A continuous spine towards the western edge of the
campus serves a principle tie along which a sequence of spaces unfolds.
OBJECTIVE: This study comprises of the use of natural elements incorporated in the design the
way they used to be in the historical times.
BASIC ZONING AND PLANNING PRINCIPLES
Figure 22 View
Figure 21 Plan Figure 23 View Showing Open Area for Lectures
3.2.3 CASE STUDIES

21
Figure 24 Master Plan
Figure 25 Elevation
Figure 26 Schematic Section of Auditorium Figure 27 Part Plan
SWOT ANALYSIS:
STRENGTH : WEAKNESS : OPPORTUNITY: THREAT:

It holds a very Importance given The integrated way People may lose
strong ancient way to only particular of teaching may interest in the
of teaching. language attract the users learning process
due to conciseness.
INFERENCE:
The ancient way of teaching in open space. Integrated spaces which interacts with open spaces.
3.2.3 CASE STUDIES

22
SWARNABHOOMI ACADEMY OF MUSIC, CHENNAI, TAMIL NADU
Swarnabhoomi Academy of Music is a part of an institutional hub of a 600-acre satellite township

which is equidistant from the major nodes like Chennai and Pondicherry, along the East Coast
Road which is global and cross-cultural in nature.
DESIGN TEAM: Prasana, Tamizh, Ramakrishnan, Vighnesh, Sabrish, Vijendranath,

Balasubramian.
SITE AREA: 16,000 SQ.M
BUILT UP AREA: 31,500 SQ.FT
PURPOSE OF THE CASE STUDY: To understand the spaces which are given in a western music
school so as to make the gurukul system also more adaptive.
THEME OF THE PROJECT: The design is inspired graphically from the musical notion, neutral
clefs, piano keys, equalizer bars, etc. These simple rectangular forms were used for seaters and
planters, to symbolize the activity in these areas where there is no specific agenda thrown into the
mind and mind can work at any level - (free from boundaries).
OBJECTIVE: To make spaces in gurukul more adaptive in the way they are given in these western
institutes and also to understand how these institutes are made technologically advanced.
BASIC ZONING AND PLANNING PRINCIPLES:
Figure 28 Top View

Figure 29 Abstraction of Piano
Figure 30 Main Building Entrance Figure 31 Abstraction of Piano

3.2.3 CASE STUDIES
23
SWOT ANALYSIS:

The dedicated practice The periphery or The interaction of the built The future
rooms / musical huts the context has not and open spaces helps or development of the
provide students to yet been gives a sense of freedom or context may make
practice individually. developed. flexibility to students. the structure lose its
identity.
INFERENCE:
Abstraction of the musical instrument.
Abstraction of the theory of music.
Related to the instrument.
3.2.3 CASE STUDIES

24
HOUSE OF MUSIC, BOLOGNA, ITALY
House of Music, Bologna, Italy is located in a

portion of the former Lamborghini manufacturing
area which has been restored and renovated with the
help of municipality and is transformed into a leisure
park. The has bicycle paths which are connected to
the city centre. The structure is a space which is used
at any point of time for purposes like gathering space
which are not related to music.
PROJECT ARCHTECT: Mario Cucinella

Architects Figure 32 Google Image
SITE AREA: 500 SQ. M.
NO. OF FLOORS: Ground Floor
PURPOSE OF THE STUDY: To study the transparency between the structure and public though
they are having different purpose.
OBJECTIVE: To study the use of materials and the abstraction of the spaces from the musical
instruments.
THEME OF THE PROJECT: The house of music was born out of the desire to create structures
and spaces suitable for two programs:
(A) Concert Promotion (B) Musical Teaching In The Municipality.
The language is inspired by the musical tradition, resulting in a building comprising various
independent elements, not unlike the instruments in an orchestra, which collectively enhance the
whole.
BASIC PLANNING AND ZONING
Figure 33 Natural Lighting

Figure 33 Natural Lighting
Figure 34 Plan
3.2.3 CASE STUDIES

25
Figure 35 Section Showing use of Natural Light and Ventilation
SWOT ANALYSIS:
STRENGTH: WEAKNESS: OPPORTUNITY: THREAT:

Since it is a leisure Flexibility of the Interactive space will Since it holds activities
park, people coming or users. invite more number of other than music, the
passing over from will people. very main identity is
be more thus, lost.
increasing interest and
curiosity.
INFERENCE:
Ventilated facade cladding.
Gathering place for community.
Internal discussion space.
3.2.3 CASE STUDIES

26
RED BULL MUSIC ACADEMY, METADERO, MADRID
The Red Bull Music Academy (RBMA) is a nomadic annual music festival. This festival is held
from the last 14 years in different cities of the world. It welcomes 60 pre-selected international
participants with musicians, producers, DJs which allows them to interact and exchange knowledge
in the world of music. In 2011, it was going to be held in Tokyo, but because of the devastating
effects of earthquake, the location had to be changed. So, within five months the industrial
warehouse complex in Madrid was designated as the event's new location.
PROJECT ARCHITECT: Maria Langarita Victor Navarro
NO. OF FLOORS: Ground Floor
PURPOSE OF STUDY: To study the use of materials and the temporariness of the structure.
OBJECTIVE: The objective was to not just study the use of materials but also to see the reusability
of the materials and also the spaces derived from the same.
THEME OF THE PROJECT: The theme of this project depends on the following points:
1) DEADLINES AND BUDGET: The construction had to be completed in two months,

implementing solutions that would require only light construction.
2) REGARDING CONSTRUCTION: Not modifying the warehouse itself, but rather leaving it
exactly as it was before the intervention.
3) PROGRAM REQUIREMENT: Specific configuration.
4) ACOUSTICS: This determined the geometry as well as choice of materials.
5) TEMPORARINESS: It was designed to be dismantled.
BASIC PLANNING AND ZONING:
Figure 36 Schematic Plan of Lounge

Figure 37 Plan
and Lecture Room
3.2.3 CASE STUDIES

27
Figure 38 View Studio Figure 39 View of Recording Studio
SWOT ANALYSIS

The temporariness of The space program is Always there will be a There is a restriction in
the structure makes it very specific and room for future expansion the expansion of
and flexibility in terms of
reusable and limited. spaces.
material selection
recyclable.
INFERENCE:
The temporariness of structure.
Use of acoustical materials: for e.g., sand bags, planter pots, etc.
3.2.3 CASE STUDIES

28
TOHOGAKUEN SCHOOL OF MUSIC, TOKOYO, JAPAN
This project of a music college is set in a

typical suburban setting of Tokyo, Japan. The
music college does not consist of one side
corridor compartment style lesson rooms but
consists of new arrangements which are not
like typical campus style.
YEAR OF CONSTRUCTION : 2014
PROJECT ARCHITECT : Nikken Sekkei

