kala academy case study pdf

Kala Academy, Goa by Charles Correa: A Prominent Cultural Centre

What is a “Heritage Building”? Where does the heritage , attached to it, come from? Is it necessary for a building tagged as heritage, to have persevered a few hundred years? Charles Correa ’s Kala Academy in Goa has been a building of historic architectural, cultural, and social importance in the entire country, being the only diverse cultural academy to offer western, classical, and mixed arts courses. The Ministry of Housing and Urban Affairs (MoHUA), GOI, says,

“heritage building includes any building which requires preservation for historical, architectural, artisanry, aesthetic, cultural, environmental, and/or ecological purposes.”

The building itself embodies the ideologies of ‘India’s greatest architect’- Charles Correa. The ‘un-building’, a term used many times by Correa himself, became a people’s favourite instantly when it was completed in 1983. The building is a unique example of giving back to society. Even in its expansive built-form, it draws the pedestrian streets into the internal open-to-sky courtyards and through the internal streets onto the Mandovi river edge; not before a pit-stop at the cafe for some chai-samosas. Charles designs the building for a wanderer, he directs you in his subtleties to explore the space on your way to the riverfront.

The first Chief Minister of Goa, Dayanand Bandodkar or Bhausaheb Bandodkar- as he was more popularly known, had a dream to have a definitive and inclusive arts society in the free state of Goa. They formed the Kala Academy Society as a not-for-profit society of the arts to promote the local and international art forms without prejudice. One of the founding members was Mr. Pratapsingh Rane, an MLA from Bandodkar’s party who later became the chief minister of Goa 5 times in his career (and is an MLA in the Goa Legislature). From the very beginning, the society had a providence for a built entity that would be unique and general at the same time; a center at the confluence of Eastern and Western culture. Rane, who was familiar with a few of Correa’s built works, sought a meeting between the society and Correa. Correa, having Goan Ancestry, though born in Hyderabad and brought up mostly in Bombay, gave Goa something so wonderful, that it transcended the built fabric of the continent.

The site where Kala Academy Goa sits was beachfront for old Goan houses where the locals caught fish and watched the time pass along with the barges and the ships. While planning this building, Charles Correa ever so excitedly seemed to have involved himself to make sure that this way of life of the people stays unaffected by the built form but only intensifies it. The view of the Reis Magos fort across the river and the river walk with its lighthouse and the now-demolished jetty was synonymous with Goa, and the Kala Academy itself, an iconic building for architecture students, is always at the tip of their tongues.

Spending my crucial years in Campal, I have wandered many times through the streets created by Correa. I have walked through the courtyards observing a mix of people from all over, either stretched out alone with a book, humming along to a guy with a guitar, talking intensely with a cup of tea, waiting for the Tiatr (a musical theatre) to begin, or some amusingly walking back and forth fascinated by the trompe l’œil in the open street . Do you know the feeling of being in a building and yet not feeling the architecture overpower you? That’s the feeling that Kala Academy evokes.

Almeida, Sarto, and Jaimini Mehta, in their article, say,

“The relatively low rise mass is spread horizontally and organized around an innovative ground plan with an open ‘street’ going through the entire building. This allows one to enter the building without being self-conscious about entering; it makes an otherwise serious public institution seem less ‘institutional’ and more relaxed and appropriate.”

Reinforcing the ‘un-building’ that is a facilitator to the everyday life of the locals and the visitors alike. Kala Academy is programmed with spaces such as Exhibition halls, open-air theatres, auditoriums , meeting rooms, teaching rooms, lounges, cafeteria, the black box, rehearsal rooms, teaching rooms, and admin block. The ground floor is dedicated to the public and the first floor to the academic and administration, thus creating a building that gives back to the city in ways that can only be elaborated with a finger on its pulse. The Kala Academy building is one of the most inclusive buildings in Goa, or even maybe the entire country, as nothing signals exclusivity, including the gate that is wide and low to allow a generous view inside and beyond. The building has two gates, one towards the parking and one leading to the symbolic pergola, referencing the trees over Campal’s road under which all activity happens. I remember the gates being open at all hours as we would sit at the jetty even at midnight and enjoy the warm breeze of the Mandovi after a meal. Public space matters in today’s times and this building, though being nearly 40 years old, was definitely ahead of its times. Nondita Correa Mehrotra, Charles’ daughter, recalls in a conversation with Vivek Menezes,

“He just loved the site—he loved the way the building could connect to (the old Goan neighbourhood of) Campal and the Mandovi river. Many important components came together for him, seemingly effortlessly. Yet he spent a lot of energy in getting it all right.”

The Biennial Z-Axis event, organized by CCF is held in Kala Academy every two years, attracting thousands of attendees.

A simple orthogonal grid makes up the plan, within which there is an interplay in the volume of spaces. With nothing to suggest monumentality, the entire building is low with just three floors and furthers the horizontality of the structure. Most of the spaces inside the Kala Academy are heterogeneous, and the transition between the spaces is through corridors that resemble the streets of old Goa. Correa sketched the murals on the walls that create the illusion of the Goan streets and Bhiwandker, a signboard painter, blew it up and brought it to life. Knowing Correa and his many buildings scattered around the world, buildings such as the McGovern Institute for Brain Research at the Massachusetts Institute of Technology (the architect’s alma mater), the Champalimaud Centre for The Unknown in Lisbon, and the Ismaili Centre (attached to the Aga Khan Museum ) in Toronto, I don’t know if there would be a better example in the world of architecture for the currently-trending hollow call of ‘Vocal for Local’. Not only was he vocal, but his buildings also show us the necessity to react to a region’s cultural influence rather than follow the strict principles of modernism that he grew up in.

