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Sri Ram Centre for Art and Culture
Prasad, Shiv Nath, and Mahendra Raj. Sri Ram Centre for Art and Culture. New Delhi, India,
1972.
Keywords: New Delhi, Modernist Architecture in India, Centers for the Performing
Arts and Auditorium
Chandigarh created a spine of architecturally conscious communities from
Delhi down to Ahmedabad, Baroda and Bombay. This project, a centre for
dance, drama and music, is a bold statement of urban form, extending the
vocabulary of reinforced concrete.1
1.MN Ashish Ganju and Naveen
Kulshrestha, Vistāra - The Architecture
of India, Catalogue of the Exhibition pp
136
Plan and section: Plan (1. Auditorium, 2. Stage, 3. Rehearsal room, (4 & 5). Green rooms)
This document is embedded in ...
"Modernity – Inventing the future." In Vistāra -
The Architecture of India, Catalogue of the
Exhibition, edited by Carmen Kagal and MN
Ashish Ganju. The Festival of India, 1986.
Chatterjee, Malay. "II: 1960 – 1974: The Journey
Back from Chandigarh, the Evolution of
Contemporary Indian Architecture."
In Architecture In India, 132-153. Paris and Milan:
Electa Moniteur, 1985.
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The Sri Ram Centre was sponsored by a private trust active in promoting dance, drama and
music. The 0.25ha site is in the heart of New Delhi, adjacent to other cultural institutes. The
client's needs were extensive considering the small site available. This provided an opportunity to
express individual functions at different levels, using distinct forms supported by independent
structural supports. These diverse functional expressions in exposed concrete are woven together
to work in harmony.
At the ground floor level, space enclosure is kept to a minimum so that the entrance hall and
ticket foyer can also be used for exhibitions, and spaces flow to encounter grass, trees and
sunshine. A coffee shop opens off it for use by various art groups. Above the cloak-rooms is a
mezzanine floor containing the manager's flat and offices. In the basement is a small
experimental theatre. The main theatre, seating 550 persons is at the first-floor level and is 21m in
diameter. It is supported on circumferential and radial beams cantilevering from six columns.
Above the cylindrical form of the theatre is the top floor, a large rectilinear mass supported at
four cross-shaped columns placed at 19m centres with 6m cantilevers all around. This floor
provides spaces for rehearsals, dancing, dormitories for visiting performers, and a small circular
auditorium for puppet shows and films.
Chatterjee, Architecture In India p 140
Content Related to this Document
Documents(active tab)
Cited By
1. Narayan, Shiv. MPISG Cases - Commerce WP(c) 8523/2003. MPISG. New Delhi: Architexturez
Imprints, 2003.
2. Raj, Mahendra. "Hall of States, New Delhi." Structural Engineering International 1, no. 3
(1991): 15-16.
3. Dalvi, Mustansir, and Nanki Nath. "Display Typography of House Names in Mumbai’s
Residential Buildings: A Semiotic Intervention." In Typography Day 2013 Conference. IIT-
Guwahati, 2013.
4. Narayan, Shiv. MCD counter affidavit (April 2005). New Delhi: Architexturez Imprints, 2005.
NOTICE: In accordance with Title 17 U.S.C. Section 107, this material is distributed, without
profit, for research and educational purposes.
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