Figure 40 Google Image
NO. OF FLOORS: Basement, G+1
BUILT UP AREA: 1943 SQ.M.
PURPOSE OF STUDY: To understand how the isolation or the connectivity is broken between the
surroundings and the structure.
OBJECTIVE: To understand the use of spaces like corridors, staircases etc, which are utilised in
sync with the musical trainings
THEME OF THE PROJECT: Through exploration of creating an appropriate place for learning
music apart from the old one side corridor compartment style lesson rooms. A new arrangement of
lesson rooms has been developed in which it's not a typical campus style or dispersive location of
schools.
Figure 41 Basement Floor

3.2.3 CASE STUDIES
29
Figure 42 Ground Floor
Figure 43 First Floor

3.2.3 CASE STUDIES
30
Figure 44 North - South Section
SWOT ANALYSIS:

Experimentation by No visual connections The experimentation Curiosity amongst the
the students between with the surroundings. will lead to the people surrounding
different spaces like invention of new that area may get lost.
corridors, staircases to musical experiences
experience the which would further
behaviour of sound keep the process
with and without continuing, thus
acoustical treatment. keeping it alive.
INFERENCE:
The flexibility inside the structure.
User oriented space design.
3.2.3 CASE STUDIES

31
SCIENCE AND MUSICAL EDUCATION CENTER , SYMPHONY, KATOWICE, POLAND
Science and Musical Education Centre,

Symphony, Katowice, Poland, is an
extension project carried out on 2005-
2007 where it creates a new fragment
in the city's dense urban environment.
PROJECT ARCHITECT: Tomasz M.

Konior
THEME OF THE PROJECT: This

music academy, after extension, carried
out in 2005 - 2007 creates a new fragment Figure 45 Context Plan
of the city's dense urban structure.
Implementation of this urban concept
results in creation of two spaces:
1) AN OPEN ONE : Which forms a courtyard near the rector's office.
2) A CLOSED ONE : The glazed atrium housing foyer and garden.
BASIC PLANNING AND ZONING :
Figure 46 Schematic Section
Figure 47 Schematic Elevation
3.2.3 CASE STUDIES

32
Figure 48 Ground Floor Plan
3.2.3 CASE STUDIES

33
Figure 49 Basement Plan
3.2.3 CASE STUDIES

34
Figure 50 Part Plan showing Auditorium

3.2.3 CASE STUDIES
35
SWOT ANALYSIS:

The extension has not The use of material The versatility of the The structure is un
changed the language, in exterior. auditorium which is identical because of
but has captured a adjustable for various the exterior.
new structure kinds of concepts and
continuing its spatial performance.
language of the
historical main
building.
INFERENCE:
Facade treatment
Adjustable auditorium
Spatial language
3.2.3 CASE STUDIES

36
MUSIC SCHOOL PROJECT CONCEPT, "TALLER DE MUSICS", CAN FABRA,

BARCELONA
YEAR OF CONSTRUTION : 2011
PROJECT ARCHTECT : Pablo Serrano Elorduy
BUILT UP AREA : 1273 SQ. M
THEME OF THE PROJECT: The project consists to enable a music school, in the Can Fabra
Cultural Centre, third floor.
The defined program has led to the distribution based on maximum use of available space.
Figure 51 Schematic Plan with Zoning
3.2.3 CASE STUDIES

37
Figure 52 Section showing Acoustical Treatment
Figure 53 Circulation Figure 54 Concept for Elevation
SWOT ANALYSIS:
STRENGTH: WEAKNESS: OPPORTUNITY: THREAT:

The acoustical treatment The internal spaces are Since the space The internal spaces
and techniques used not abstracted, rather consists of two varied are very monotonous
make the structure work they are symbolic in programs the in terms of spatial
with the program terms of the musical structure will always quality
having two different instrument used for be inviting and
activities - a library and symbolising. interactive space with
a music school. wide range of people
coming over there
INFERENCE:
Acoustical detailing
Interactive space
3.2.3 CASE STUDIES
38
1) VISHWASHANTI SANGEET KALA ACADEMY
2) DR. GANGUBAI HANGAL GURUKUL
3) CHINMAYA NAAD BINDU GURUKUL
4) SWARNABHOOMI ACADEMY OF MUSIC
5) RED BULL MUSIC ACADEMY
6) HOUSE OF MUSIC
7) TOHOGAKUHEN SCHOOL OF MUSIC
8) SCIENCE AND MUSICAL EDUCATION CENTER SYMPHONY
9) MUSIC SCHOOL PROJECT CONCEPT " TALLER DE MUSICS"
SPACES 1 2 3 4 5 6 7 8 9
ENTRY / EXIT         
PEDESTRIAN
    x  x  x
CIRCULATION
VEHICULAR
x  x x x x x  x
CIRCULATION
PARKING x  x x x x   x
BASEMENT x x  x x x   x
ADMIN      x   
STAFF ROOMS     x x   
SECURITY CABIN   x  x x   
STORE ROOMS    x x x x  
CLASS ROOMS     x    
INSTRUMENT
      x  
ROOMS
OPEN / CLOSED x    x x x  x
3.2.3 CASE STUDIES

39
AMPHITEATRE
LIBRARY x x x x x x x x x
STUDENT
   x x x x x x
ACCOMODATION
FACULTY
x   x x x x x x
ACCOMODATION
CANTEEN      x x  x
RECORDING
x x x x  x x x x
ROOMS
PRACTICE
x x x   x x  x
ROOMS
CONFERENCE
x x  x  x   
ROOMS
PUBLISHING
x x x x x x x x x
HOUSE
TOTAL 10/20 14/20 13/20 10/20 07/20 04/20 08/20 15/20 08/20
Table 1 Comparative Analysis

INFERENCE:
From all the spaces i is observed that recording rooms and publishing houses are majorly avoided
which are the most important spaces in the program.
3.2.3 CASE STUDIES