Experiencing the spaces in Kala Academy, I could see how diligently balanced the indoors and outdoors were. The indoor spaces connected to the outdoors in such a way that even when I was inside I could feel the breeze from the riverside. Poet and critic Ranjit Hoskote recognizes the classic features of Correa’s architecture present in Kala Academy and adds, “And let us not forget the laterite that forms its key medium—it articulates the flesh and blood of Goa’s architecture, it comes from the soil of Goa, from the soul of Goa.” There is no doubt that the regional essence was important to Correa, whose buildings all over the world always reference the elements of the region.

The Dinanath Mangeshkar auditorium—named after the Goa-born musician father of Lata Mangeshkar and Asha Bhosle—has seen many maestros perform from all over the world and has been a launch-pad for many local artists to start their career. Not to mention the tightly contested state Tiatr and Mando competitions, all running to house-full capacities in the 954-seat auditorium. Correa commissioned Mario Miranda—who needs no introduction—to draw virtual balconies with his signature cartoons inside the auditorium where acoustic extrusions were required on the walls to accommodate Indian Classical and Western music, both needing different reverberation times in the space.

The International Film Festival of India (IFFI) held every year in Goa, saw a jetty made in 2004 at the riverside, to receive celebrities and dignitaries housed in Sinquerim through the waterway. In 2010, I worked on this jetty as part of the ‘Lights in Goa’ event, conceptualizing and creating lighting installations for the jetty to draw attention to the ageing structure and to highlight its importance. With a heavy heart, we lost the jetty to corrosion in the foundation recently. An element that had become the culmination of the journey from the pedestrian path, through Correa’s internal streets, to the riverside.

Ever since the academy was built, it has truly given back to the people the piece of land it sits on and has generated curiosity in the arts and culture of the region through Correa’s ingenious design. It has played a significant role in strengthening the Goan culture and integrating world culture into it. It has become a go-to name for any local for an event, a stroll, an exhibition , or referring to Goa while in a foreign place. For many people, it is not just a building; it is a place to which they attach a lot of memories and emotions.

The heritage of this building comes from its cultural importance as an Arts Academy unlike any other in the country, and its architectural importance of inclusivity and focusing on the people rather than the monumentality of the building itself. It submits to the public in a way few other edifices do in modern times. It presents itself as a transition space, a place to wander, explore, introspect, rest, be pensive, be active, and reach somewhere that you wouldn’t expect to reach. In our times, when the architectural signature is characterized by august structures such as the Statue of Unity or the Antilla, a building of utmost inclusivity and submissiveness of the human scale is rare and inconceivable.

When the Goa Government made an announcement recently about breaking down part of the structure, the open-air auditorium—owing to leakages and the structure has become fragile and unyielding, my heart sank; first the jetty, then this? Is this just another building that you can break and remake? Even breaking down a part of it is as good as breaking down the whole thing. Any building needs maintenance and care, but a building of such significance in modern Goa needs preservation, not just ad hoc waterproofing and mindless cosmetics. The Charles Correa Foundation (CCF), based in Fontainhas, headed by Nondita Correa Mehrotra started communications with the government and an online petition to save the building from demolition and got through the courts to have experts do a thorough examination of how to preserve it. When I contacted the Foundation to find out the status of the progress, Tahir Noronha, a convener at CCF generously informed me the following—

Here is the update on the Kala Academy today (as on 2nd July 2020)

In January 2020, Professor RG Pillai, IIT Madras, was flown in by CCF to inspect the Kala Academy building, post his study of the 2 structural audit reports prepared by the Government of Goa, he submitted a report in February stating the following points,

• That the structure does not require demolition and can be repaired;
• Repetitive layers of non-performing waterproofing have led to an undesirable dead load burdening the structure with unnecessary weight;
• There is severe corrosion to the steel and concrete in some areas; which needs to be addressed.
• That the quality of work should not be compromised by rushed time-schedule and that it is advisable to ensure long-term preventive measures to preserve the building;
• That there are technologies that can stop corrosion even if it has already set in, for example, Cathodic Protection which can arrest the further spread of corrosion and protect the steel reinforcement for the foreseeable future;
• As an emergency step, it is recommended to remove the extra concrete overlays without causing further damage to the structure and then provide a waterproofing system to protect the structure from moisture attack until the major repair is completed (i.e., for about two years).
• This waterproofing system must be in place before the forthcoming monsoon.
• Two years of temporary protection is suggested considering the possible delays in procuring technical and financial sanctions/approvals from the Government of Goa.

Representatives from CCF met the Minister of Art and Culture and implored him to take necessary steps to protect the structure before the monsoons, around the same time, the COVID-19 pandemic began to pick up and we were informed that the state is facing a dearth of funds and that only existing works will be continued.

The court proceedings have also been adjourned indefinitely.

The monsoon hit Goa on 8th June and we have no idea what the state of the structure will be by August.

Kala Academy is a historic building, maybe not by age, but by the special place it holds in the hearts of the Ponjekars and the thousands who have performed and exhibited there, says Alexandre Moniz Barbosa in an editorial in Herald Newspaper. A building of such cultural importance warrants conservation and transcendence into the future to demonstrate how it was the first building in Goa to interpret Goan architecture and a true building of the people. Every citizen’s voice is alive in its streets today and many people walk through this wonderful un-building every day, not privy to its monumental importance. That is Charles Correa’s magic trick.

Sahil Tanveer is an architect and thinker, who runs a cosmopolitan Architecture studio with work across the country. He believes architecture is all-inclusive and personal. He is continually in search of the unknown, while observing psychology, philosophy, and the influence of culture and society on architecture and design.

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Norman Foster and his High-tech Architecture

Diebedo francis kere- first african to win pritzker architecture prize, thomas heatherwick – fascinating architect, oscar niemeyer- hero of the modern architecture, chichu art museum: portrayal of japanese brutalism, biomimicry architecture: eastgate centre – harare, zimbabwe, vastu direction for home, top 10 fabulous wooden structures in the world, 10 upcoming futuristic projects in the world: a glimpse into architecture…, architecture of indian cities: top 10 cities for architects., are the skins of larger buildings prefabricated, what is 3d printing technology how it is used in architecture, the best designing software that every architect must use, best laptop for architecture students in 2021, 5 representations of technology in the world of architecture, unveiling the essence of architecture: a comprehensive exploration, architecture juries – 10 things to remember before them, top 20 architecture colleges in the world, top 20 architecture colleges in india, top 20 architecture colleges in canada, kala academy, goa – a well built unbuilding.

A building built in the concept of unbuilding. The building merges with the habitual activities of the people living in the society. A building to express the arts that exhibits the culture and heritage of the society which itself is an art. The art – Kala Academy, Goa. The artist – Charles Correa. However, the Kala Academy is a cultural center built by the Kala Academy Society and funded with the help of the Government of Goa. The Kala Academy Society is a non-profit organization that was established by the government of Goa that helps to promote local and international art forms.

Case Study of Kala Academy

• Architect: Charles Correa
• Funded by: Ministry of Art & Culture of the Government of Goa
• Started in: 1970
• Completed at:1983
• Location: Campal, Panaji
• Site Area: 6.3 Acres

History & Location

 The first chief minister of Goa had a dream of forming a society for arts in the state of Goa. Thus, the Kala Academy Society was formed by the Government of Goa. The society first decided to accommodate an existing built entity but later Rane who has known Charles Correa for a long time approached him. Thus, the art in the name of Kala Academy happened. The building is described as an apex body to develop music, dance, drama, fine art, folk art, literature, etc., and thereby promote the cultural unit of the state of Goa.

The site is located along the banks of the river Mandovi in the city of Campal, Panaji. This place is a mixed-use land with a military hospital, cricket ground, and a park around them. Being located in a beautiful riverfront view which habitats the fishermen to catch fish and relax themselves no wonder the site made Charles Correa excite. However, he designed it in such a way as to avoid any discomfort for the people living in that habitat.

Also, read Salk Institute – A Louis Kahn Masterpiece

Planning of Kala Academy

The planning provides the space for exhibition halls auditorium, open-air theatre, lounges, cafeteria, meeting rooms, teaching rooms, black box, rehearsal rooms, and the admin block. The main building, service building, Muktangan, parking area, and exhibition space are divisions of the site. While the ground floor is being used for the public, the first floor carries the academic and administrative activities. With four entries the building had a well-defined pedestrian which never fails to surprise the people walking on the site.

The small gates in the entrances and the beautiful open space on one side with a lawn made the place even more public. The façade of the building which reminds us of the Villa of Savoye had a beautiful pergola that plays with the light and shadow, especially during the day. The entrances are open even at midnight so that the people can come here at any time to enjoy the environment.

Design of Spaces

More than just designing the spaces he just orchestrated it. That is how it should be told. The connection to the indoor spaces with the outdoor spaces just makes the people have a different experience. The poet Ranjit Hoskote once told about the building that “Let us not forget the laterite that forms its key medium – it articulates the flesh and blood of Goa’s architecture, it comes from the soi of Goa, from the soul of Goa.” There is no doubt that he told us the truth.

Also, read Habib University- Design A Learning Community

Plaza & Art Gallery at Kala Academy

As the main theme of the building is to exhibit the arts belonging to the people of Goa, the main entrance directs us to the spacious plaza which itself is an art. The murals on the walls of the plaza which get mixed with the natural lighting confuse the people as if they were in a street of some other place. The confusingly interesting pattern continues even through the staircase leading to the first floor.

Art Gallery

The art gallery is the place to exhibit the art made by the people of Goa. The wall that carries those arts runs throughout the area for 30m with a height of 1.5m. All four sides are used to exhibit the arts. Spotlighting is used in the gallery with low intensity but pointing all over the wall.