40
4.3 RESEARCH DESIGN
4.3.1 PARALLELS BETWEEN MUSIC AND ARCHITECTURE
4.3.2 ACOUSTICS AND ROOM DESIGN
4.3.3 STANDARDS AND DATA COLLECTION
41
MONASTERY OF LA TOURETTE, FRANCE
INTRODUCTION
Music and architecture is one of the fields, which have certain parallels between them in terms of
rhythm, repetition, form, variety, etc.
The fields of art are all interconnected in one chain and gets affected from each other and one such
interconnection which has parallels between each other are music and architecture.
This mutual relationship between music and architecture can be clearly seen in the works of Iannis
Xenakis and Le Corbusier. In the interpretation work of them, the parallels between music and
architecture has less to do with the common features but used the third element, that is, mathematics,
which is an intermediate element between both the fields. The aspect which has been used in their
work is the concept of space. Thus, the mutual relationship between music and architecture can be
formulized from the obstruction of the conceptual relation between both the fields to an end product
which justifies the process.
The first experiment done was the orchestral piece Le Sacrifice (1953), which on the auditory level,
he thought was not really successful because it was too simple to keep the ear's attention.
Then, another research or experiment was done which proved to be very useful in designing the
famous undulating glass planes which can be seen in the facade of the ' Monastery of La Tourette'.
This research was based on the rhythmic patterns. In the thought process of designing this structure
Le Corbusier decided to keep this concept of large glass openings on the West facade to get the
magnificent view of the valley. But providing such large glass panes was not economical due to
budget restriction. The solution for this problem came from Chandigarh, where the Indian masons
realised that instead of using large glass panes , piling up the glass partitions into smaller glass panes
differing in height one on top of other between regularly spaced casing which are vertical. Realising
that the repetition of the glass panes would result into a dull facade, Le Corbusier asked Xenakis to
experiment with the distances between the casings, so that the facade would be given an
asymmetrical appearance. Xenakis again reworked on the earlier experiment, Le Sacrifice, and tried
to obtain certain rhythmic motifs. However, he again felt the drawbacks of the permutation
techniques wherein he thought that too much of limited number of elements would make it difficult
to control the aesthetics of the configurations which will be the result of the experiment.
Therefore, he considered this problem on a general level and rather than keeping the distance of
individual distances upright, he marked the zones into the facade where he considered the number of
casings per unit length which would be required and further conceptualised the transition which
would occur in the state namely : fluently or abruptly. For this, he started drawing rectangles, with
increasing and decreasing widths and juxtaposes these patches containing dense and rarefied ones in
the facade so that the result would lead to the desired undulating or asymmetric effect. Thus, Xenakis
created a triple layered arrangement of polyphony and also did a detailed study of light and shade.

42
Thus, the resulting structure seems to have a great visual complexity. Therefore, the principle of
stacking the independent layers whose proportional relations varied throughout the piece resulted in
the rhythmical polyphony in many woks of Xenakis.
Figure 55 Concept and Final Execution
PHILIPS PAVILION, BELGIUM
INTRODUCTION
In the second major project of Xenakis, named Metastasis (1954), he articulated between pitch and
time. Xenakis used graphical methods where he used graph paper and for him drawing was a primary
tool to finalise his ideas, where the co ordination of hands and ears kept giving him a constant
feedback. His use of graph paper became a trade mark. He felt drawing of music on graph paper
along the vertical axis represents pitch and horizontal axis represents the time.
Xenakis musical work shows no interconnection between his compositions because, instead of
making organic models, he adopted the style of collages and juxtapositions.
The drawing of Metastasis has the projection in a plane of hyperbolic parabolic. The importance of
such mathematical form gives rise to the concept of fluid development from a two-dimensional
drawing to a three dimensional volume thereby implying flow over time. In this experiment, the idea
of sound volumes is created on the basis of straight line

43
This musical experimental work of Xenakis was used as a concept for the Philips Pavilion, Belgium.
In this project, the walls and the ceilings are merged fluently with other that results into an endless
character internally.
Figure 56 Derivation of Forms From Experimentation with Abstraction and Mathematics
CONCLUSION
As a conclusion we can say that the idea of a structural bond between architecture and music can be
determined on a general level by applying mathematical models amongst the two arts. Xenakis's aim
was not to translate music or architecture but to represent the expressive potential of these two fields.
The introduction or the intervention of the mathematical concepts with music served as a generator
of creativity and discovering new forms of architecture.
Therefore, it can be seen that music as the most abstract of the arts, when dealt with an approach
with architecture but not in connection rather than isolation leads to a spatial experience.
Reflection of Sound
When a free sound wave is travelling through air strikes a uniform solid plane surface, it is reflected
in a same manner as that of light ray.
The angle of incident to the normal of sound wave is equal to the angle of reflection with the normal.
Figure 57 Ray Diagram

44
Reflection of Sound on a Concave Surface
A concave surface leads to the concentration of reflected sound waves at certain points and they are
considerably smaller in magnitude.
They are condensed and hence, they are amplified in nature. Hence, the concave surfaces may be
provided to work as the reflectors.
Figure 58 Sound waves on concave surface
Reflection of sound on a Convex Surface
A convex surface tends to spread the reflected sound waves which are magnified and are
considerably bigger in magnitude.
Hence, the convex surfaces may be used with advantage to spread the sound waves throughout the
room.
Figure 59 Sound waves on convex surface
Defects due to Reflected Sound
The acoustical design of an enclosed space is primarily governed by the behaviour of the reflected
sound.
Following are the two main defects developed due to the reflection of sound:
1. Echoes
2. Reverberation

45
Echoes:
When the reflected sound reaches the ear just when the original sound from the same source has been
already reached, an Echo is produced.
Reverberation:
The following table gives the relation between the reverberation time and acoustics of the room.
Reverberation time in Seconds Acoustics Effect
0.50 to 1.50 Excellent
1.50 to 2 Good
2 to 3 Fairly Good
3 to 5 Bad
Above 5 Very Bad
Table 2 Relation between reverberation time and Acoustics Effect
If the reverberation time is too long, results in overlapping of sound and on other hand, if it is too
short, it produces the effect of deadness.
ACOUSTICAL PHENOMENON IN AN ENCLOSURE
1. Sound Reflection:
Hard, rigid and flat surfaces, such as concrete, brick, stone, plaster or glass, reflect almost all incident
sound energy striking them. Convex reflecting surfaces tend to disperse and concave surfaces tend to
concentrate the reflected sound waves in the room.
2. Sound Absorption:
Sound absorption is the change of sound energy into some other form; usually heat, in passing
through a material or striking a surface. How efficient the sound absorption of a material is of a
surface is rated by the sound absorption coefficient.
3. Sound Diffusion:
Adequate sound diffusion is necessary acoustical characteristic of certain types of room, because it
promotes a uniform distribution of sound and eliminates undesirable effects.
4. Sound Diffraction:
Diffraction is the acoustical phenomenon, which causes sound waves to be bent or scattered around
obstacles such as corners, columns, walls and beams.
Factors to be considered in the Acoustic Design of an Auditorium
Following factors play an important role in the acoustic design of an auditorium:
1. Volume:
The hall should have enough volume and should be decided while keeping in view the intensities of
sounds likely to be developed in the hall.