Also, read Aranya Art Center

Dinanath Mangeshkar Kala Mandir (Auditorium) at Kala Academy

The auditorium was named after the great Goa-born singer Dinanath Mangeshkar. The murals of the plaza also continue to the auditorium creating an illusion of balconies where the people sit and enjoy the shows resembling old Goan theatres. Charles Correa approached Maria Miranda who is a great cartoonist to draw the murals of the auditorium which required acoustic extrusions in the drawings. The auditorium has a seating capacity of 1000 seats with a stage opening of 9.6m covering an overall area of 1300sq.m. The height of each raking rises to 10-20cm.

Open-Air Theatre

The open-air theatre happened to be on the east side of the site. Where the stage has a ceiling that is extended from the first floor of the building. With a seating capacity of 2000 (without chairs) the main open-air theatre forms the shape of a double herringbone. It connects to the east road on one side and the main lobby and the cafeteria on the other two sides. The lower seat rises by 30cm with a tread width of 100cm while the higher seat rises up to 45cm. When the seats block the noise from the road, the stage blocks the noise from the riverfront.

Mini Open-Air Theatre at Kala Academy

The mini open-air theatre stays on the north side of the building which can accommodate 300 people. However, with the farthest height of 6m, the open-air theatre is square in shape and covers an area of 56.25sq.m.

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Other Spaces

With other spaces like the black box, preview theatre, library, cafeteria, teaching studio, and the administration offices. Also, the Kala Academy has become the first preference for the people to conduct any International Film Festivals in Goa.

Another important feature is the jetty at the backside of the riverfront connecting the river to the academy. With a beautiful view just like in the movies, the jetty was the entry for the celebrities visiting the International Film Festival. After creating beautiful sceneries and being a favorite love spot for the people visiting the great Kala Academy the function of the jetty came to an end recently due to corrosion.

Being a part of the culture and art of Goa and being art itself. The government decided to break down a part of the structure which is the open-air theatre. After many reviews and reconsiderations, they agreed not to be demolished and also agreed to repair it. This is a building where the habituate of the people overpowers the design instead of the vice versa. By creating wonderful memories and promoting cultural significance the building always stands unique.

Also, read The Center for Development Studies, Trivandrum – A Laurie Baker Masterpiece

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The Open Plan of Conviviality: Kala Akademi, Goa, designed by Charles Correa

• August 12, 2019

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Every place has a program. Homes are shaped around the rhythms of movement and rest we call daily life. Playgrounds are empty so they may be filled by the energy and action of sport. But places can also transcend their conventional programs. They can be much more than the common noun- house, school, post office- that describes (and usually, circumscribes) them. While fulfilling their mandated program, they may also play a role that transcends the common sense of common nouns. This transcendence may be thought of as a core responsibility in some kind of places. For instance, one expects museums, theatres and other such spaces, devoted as they are to joining private utterance to the public, to also become sites of dialogue, and loci of engagement for different players in the city. Sadly, very few places devoted to the arts do that in India. One way in which the majority fail (and a minority succeeds) to transcend their mundane program is through architecture. Part of the successful minority is Kala Akademi, designed by Charles Correa and sited along the river Mandovi in Panjim. The architecture of this artplace (my catch- all term referring to spaces like theatres, museums, and art galleries) is the main source of its potential for transcending the narrow institutional program common to Indian artplaces.

A small confession is in place here. I awoke to the real significance of Kala Akademi’s architectural achievement rather late. Of course, the boldness of its approach was instantly evident when I visited it from Mumbai, where I then lived, in the course of research for a book on the architecture of artplaces in India. Though sprawling wide in comparison with other engaging artplaces like Prithvi Theatre, Mumbai, I had found it a place that was easy to soak into. Less a building than a public space roofed by a building, it extended an expansive invitation without lapsing into self-serious monumentality. In fact, there was none of what one tends to associate with the term ‘architecture’. Kala Akademi’s drama lay in its enterable, traversable space, not in sculptural, impenetrable, form. But it was only after I moved to Goa, and began visiting Kala Akademi more regularly, that I began to understand the real nature of its architectural achievement. Three years down the line, it is clear to me that the architecture of Kala Akademi has nudged it towards becoming much more than just another multi-arts complex. I have seen art shows, performances, and films there, of course. But more importantly, I have often chosen to go there, like many others, just for the pleasure of being with a sprinkling of other people in a stimulating public place. Kala Akademi is that scarce resource, a generous and truly convivial space right in the bustle of a small city.

Now that it is there, it appears almost natural that an artplace should be the riverside veranda for a city like Panjim. But, look around anywhere in the country and you realize how rare such a place is. The institutional culture of cultural institutions in India is a fascinating object of study, as of gnashing of teeth and wringing of hands. In a moment of frustration, but without compromising our national taste for hyperbole, one may say that the worst aspects of our culture and our institutions seem to come together when we play the two words together.

To put it gently, museums (may their tribe increase), theatres (may their tribe improve), art galleries and multi-art complexes in India are remarkably blasé about winning the affection of the very people who they are built for. Put equally gently, it appears as if the existential stance of the majority of artplaces in India is: I exist, therefore my job is done. This deft (if dubious) conflation of ‘being’ and ‘becoming’ finds two expressions that form the ends of a spectrum. The ‘mature’ expression of this philosophy leads to artplaces that take a transactional view of their programme and of their duty towards artists and rasikas: buy the tickets here, that way to the exhibit (or performance), go round the corner to search for the toilets, once you are done, leave, do not loiter (or litter). Sorry, no food, except for fifteen minutes during the ‘interval’.