46
For halls to be used only for music, the volume should be large so that there will be enough space for
the music to spread in the hall.
2. Shape:
This is a very important consideration in the acoustic design of an auditorium and involves
geometrical aspects of the hall. Concave walls are not good for acoustic purposes as they tend to
concentrate sound waves. Plane walls are better, but convex walls are excellent and are used to
reduce the possibilities of echoes to the maximum extent.
Figure 60 Plan of Fan Shaped Auditorium
ACOUSTICS IN AMPHITHETRES
THEATRE AT EPIDAURUS
Country: Greece
City: Epidaurus
Originally it was 6210 seats and later extended by 21 rows (then ca. 14000 seats). It is famous for its
unparalleled acoustics and is still used for theatre performances. The structure was utilized for the
resonance and reverberation of sound and the perception of the receiver and not the iconic
representation of the built environment. The Greeks used specific materials and the physics of sound
to ensure that the perceivers in the amphitheatre, no matter where seated, could hear even a whisper
from the lower level of the performing area.
The acoustic qualities that were incorporated into the Epidaurus theatre were not utilized into other
Greek amphitheatres. The materials were changed and the layout as well. The Epidaurus was the
only space built in this manner of using limestone for the seats and with the slope of the rows. Now,
researchers at the Georgia Institute of Technology have discovered that the limestone material of the
seats provide a filtering effect, suppressing low frequencies of voices, thus minimizing background
crowd noise.

47
The Greeks used scups in the front of the seats to direct and channel sound and diffuse the
frequencies that had undesirable results. The theatre was recessed in the ground to utilize the
prevailing winds that helped transmit the sound waves. Limestone used in the seating area was the
secret to the perfection of the ancient acoustics.
Figure 61 Schematic Plan Figure 62 View of Epidauras Theater
ROOM SHAPES AND ACOUSTICS
VAULTED CEILINGS
In rooms with vaulted ceilings, the sound is concentrated in the constructive centre making the sound
appear with a stronger intensity.
The sound movements also appear stronger along the curve.
Figure 63 Behaviour of Sound Figure 64 Arrangements of Instruments
The sound diffusing elements should be placed on the curved surfaces in order for the sound to be
dispersed in many directions.
The working stations should not be placed in the centre of the
construction. Instead, furniture with sound diffusing properties
should be placed in the centre.
Barriers should be placed along the curved surface in order to
prevent the spread of sound.
CEILING DOMES
Figure 65 Vaulted Walls
In rooms with vaulted walls, the sound is concentrated in the

48
constructive centre making the sound appear with a stronger intensity.
Vaulted walls should only be used in special cases where a special sound effect is wanted. The
curved wall should be equipped with sound diffusing elements.
CONNECTED ROOMS
Rooms that are linked by a large opening in between, influence each other's sound environment. A
room without acoustic regulation can act as an echo chamber reinforcing the sound, when connected
to an acoustically regulated room.
Both rooms must be equipped with sound absorbers. If the distance between the opening and the
opposite walls is short (5-6 m), the walls much be covered with sound absorbers or diffusers.
CONVEX CEILINGS
Convex ceilings spread the sound and act therefore as sound

diffusers.
Being able to spread sound, the convex ceilings are well-suited in
e.g. concert halls or conference rooms. If the sound diffusing
effect is to be reinforced, the curves should be equipped with
diffusing materials. Otherwise, the curves can also be equipped
Figure 66 Reflection of Sound on Convex Ceiling
with sound absorbing materials.
CONVEX WALLS
Convex walls spread the sound and act therefore as sound

diffusers.
Convex wall constructions are highly suitable in rooms with
parallel surfaces, thus making the absorbers more effective
and preventing echoes.
Figure 67 Reflection of Sound on Convex Walls
MULTI-STOREY ROOMS
In multi-storey rooms, the large room volume makes it difficult to ensure a sufficient amount of
absorbing materials and thus a sufficient level of sound absorption.
Sound absorbers and sound diffusers must be placed on all available surfaces. The absorption should
be reinforced by the use of free-standing absorbing elements.
SOUND LOCK
The passage connecting two rooms with different reverberation times must act as a sound lock,
ensuring a smooth transition from one reverberation time to another.
The reverberation times in the rooms must be adjusted using the amount of absorbing materials and
the type of materials as the parameters.

49
ROOMS WITH MEZZANINE
In rooms with mezzanine, it is possible to create different sound environments in the same room. In
the large, open room, an environment with long reverberation time is created.
The space above and below the mezzanine has a shorter reverberation time. The challenge posed in
this type of rooms is the sound reflection and the harmonization of the different reverberation times.
The wall opposite the mezzanine should be equipped with sound absorbers or diffusers.
In addition, sound absorbers should be placed on the underside and the banister of the mezzanine. In
order to prevent large differences in the reverberation times between the large room and the space
around the mezzanine, sound barriers can be applied.
DIMENSIONS OF MUSICAL INSTRUMENTS AND SITTING POSITIONS
1) VICHITRA VEENA
Length-1m to 1.2m long
Figure 68 Sitting Postures with respect to the Instrument
2) SARANGI
Length-0.64m-0.76m long
Width-0.15m-0.20m wide

50
3) TANPURA
Instrumental-0.95m-1.15m long
Male Tanpura-1.4m-1.5m long
Female Tanpura-1.2m-1.3m long
4) HARMONIUM
Height-0.19m to 30m high
Width-0.61m wide
Depth-0.29m to 0.36m deep

51
5) TABLA BAYA
Height-0.265m Height-0.26m
Dia-0.175m Dia-0.28m
6) FLUTE
Overall length-0.20m to 0.91m

52
5.4 SITE SELECTION AND ANALYSIS
5.4.1 INTRODUCTION
5.4.2 CHOICE OF TOPIC
5.4.3 ARCHITECTURAL INTERVENTION
53
5.4.1 INTRODUCTION
Our views towards the cities are always influenced on the basis of the art, history and culture it owns
and most of the cities are defined and identified under these parameters.
As the cities are growing into urban sprawls and agglomeration, there is a need for planned growth
and attention towards the cultural and social places which are often ignored during the expansion
plans.
Always, the commercial, residential and other forms of works are given preferences during the
development stages because of which the cultural development is kept behind.
The reason being, commercial, residential and other works and their developments are a result of real
estate driven projects because of which such developments are falling short in matching up with the
pace of commercial and residential developments.
There are many cities which are under advancements and transitions and want to restore and
revitalize their economic growth and to move up in terms of culture, tourism, career options etc.
Thus, one of the aspects, i.e., culture becomes an important bridge for a solution towards these
advancements. The creative sectors like music, design, media, performances and literary expressions
help in increasing and strengthening the economic and cultural developments. Not only these sectors
help in jobs and economy but helps in the evolutionary process of enriching the society as a whole.
Thus, each creative sectors have visualisation, design, patterning, problem solving and moulding
capabilities which help in the growth on individual basis at an individual level and as a society at the
larger level.
Therefore, creativity, imagination, art, heritage etc are the values which help design the city's
development and this is where the architectural intervention plays a very important role in shaping
and defining the development.
5.4.2 CHOICE OF TOPIC
After exploring certain issues related to city level of development, this research provides an
opportunity to look into these issues and from the observations tried to identify a subject which could
be solved from an architectural intervention that suited my interest and would make an option of how
such interventions may change such similar problems at a larger scale.
Amravati, the new capital city of Andhra Pradesh which settles at the banks of Krishna River has
entered the execution phase with the focus now shifting towards the development of critical
infrastructure and promises to be the world-class and a blue-green city. It is located close to two well
developed cities 32km away from Guntur and 39km away from Vijayawada.
The proposed new capital does not just aim to acquire fame and glory but also would try to retain its
historical and cultural background yet reflecting modernity

54
As the city will have a heavy toll of urbanisation, there would be a point where people would need a
place to nurture themselves in terms of individuality, career, hobbies, opportunities, entertainment for
which the requirement of public and semi public spaces comes into picture.
Secondly, since it is going to be a planned city, there is a great opportunity for the architectural
interventions to take place.
Amravati
Andhra Pradesh
Map 1 Map showing Andhra Pradesh Map 2 Map showing Amravati
5.4.3 ARCHITECTURAL INTERVENTION
Through this project, establishment of an integrated music school with residential facilities will be
the approach. It will also be an effort towards making a link or a bridge between the urban life and
cultural importance through public spaces.
Also, apart from this an attempt will be made to amalgamate the Gurukul tradition and the modern
technological advancements in teaching process in the same complex.
The vital part will be in making the complex having Gurushishya Parampara relevant and
architecturally responsive amongst the urban context.

55
Map 3 Location Map

Map 4 Neighbourhood Map

Map 5 Vehicular Circulation

Map 6 Vehicular Circulation

Location : Amaravati, Andhra Pradesh
Climate : Warm and Humid
Characteristics of warm and humid climate : The warm and humid

climate covers the coastal parts of the country.
An important characteristics of this region is the relative humidity,

which is generally very high, about 70-90% throughout the year.
Amaravati
Wind is desirable in this climate, as it can cause sensible cooling of
the body.
Solar radiation is also quite high and can be intense on clear days.
In summer, temperature can reach as high as 30-350C during the day Figure 74 Climate Zones
and 25-300C at night.
In winter, the maximum temperature is between 25-300C during the

day and 20-250C at night.
The main design criteria in the warm and humid region are :
1) to reduce heat gain by providing shading
2) to promote heat loss by cross ventilation
3) dissipation of humidity to reduce discomfort.
Thus the building components and the surroundings will determine the amount of
radiation that will enter into it which are :
1) Roof
2) Walls
3) Openings
4) Colour
5) Materials
6) Nature of roads, paved areas, etc
So, the human comfort gets affected due to climate are :
1) Temperature
2) Humidity
3) Solar Radiation
4) Air Movement

Months Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Average
0 0 0 0 0 0 0 0 0 0 0 0
Temperature 28 C 31 C 34 C 37 C 37 C 35 C 33 C 33 C 31 C 30 C 29 C 28 C
Table 3 Temperature of Amravati
The above chart shows the average air temperature which shows the temperature can rise
up to 370C during summer and can fall up to 280C during winter.
Months Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Average
Humidity 69% 66% 58% 54% 50% 55% 62% 62% 76% 70% 68% 67%
Table 4 Humidity
The above chart shows the average humidity which ranges from 55%-76%.
Critical months for Amaravati, Andhra Pradesh :
April and May - Hottest

Dec and Jan - Coldest
Maximum Humidity - September
Figure 75 Wind Rose

The figure shows wind rose diagram which helps to know the prevailing wind direction. For
Amaravati, the prevailing wind direction is south east having speed of 5km/hr - 19km/h in an
year.

Figure 76 Building Orientation

Figure 77 Horizontal Shadow Angle

Figure 78 Building Orientation

Figure 79 Horizontal Shadow Angle

Figure 80 Land use and Site Dimensions
Figure 80 Land Use
Figure 81 Under construction VIT - AP University adjacent to the site
Figure 82 View to Site

Figure 84 Site Dimensions
Figure 83 Approach road under construction

6 CONCLUSION
- FORMS AND SPACES
- MATERIALS AND FINISHES
- STRUCTURE AND MECHANICS
6. CONCLUSION
67
1. After all the case studies and data that have been collected, it is clear that the final output will
be influenced from the parameters namely, the concepts that will be derived from the musical
pieces of the Gharanas, the room shapes and the acoustics that will be the major part of the
technical detailing.
2. Also, the design will be influenced from the materials that would be used in response to the
climatic aspect.
3. Also, the process will not go only in single direction, rather it will be synced with both music
and drawing music on paper. It will include a lot of experimentations, collages and compositions
to arrive to the final stage of execution.
The above points are elaborated in the following:
FORMS AND SPACES
There are a number of works that demonstrate the imitation of musical

instrument, which directly represents the instruments from which the
inspiration has been taken.
The images thus show how the concept of music or musical instruments is
directly replicated that just imitates the form without any kind of abstraction.
Therefore, the structures turn to appear to be musical instruments planted on
a piece of land at a larger scale with the interiors organized into different
spaces with divisions. The problem with these methods is that the forms are
not at all abstracted and concepts are also not drawn but are directly imitated
which makes the structure unsuccessful as architecture but is appreciated
Figure 85 Guitar House
from the appearance which ensembles something else.
Therefore, this is something which would not be done during the

design process and rather abstraction and conceptualization of the
musical pieces from gharanas or their structure, frequencies, pitch,
etc. would be the main focus while designing the internal spaces
as well as the external spaces.
MATERIALS AND FINISHES
The choice of materials and the finishes will also be looked upon
and taken care while designing. The acoustic materials, the Figure 86 Piano House, Huanain, China
volume of the space would be designed in such a way that, that
particular gharana wills resemble the elements of gharanas
architecturally which will impact the acoustical detailing of that
space.
STRUCTURE AND MECHANICS
This concept can be explained by taking examples from the works

Figure 87 Alabama Guitar House, Birmingham
6. CONCLUSION
of Santiago Calatrava where he referred to certain musical

instruments while designing the bridges namely, the Harp, the
Cittern and the Lute which depends upon the balance of
tensile and compressive forces. Of explained further the
design process of the Harp bridge, the Harp uses total three
groups of cables, two Gaussian ones and one planar. Thus, he
has abstracted the musical instrument or rather dissected its
concepts to final or derive an architectural concept from that
instrument which further leads to a next level of detailing, Figure 88 The Harp Bridge by Santiago Calatrava
that is, the nature of the structure in terms of their behaviour
with forces.
Thus, this will also lead to designing the volumes, ratios, nature of space (open, semi open), type
of roofs, walls, etc, which will ensemble the concept extracted by abstracting the nature of style
of singing of that particular gharana.
Therefore, beyond the traditional boundaries for inspiration and intervention, the gharana style of
music will provide a source of ideas with possibilities to design a program which will represent
the gharanas in their music style using architecture as a tool.
7. ARCHITECTURAL SPACE PROGRAM