The other kind of artplace builds on the self-congratulation implicit in the conviction that merely existing is the same as doing your job well. Such an artplace is often snooty, or at least dismissive of all kinds of low-life that throngs to enjoy the goodies of culture it offers. It is devoted to upholding the prestige of culture and also to protecting it from the grubby paws of all those who want a piece of it.

Artplace architecture often offers an eager mirror to these institutional attitudes. Thus the Gallery of Contemporary Art at the Government Museum, Chennai is simply non- committal in its expression. The bare box of a building neither invites you in nor does the default design of the exhibits try to hold your interest. It simply stands there, offering neither a space to linger at its entrance nor any visual pleasure to arrest your flight. Like an employee warming his seat enough so a paycheck lands at his table, the building seeks to fulfill its program by merely existing.

The architecture of more elite spaces like National Centre for the Performing Arts is more purposively directed. Built in the 1980s, it seeks to invoke the fading prestige of an abstract Western modernism by offering ‘pure form’- that is, elegant building blocks that have the minimum differentiation, do not appear very penetrable, and therefore actively refuse us any purchase on their meaning. By opening each of the four main buildings on campus in different directions (and on to three different roads), it also ensures (probably unwittingly) that visitors to each facility never encounter those coming for another one. By looking over the heads of visitors and by disabling contact and solidarity among them, it succeeds in keeping them peripheral to the life of the institution, at bay even, in more ways than one.

Rare is the Indian artplace like Prithvi Theatre, Mumbai, that actively reaches out, says ‘come in’, and lets you decide how you want to have a good time. Ivan Illich, implacable critic of institutional culture, has a nice term for the Prithvi kind of institution (De- schooling Society, Pelican Books 1976). He calls it a ‘convivial’ institution, as opposed to another kind that he calls the ‘manipulative’ institution. The difference between these two types, again occupying two ends of a spectrum, is fundamentally about the sense of control and choice given to the user. Convivial institutions, as Illich characterizes them, are basically open in programme within realistic limits. Sidewalks, small bakeries, telephone networks are the examples he invokes. People use them voluntarily. They need neither aggressive advertisement nor force (the way manipulative institutions, like schools do) for people to want to use them. More importantly, convivial institutions involve users in activity rather than reducing them to passive consumers. Not surprisingly therefore, they empower users and help them grow in personal terms. The question then is, what kind of architecture would be supportive of the agenda of conviviality?

The design of Kala Akademi’s public spaces provides some answers. The foundational act of design at Kala Akademi is that of opening up. The architecture of Kala Akademi clears the ground, literally, letting the gaze (and moving feet) sweep clean through from the pavement outside to the river beyond. In principle, this place says it is open to the city. No architectural sign of exclusion- apart from the gate which is kept generously wide and low- is visible from the footpath to discourage us from entering. Indeed quite the opposite. This is a building without a plinth, walls and doors with which to keep the world at bay. The ground simply runs in into the shaded heart of the building and out to the open beyond of the garden and promenade by the river. The building extends a notional porch to the pavement, made suggestively grand by a pergola at the roof level of the first floor. This suggestion of a dramatically welcoming civic ‘porch’ (and not some impenetrable sculptural mass) is the big architectural gesture of the building in the direction of the city.

The gesture is apt, since the Kala Akademi building is fundamentally a pavilion (or unattached porch), where the upper floors housing the academic and administrative spaces form a continuous roof over a sprawling and unenclosed public space at the ground level. A pavilion transcends enclosure, and thereby also the paranoia (and schizophrenia?) of the closed building box. In abjuring walls, it also transcends the strict enforcement of any limited program of use, leaving the dweller of the moment to fashion it anew each time. I have seen films, performances (including my son’s school’s ‘annual day’ programme in the huge open air theatre), and art exhibitions at Kala Akademi. I have also been in a small reading group that appropriated different spaces in the campus for its weekly meetings. And I have watched my son turn the seat-clusters sprinkled across the covered plaza into play-sculptures that may be climbed, jumped off, peeped through, and slid across with a forever incomplete hug. At all times, I have learnt to be amazed at the way the static seat clusters become dynamic people sculptures as bodies perch, nestle and depart.

Openness of space does not itself guarantee an open program. The absence of walls and of enclosure can itself be repressive, as at Le Corbusier’s Capitol Complex at Chandigarh, where we find ourselves cast adrift. Places need to have discernible shape and structure. The fragile body- forever breaking out into sweat- needs shelter, seat, and yes, food. The eye likes to make sense of every place, and know what time it is ‘outside’. Most of all however, in a place like Kala Akademi, every one of us hopes for some contact with unknown others. What is the city, and every public place within it, if not a mechanism for putting strangers in touch with each other?

By sheltering an uninterrupted space, Kala Akademi reveals that space can be fruitfully left open in either direction, vertical or horizontal. Where the typical comforting courtyard (an example of vertical openness) gathers a space together towards an inveigled centre, the horizontal freedom of Kala Akademi’s covered plaza prompts us to move away and out towards the gardens, the river and other sun-dappled spaces around. There is no single centre that the architecture sacralises on the ground, and no sense of any agent of the power to say ‘no’ waiting to jump out from behind some wall. Instead, there is a multiplicity of centers in the gridded spread of columns as well as the casual scatter of seat-clusters configured to be minor sculptural presences. These seats are an unusual kindness towards the tiring body, hanging around for the show to start, or restart. Or just plain hanging around with no particular productive end in mind.

When a public space is open in (and to) many senses, and also kind to the body (and being) can urbanity be very far? The canteen (deep inside by the rear garden, but visible very early on through the penetrable covered plaza of the foyer) offers other kindnesses. A beautiful view, breeze from the river, an inside-outside ambiguity (inside because covered, outside because of the breeze, and the dogs and crows who stand by patiently), loose chairs to allow different group-sizes, and food for cheap. The canteen- the only one I have seen that actually begs to be called a café- is where the action is, some action or the other. The late William Whyte, social scientist and student of what makes public spaces tick across the world, put it very simply. People, attract other people, he said. And people come to a place that is kind and hospitable to them. They then bring along other people, and make a place buzz, which in turn makes even more people want to come there. And so on.

A matrix of spatial hospitability encourages people to bring a space like Kala Akademi alive. It invites them to invest their imagination and time to do things within its space that the most creative institutional programmer may never catalyse. These small practices of conversation, argument, dream-selling, solo rehearsal, etc. are the cultural foundations upon which the formal artistic efforts being shaped in the academic spaces on the upper floors (or being presented professionally behind the auditorium walls) will stand or fall. But being inevitably conducted under the radar of the official gaze, these practices- lubricated effectively by cheap, good tea and snacks- populate the fringes of institutional acceptability. They can swing from being ‘simply irrelevant’ to ‘avoidable nuisances’ to ‘possibly subversive’. According to a new and prominently displayed notice, it is no longer legit to use the Kala Akademi canteen for any other purposes than ‘availing of snacks and refreshments’: no unauthorized meetings, no business to be discussed, no nothing, period.

Petition to save Kala Academy

Architecture cannot cure social ills. But it can push for health. This is one government run building that just cannot be locked up, except at its gates as they do during the International Film Festival of India every year. Kala Akademi also shows how much ground architecture can claim for conviviality. Traditions of institutional management, can still win of course. Sometime ago, during a recreational visit to the place, I was amazed to find the large main toilet block locked. Enquiry revealed that an administrative order had decreed that this hitherto taken-for granted-facility would only be kept open while a performance was underway in either the main Dinanath Mangeshkar auditorium or the Black Box. I would have to use the much smaller toilet placed outside the building by the parking lot. I was glad it was not raining. Of course, it probably made perfect sense from many different angles. Except that it went directly against the very welcome writ large over the 80,000 square feet or so of space outside that comparatively small, even if generously red tiled toilet block. The contest for conviviality is on at this artplace (as it always is, everywhere). Watch that space.

The article was first published in Art Connect, Volume 2, Number 2, July- December 2008. Published by India Foundation for the Arts, Bangalore.

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Kala Academy (Charles Correa Now) Kala Academy, India

Kala Academy is a cultural centre located on along the Mandovi River in the Capital of Goa on over 10,500 sqm of land. It offers facilities for artists. The site include a 2000-seat open-air amphitheatre; a 1000 seat auditorium; meeting rooms; classrooms; lounges; rehearsal rooms; a cafeteria; and a block of administrative offices. The ground floor is dedicated to the public and the first floor to academics and administration.

Now an iconic landmark, Kala Academy has hosted writers, artists, filmmakers, media and even politicians for various events ranging from film festivals to classical music concerts.

During a visit to her House, Monika Correa told me how the project came into being. "It was during Pratap Singh Rane's(1) time, and he was interested in Indian music. He knew that Goa had very nice Indian musicians like Lata Mangeshkar's (2) father, etc., and that it had excellent western musicians. So he felt the need for an academy in the city. That's why it was called Kala Academy." Kala Academy became a site of confluence between Eastern and Western culture.

Monika Correa also mentioned that Kala Academy was Charles Correa's first attempt to design a performing arts centre, narrating the story of its design process; "What bothered him (Charles) was the acoustics. He met a professor from MIT who was going to Bali via Bombay for Buckminster Fuller(3). Charles went to him and told him about this project and asked if he was interested. He also told him that he wouldn't be able to afford his fees. Bob (the professor) said, 'Charles, for you, I would do it for free!' The next day he came over, and the chief minister was thrilled. He received a big welcome with a brass dia (lamp) as a gift." 

Acoustics dictated the shape of the Kala academy. The professor suggested using acoustic panels in the auditorium to absorb sound in a shape lent itself to the balconies. Later, Correa asked Mario Miranda (4) to paint them. They also added a false ceiling painted by Bhiwandker, the Mumbai- based artists who did the Cidade de Goa . "They painted it as a forest, so when the lights went off, some lights stayed on at the door and ceiling," she adds.