7 ARCHITECTURAL SPACE PROGRAM
A. ADMINISTRATION
B. CLASSROOMS
C. RECORDING STUDIO
D. RIYAAZ ROOM
E. ACCOMODATION
F. AUDITORIUM
G. CANTEEN
H. EXPERIMENTAL AREA
I. LIBRARY
J. MUSIC STORE

70
ARCHITECTURAL SPACE PROGRAM

A. ADMINISTRATION
MIN.
TYPE CAPACITY AREA
SR. QUALITY SIZES
SPACES NoS. SUB-SPACE OF (NO. OF (IN
NO. OF SPACE (IN
SPACE PPL) M2)
MT.)
Attached Well
toilet, desk, ventilated,
Private
sitting for lit
Director's guests
1 1 5 60 60
Office Well
Includes
personal Private ventilated,
assistant lit
Attached Well
toilet, desk, ventilated,
Executive Private 5 60 60
2 1 sitting for lit
Director Office
guests
Sitting area for Well

guests, Semi- ventilated,
3 Waiting Area 1
students, Public lit
visitors 20 25 25
Desks with Well

storage space, ventilated,
other storage lit
Private
space, zerox
and scanning
space
Well
Record Room Private ventilated,
lit
Accounts
4 1 Well 20 100 100
Department Semi-
Pantry ventilated,
Public lit
Well
Semi- ventilated,
Waiting Area
Public lit
Well
Fee collection Semi- ventilated,
centre Public lit

71
Exam Well
Exam ventilated,
5 1 department Private 20 20 20
Department lit
head
Well
Clerk, waiting ventilated,
Private
area lit
Paper Well
collection, hall ventilated,
ticket and lit
Private
receipt
generation
area
Committee Well
room, record ventilated,
Marketing and lit
6 room, zerox Private 10 100 100
Advertisement
and scanning
area, pantry
Total Area 365
B. CLASSROOMS
QUALITY MIN.
CAPACITY AREA
SR. TYPE OF OF SPACE SIZES
SPACES NoS. SUB-SPACE (NO. OF (IN
NO. SPACE (IN
PPL) M 2)
MT.)
Entry
Classroom
Teacher's
Naturally
Vichitra sitting area
1 1 Private ventilated, 7 300 300
Veena
Students lit
sitting area
Storage space
Entry
Classroom
Teacher's
sitting area Naturally
2 Sarangi 1 Private ventilated, 7 300 300
Students lit
sitting area
Storage space

72
Entry
Classroom
Teacher's Naturally
3 Harmonium 1 sitting area Private ventilated, 7 300 300
Students lit
sitting area
Storage space
Entry
Classroom
Teacher's
4 Tabla 1 Private ventilated, 7 300 300
Students lit
sitting area
Storage space
Entry
Classroom
Teacher's
5 Flute 1 Private ventilated, 7 250 250
Students lit
sitting area
Storage space
Entry
Classroom
Teacher's
Vocal
6 2 Private ventilated, 14 200 400
Classroom Students lit
sitting area
Storage space
Male
Female
Changing Well
7 Toilet Room Private ventilated, 49 20 20
lit
Drinking water
facility
Total Area 1870

73
C. RECORDING STUDIO
TYPE CAPACITY MIN. AREA
SR. QUALITY
SPACES NoS. SUB-SPACE OF (NO. OF SIZES (IN
NO OF SPACE
SPACE PPL) (IN MT.) M 2)
1 Recording studio
1.1 Live Room 1 mic, 1 stand
Seating area,
monitor
speakers,
Control
1.2 mixing console,
Room
audio and
digital
workstations
Isolation 1 mic, Acoustics,
1.3
Booths 1 stand well
1 1500 1500
ventilated,
Noiser
Machine lit
1.4 equipment,
Room
amplifiers Private
Desk, waiting
1.5 Reception
area
Gas top,
1.6 Pantry
washing area
1.7 Lounge Sitting area,

restroom
Male
Female Well
1.8 Toilet Changing Room ventilated, 10 10
Drinking water lit
facility
Total Area 1510
D. RIYAAZ ROOM
SR. SPACES NoS. SUB-SPACE TYPE QUALITY CAPACITY MIN. AREA
NO. OF OF SPACE (NO. OF SIZES (IN
SPACE PPL) (IN M 2)
MT.)
Acoustics,
Riyaaz area
well
1 Riyaaz room 21 with 21 9 108
ventilated,
mattress
Private lit
Well
2 WC, 1 wash
2 Toilet 1 ventilated, 21 10
basin
lit
Total Area 118

74
E. ACCOMODATION
QUALITY MIN.
TYPE CAPACITY
SR. OF SPACE SIZES AREA
SPACES NoS. SUB-SPACE OF (NO. OF
NO. (IN (IN M2)
SPACE PPL)
MT.)
2 Beds,
wardrobe,
Students balcony,
1 21 10.5 250
Accommodation changing
room, Naturally
attached Private ventilated, 42
toilet lit
1 Cooking
area,1
1.1 Pantry 1 washing 7.5 7.5
area,
storage
Teacher's
2 7
Accommodation
2.1 Living Area 1 Indian

sitting
4-seater
2.2 Dining Area dining
table Naturally
1 Attached ventilated, 7 56 392
toilet, 1 lit
wardrobe,
2.3 Bedroom
1 study
table, 1
side table
2 Beds, 1
wardrobe, Naturally
Guest 2 chairs, 1
3 20 Public ventilated, 250 250
Accommodation table, lit
attached
toilet
Total Area 899.5
F. AUDITORIUM
MIN.
TYPE CAPACITY AREA
SR. QUALITY SIZES
NO. OF SPACE (IN
SPACE PPL) M2)
MT.)

75
Entrance
Foyer
Ticket Acoustics,
counter well
1 Capacity 1 Public 500 1700 1700
Seating ventilated,
lit
Stage
Green rooms
with toilet
Cafeteria
Total Area 1700
G. CANTEEN
QUALITY MIN.
TYPE CAPACITY
SR. OF SIZES AREA
SPACES NoS. SUB-SPACE OF (NO. OF
NO. SPACE (IN (IN M2)
SPACE PPL)
MT.)
Loading and
1 1 Platform
unloading
Veg kitchen
Preparation Well
2 2 Non-veg Semi- ventilated, lit
area kitchen 700 700
Public
Pantry 100
Cold storage
3 Storage 2
Dry storage
Open, semi
4 Dining area Sitting area
open
Wash basins, Well
5 Toilets 30 30
wc, urinals ventilated, lit
Total Area 730
H. EXPERIMENTAL AREA
MIN.
TYPE CAPACITY AREA
SR. QUALITY SIZES
NO. OF SPACE (IN
SPACE PPL) M 2)
MT.)