Correa worked closely with Bhiwandker on the artwork. According to Monika Correa, "Charles had spent a lot of time on them. So in Cidade de Goa, in the earlier paintings, Charles sat with him and had asked "do this softer here". Later, when they did the restoration, they invited him again, but Charles was no longer there to oversee. Hence the results came out differently."

Since 2019 the building has been embroiled in one of the most significant controversies related to the conservation of buildings in India. The Arts and Culture Minister of Goa at the time announced it would be demolished and rebuilt. That initiated a widespread public campaign and subsequent litigation. Very recently, as I am writing this on July 11th, 2021, the Goan government informed the court that they will not demolish "any structures in the Kala Academy complex, including the open-air auditorium, but they will undertake structural repairs, and even renovation works for the preservation of the complex."

Talking about the changes in building over time, Monika Correa said that the false ceiling, which was painted like a forest, was removed after its renovation in 2004, "It was for the first film festival, they had to change the acoustics to deal with film and not just music, so they had to change the false ceiling, and the forest was gone. Which in Goa happens often, the forests are gone."

- Nipun Prabhakar , 2021

1) Pratapsingh Raoji Rane is an Indian politician who has served as the Chief Minister of Goa six times. He has been a Member of Legislative Assembly, Goa for over 50 years. (VIAF: http://viaf.org/viaf/36357622 )

2) Lata Mangeshkar (28 September 1929-6 February 2022) was one of India's best known singers, as well as a composer and philanthropist. (VIAF: http://viaf.org/viaf/15578255).

3) R. Buckminster Fuller (1895-1983) was an American architect, systems theorist, author, designer, inventor, critic of work and futurist. (VIAF: http://viaf.org/viaf/36898370 )

4) Mario Miranda (2 May 1926 – 11 December 2011) was a painter and cartoonist based in Goa. (VIAF: http://viaf.org/viaf/79213055 )

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4.1 Quantitative Data Analysis and result:

The purpose of this chapter is to demonstrate the results of the data analysis

that was gathered through literature review and live case studies.

4.2 Live case study:

To understand the relationship between a museum and an academy

4.2.1 Live Case Study-1:

Kala Academy

Location : Goa

Architect : Charles Correa

Building Type : Institution

Site Area : 6.3acres

Site Gradient : Gentle Slope

Situated at Campal, Panaji along the banks of river Mandovi. The area

has mixed land use with a military hospital across the road, and a cricket

ground and a park on either side.

Regular buses connecting Panaji and the academy are available.

Dabolim airport, 35 km.

Nearest railway station is Madgao, 53 km.

It is the venue of international film festival of India. The Goa kala

academy established in 1969 is the prime institution for promotion of

art and culture in Goa. It is a vibrant representation of the culture and

art of the people of Goa this is expressed in the staggering amount and

variety of cultural programmes held in its premises.

The site is flat, except for a gentle slope at the river edge .the

total site area comes to around 6.3 acres.

There are four entries to the site. Boat jetty provided on the river side.

The coverage is about 40% the pedestrian and vehicular systems are

well defined. The active area includes the cafeteria, the garden and the

Figure 4.2.1.a

amphitheatre. The site is divided into main building service building,

muktangan, parking area, the exhibition space.

Figure 4.2.1.b

Figure 4.2.1.c

Figure 4.2.1.d

Figure 4.2.1.e

Figure 4.2.1.f

Building -style & character:

* Kala academy building has been designed by ar. Charles correa. He has

given prime importance to the process of moving through the spaces in

a building.

* The built form has been kept low ranging from one to three floors.

* This is further enhanced by the use of parapet walls for upper floors,

which emphasize horizontally.

* The 'pergola 'above the entrance, which acts as an extension to the

foyer of the main auditorium and amphitheatre.

* Use of wafer slabs and parapet walls are special feature of the

* Extensive use of specially designed seating.

* The interior walls are painted with pictures mostly depicting

konkanise culture and create illusion.

* The building acts as a tunnel between the city and the river.

Building Level Zoning:

* The building is divided into three zones:

1- public, 2-adminisration, and 3-academic

* They are provided at different levels so as to avoid conflict between

these zones

Figure 4.2.1.g

Figure 4.2.1.h

Figure 4.2.1.i

Figure 4.2.1.j

* The ground floor includes facilities like auditorium, Preview Theater,

amphitheatre, art gallery, and canteen etc, where public entry is invited

* The first and second floors include academic and administration

facilities.

*There are three groups of people using the building:

Staff, students, audience

* The circulation has been linked to the zoning and has been segregated

by separating them through levels - ground floor for audience functions

and first and second floor for staff and students with a necessary degree

of inter linking.

Figure 4.2.1.k

Figure 4.2.1.l

Facilities Provided:

1) D.M Kalamandir

3) Mini OAT

4) Black Box

5) Rehearsal Room

6) Art Gallery

7) Meeting Room

8) Guest Room

9) Preview Theatre

10) Cafeteria

11) Library

12) Teaching Studio

13) Green Room

14) Kitchen

15) Administration

16) Reception

D.m Kala Mandir (A. C Auditorium)

Seating capacity - 1000

Stage opening - 9.6 m

Area - 1300 sq.m

Orchestra pit- 7.2 x 2.1 m

* The auditorium allows a variety of acoustical conditions ranging from

speech, plays to sitar recitals and orchestral arrangements

*The changes are made by manipulating absorbent materials placed

within inner compartments hidden from view above this ceiling.