76
Foyer, ticket
office, toilet,
loading and Semi-
1 Open theatre 1 unloading, Open 380
Public
store,
control room
Open,
2 Recreational 6 Private 50 150
semi-open
area
Total Area 530
I. LIBRARY
QUALITY OF MIN.
TYPE CAPACITY AREA
SR. SPACE SIZES
NO. (IN
SPACE PPL) M 2)
MT.)
Baggage
counter,
desk,
treatment
room, Naturally lit,
Library 1 photocopy, well
scanning, Semi-
1 (Books, 1 ventilated,
issue Public
magazines) required
counter, north light
furniture,
reading
space 340 340
Baggage
counter,
desk, issue
Naturally lit,
Library 2 counter, Semi-
2 1 well
(Audio-visual) furniture, Public
ventilated,
listening
space
Total Area 340
J. MUSICAL STORE
TYPE QUALITY OF CAPACIT MIN. AREA
SR. SPACE
SPACES NoS OF Y (NO. SIZES (IN
NO
SPACE OF PPL) (IN MT.) M 2)

77
Shelves/
Display Area
Semi
counter Well
Public
1 STORE 1 Store Room Ventilated, 50 50
lit
Purchase and
repair
CIRCULATION 15% BUILT UP 8924 M2 GRAND TOTAL 8112.5 M2

78
8. LIST OF FIGURES
FIGURE 1 GOOGLE IMAGE.....................................................................................................16
FIGURE 2 CONCEPT.................................................................................................................16
FIGURE 3 ZONING....................................................................................................................16
FIGURE 4 ZONING....................................................................................................................16
FIGURE 5 ENTRANCE, ADMIN BLOCK AND HOSTEL BLOCK.......................................17
FIGURE 6 INTERCONNECTING CORRIDORS......................................................................17
FIGURE 7 PLAN.........................................................................................................................17
FIGURE 8 INTERCONNECTING CORRIDORS......................................................................17
FIGURE 9 CLASSROOMS.........................................................................................................17
FIGURE 10...................................................................................................................................17
FIGURE 11...................................................................................................................................17
FIGURE 12 GOOGLE IMAGE....................................................................................................18
FIGURE 13 VIEW........................................................................................................................18
FIGURE 14 ZONING...................................................................................................................18
FIGURE 15 SCHEMATIC SECTION.........................................................................................18

FIGURE 16 OPENINGS..............................................................................................................19
FIGURE 17 SCHEMATIC STUDENT ACCOMMODATION ROOM.....................................19
FIGURE 18...................................................................................................................................19
FIGURE 19...................................................................................................................................20
FIGURE 21 PLAN........................................................................................................................21
FIGURE 22 VIEW........................................................................................................................21
FIGURE 23 VIEW SHOWING OPEN AREA FOR LECTURES...............................................21
FIGURE 24 MASTER PLAN.......................................................................................................22
FIGURE 25 ELEVATION...........................................................................................................22
FIGURE 26 SCHEMATIC SECTION OF AUDITORIUM.......................................................22
FIGURE 27 PART PLAN...........................................................................................................22
8 LIST OF FIGURES
79
FIGURE 28 TOP VIEW................................................................................................................23
FIGURE 29 ABSTRACTION OF PIANO...................................................................................23

FIGURE 30 MAIN BUILDING ENTRANCE.............................................................................23
FIGURE 31 ABSTRACTION OF PIANO...................................................................................23
FIGURE 33 NATURAL LIGHTING...........................................................................................25
FIGURE 34 PLAN........................................................................................................................25
FIGURE 35 SECTION SHOWING USES OF NATURAL LIGHT AND VENTILATION......26
FIGURE 36 SCHEMATIC PLANS OF LOUNGE AND LECTURE ROOM............................27
FIGURE 37 PLAN.......................................................................................................................27
FIGURE 38 VIEW STUDIO.......................................................................................................28
FIGURE 39 VIEW OF RECORDING STUDIO.........................................................................28
FIGURE 40 GOOGLE IMAGE...................................................................................................29
FIGURE 41 BASEMENT FLOOR..............................................................................................29
FIGURE 42 GROUND FLOOR..................................................................................................30
FIGURE 43 FIRST FLOOR........................................................................................................30
FIGURE 44 NORTH SOUTH SECTION...................................................................................31
FIGURE 45 CONTEXT PLAN...................................................................................................33
FIGURE 46 SCHEMATIC SECTION........................................................................................33
FIGURE 47 SCHMATIC ELEVATION.....................................................................................33
FIGURE 48 GROUND FLOOR PLAN......................................................................................34

FIGURE 49 BASEMENT PLAN................................................................................................35
FIGURE 50 PART PLAN SHOWING AUDITORIUM............................................................36
FIGURE 51 SCHEMATIC PLAN WITH ZOING.....................................................................38
FIGURE 52 SECTION SHOWING ACOUSTICAL TREATMENT.........................................39

FIGURE 53 CIRCULATION......................................................................................................39
FIGURE 54 CONCEPT OF ELEVATION.................................................................................39
FIGURE 55 CONCEPT AND FINAL EXECUTION................................................................44
8 LIST OF FIGURES
80
FIGURE 56 DERIVATIONOF FORMS FROM EXPERIMENTATION WITH
ABSTRACTION AND MATHEMATICS..............................................................45
FIGURE 57 RAY DIAGRAM......................................................................................................45

FIGURE 58 SOUND WAVES ON CONCAVE SURFACE.......................................................46
FIGURE 59 SOUND WAVES ON CONVEX SURFACE..........................................................46
FIGURE 60 PLAN OF FAN SHAPED AUDITORIUM..............................................................48
FIGURE 61 SCHEMATIC PLAN................................................................................................49
FIGURE 62 VIEW O EPIDAURAS THEATRE..........................................................................49
FIGURE 63 BEHAVIOUR OF SOUND......................................................................................49
FIGURE 64 ARRANGEMENTS OF INSTRUMENTS...............................................................49
FIGURE 65 VAULTED WALLS.................................................................................................49
FIGURE 66 RELECTION OF SOUND ON CONVEX CEILING..............................................50
FIGURE 67 REFLECTION OF SOUND ON CONCAVE WALLS............................................50
FIGURE 68 SITTING POSTURES WITH RESPECT TO THE INSTRUMENT.......................51
FIGURE 74 CLIMATE ZONE......................................................................................................61
FIGURE 75 WIND ROSE.............................................................................................................62
FIGURE 76 BUILDING ORIENTATON.....................................................................................63
FIGURE 77 HORIZONTAL SHADOW ANGLE........................................................................64
FIGURE 78 BUILDING ORIENTATON.....................................................................................65
FIGURE 79 HORIZONTAL SHADOW ANGLE.......................................................................66
FIGURE 80 LAND USE ………………………….....................................................................67
FIGURE 81 UNDER CONSTRUCTION VIT-AP UNIVERSITY ADJACENT TO THE
SITE…………………………………………………………………………………67
8 LIST OF FIGURES
81
FIGURE 82 VIEW TO SITE……………………………………………………………………..66
FIGURE 83 APPROACH ROAD UNDER CONSTRUCTION…………………………………66
FIGURE 84 SITE DIMENSIONS………………………………………………………………..66
FIGURE 85 GUITAR HOUSE…………………………………………………………………..68
FIGURE 86 PIANO HOUSE, HUANAIN, CHINA…………………………………………….68
FIGURE 87 ALABAMA GUITAR HOUSE, BIRMINGHAM………………………………....68
FIGURE 88 THE HARP BRIDGE BY SANTIAGO CALATRAVA…………………………..69
8 LIST OF FIGURES
82
9. LIST OF TABLE
TABLE 1 COMPARATIVE ANALYSIS..............................................................................41
TABLE 2 RELATION BETWEEN REVERBERATION TIME AND
ACOUSTIC EFECTS............................................................................................47
TABLE 3 TEMPERATURE OF AMRAVATI.......................................................................62
TABLE 4 HUMIDITY............................................................................................................62
9. LIST OF TABLES
83
10. LIST OF MAPS

MAP 1 MAP SHOWING ANDHRA PRADESH .....................................................................56
MAP 2 MAP SHOWING AMRAVATI......................................................................................56
MAP 3 LOCATION MAP............................................................................................................57
MAP 4 NEIGHBOURHOOD MAP.............................................................................................58
MAP 5 VEHICLE CIRCULATION............................................................................................59
MAP 6 VEHICLE CIRCULATION............................................................................................60
10. LIST OF MAPS

84
11. BIBLIOGRAPHY
Journal Article
Journal Article : Sterken S. Music as an Art Space: Interactions between Music and
Architecture.
Meer W. V. Cultural Evolution- A case study of Indian Music
Sangeet Natak- Journal of the Sangeet Natak Akademi, New Delhi, Vol.35,
Jan - Mar.1975.
Newspaper Article
Online Newspaper Article : Khandelwal, B.(2007, June 28). Agra Gharana on verge of
extinction
Hindustan
Times.(http://paper.hindustantimes.com/epaper/viewer.aspx)
Dutt, N.(2014, August 17). The Patiala Gharana and beyond.

Hindustan Times.
(http://paper.hindustantimes.com/epaper/viewer.aspx)
Websites
https://issuu.com
www.descroll.com
https://books.google.com/
www.archdaily.com/
http://www.itcsra.org/Gurukul
http://www.dailymail.co.uk/news/article-3266162/Yours-little-1-Alabama-guitar-house-market-
14m-just-year.html
https://davidphilipson.com/music/timeline/
http://www.newindianexpress.com/states/andhra-pradesh/2017/jan/10/andhras-new-capital-
amaravati-enters-execution-phase-1558152.html
https://www.worldweatheronline.com/amaravati-weather-averages/andhra-pradesh/in.aspx
https://www.metmuseum.org/art/collection/search/503204
https://www.crda.ap.gov.in/
https://knaufdanonline.com/
11. BIBLIOGRAPHY
85

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MUSIC GURUKUL- AN ARCHITECTURAL

Submitted in partial fulfillment of the requirements for the degree of

Copyright © NIRALI K. GILBILE 2017

Sign of the guide:

Name of the guide: Prof. Sandeepkumar Prajapati

Sign of the Dean: ___________________

Signature of the Student:

Name of the Student: Nirali K. Gilbile

Roll No: 11ARC05

Date: Place: New Panvel

3. LITERATURE REVIEW ....................................................................................................................

4. RESEARCH DESIGN .........................................................................................................................

5. SITE SELECTION AND ANALYSIS ................................................................................................

7. ARCHITECURAL SPACE PROGRAMME.......................................................................................

8. LIST OF FIGURES .............................................................................................................................

9. LIST OF TABLE .................................................................................................................................

10. LIST IF MAPS ...................................................................................................................................

11. BIBLIOGRAPHY ..............................................................................................................................

2.1.1 Background Study

2.1.2 Problem Statement

2.1.4 Methodology for Case Studies

3.2 LITERATURE REVIEW…………………………………………………………………… 8 - 40

3.2.1 Definitions and Descriptions

3.2.2 Articles by Other Authors

3.2.3 Case Studies and Inferences

4.3 RESEARCH DESIGN……………………………………………..…………………...…. 41 - 52

4.3.1 Parallels between Music and Architecture

4.3.2 Acoustics and Room Design

4.3.3 Standards and Data Collection.

5.4 SITE SELECTION AND ANALYSIS……………………………………..………………. 53-66

7. ARCHITECTURAL SPACE PROGRAM…………………………………………………….... 70-78

8. LIST OF FIGURES…………………………………………………………………………….. . 79-82

10. LIST IF MAPS………………………………………………………………………………… 84

KEYWORDS: Indian Classical Music, Guru-Shishya Parampara, Gharana, Rhythm, Space,

2.1.1 BACKGROUND STUDY

2.1.2 PROBLEM STATEMENT

2.1.4 METHODOLOGY FOE CASE STUDIES

Also, it will concentrate on gharana style of music.

3.2 LITERATURE REVIEW

3.2.1 DEFINITIONS AND DESCRIPTIONS

3.2.2 ARTICLES BY OTHER AUTHORS

1) HINDUSTAN TIMES-AGRA GHARANA ON VERGE OF EXTINCTION

3.2.3 CASE STUDIES

3.2.1 DEFINITIONS AND DESCRIPTIONS

A version or incarnation of something or someone.

Any of the various specialist schools or methods of classical muisc or dance.

A typical example or pattern of somethin; a pattern or model

3.2.1 DEFINITIONS AND DISCRIPTIONS

3.2.2 ARTICLES BY OTHER AUTHORS

3.2.2 ARTICLES BY OTHER AUTHORS

3.2.2 ARTICLES BY OTHER AUTHORS

3.2.2 ARTICLES BY OTHER AUTHORS

3.2.2 ARTICLES BY OTHER AUTHORS

2) DR. GANGUBAI HANGAL GURUKUL

3) CHINMAYA NAAD BINDU GURUKUL

4) SWARNABHOOMI ACADEMY OF MUSIC

5) RED BULL MUSIC ACADEMY

7) TOHOGAKUHEN SCHOOL OF MUSIC