* The walls of the auditorium are painted illusions of an old goan theatre,

* Behind the figures in the boxes real curtains may be pulled to reduce

reverberation time in space.

* The stage is 80cm high from the first row.

* The raking height varies from 10-20 cm.

Figure 4.2.1.m

Figure 4.2.1.n

Mini open air theatre:

* The mini oat seats 300 people.

* It is mainly used as an outdoor classroom and meeting space however

small performances are also held here.

* The oat has a tread of 85cm and a rise of 45 cm. the steep risers give it

excellent sightlines.

* The farthest seat is 6m away and no amplication required.

* Two aisles run along either end. The width is 120cm and

* The steps have 15cm risers and 28 cm treads.

* The stage is square is shape and has an area of 7.5 x 7.5 m

Open air amphitheatre:

Seating capacity (no chair) - 2000

Seating capacity (chair) - 1312

Proscenium opening - 15m

Depth from curtain line- 12m

* The amphitheatre is of double herringbone shape.

* There is entry from road main lobby and the restaurant area.

* The stage is raised at 75cm above the ground floor level

(eye level of the first row)

* Two seating rakes provided. The lower seats have a rise of 30 cm and

tread of 100 cm while higher ones have a rise of 45 cm giving adequate

Figure 4.2.1.o.i

Figure 4.2.1.o.ii

Figure 4.2.1.o.iii

Figure 4.2.1.p.i

Figure 4.2.1.p.ii

sight lines.

* Acoustics are good as the seats block out noise from the road side and

the stage blocks out noise from the river side.

* The seating capacity is 200. Area - 175 sq.m

* It is used for experimental productions, music concerts, meetings and

amateur performances.

* It can be used as a recording studio.

* A control room and a green room provided.

* A black box lobby is also provided.

Administration:

Administrative area is on the first floor. The area divided into closed and

open cabinets total area comes to around 500 sq.m.

Figure 4.2.1.q

Figure 4.2.1.r

Figure 4.2.1.s

Figure 4.2.1.t

Preview Theatre:

* Capacity of 24.

* Used during iffi for special screening. Has got a jury room and

projector room attached.

* Particle board has been used for acoustical effect.

Art gallery:

* Running wall space - 30 x 1.50 mts approx

* Carpet area of gallery - 90sq.mts approx.

* When exhibitions are not happening painting of children are

* The exhibits are displayed on the wall on four sides.

* Lighting features are very normal no facility to hold a good exhibition.

*A track is provided on all the walls, where the hook is given for hanging

the paintings.

* The paintings are hanged on the hook, it may not look nice in the

context of exhibition but its looks simple as the building context

* Cove lightings are provided for the gallery the focusing of the light can

be adjusted but it does not serve the purpose of focusing any painting.

* Since the intensity of the light is less, the light is spread on the wall.

Figure 4.2.1.u

Figure 4.2.1.v

Figure 4.2.1.w

Other Facilities:

Library - 135 sq.m

* Library is in proximity with mini oat.

* Books are raked in glass shelves

Cafeteria - 100 capacity

* Square table are provided each with 4 seats

* 3 sides open in to the outdoor landscape

* It is accessible from all theatre meeting room - 45 sq.m

*C area of the room 7.30 x 6.15 sq.mts

* Room has one big table and six chairs

Guest room - 53 sq.m

* Room with two beds with attached bath and geyser

and furniture

Teaching studio:

* All the music studios are of the same size 3.3 x 2.6 meters.

* Central air conditioning is provided for all class rooms.

* Acoustically treated classrooms with the same type of padding

Figure 4.2.1.x

Figure 4.2.1.y

Figure 4.2.1.z

Figure 4.2.1.aa

provided for the walls and ceilings.

* Three walls are faced with linen material and glass wool, the rest is

paneled with wood particle board

* The service buildings (ac plant and generator room) are provided on the

western corner of the site no way disrupting the normal functioning of

the building.

* Two separate service entries have been provided. One to the generator

room and the other on the eastern corner of the site.

* The eastern entry caters to the need of the amphitheatre and the

Figure 4.2.1.ab

Figure 4.2.1.ac

Figure 4.2.1.ad

Figure 4.2.1.ae

Figure 4.2.1.af

Figure 4.2.1.ag

Figure 4.2.1.ah

* A loading deck has also been provided here

* The septic tank is provided underneath the garden.

Parking Facilities:

*Parking facilities is provided on the south-eastern side.

*Nearly 250 public parking are provided.

*Special VIP and staff parking provided.

*The beautiful lawns form the main part of the site. Trees Are provided

aptly at the front side of the building.

*Specially designed benches and lamp posts line the path Along the

river side.

* The layout and the building zoning provided are Excellent has brought

in a different overall treatment.

* Good acoustical treatment

* The flow of spaces has resulted in a good built-open relationship.

* Good use of site features has successfully made the public spaces

interesting by use of sculptures, paintings, seatings etc.

* The cafeteria is the most active space with good view to the river.

* Vehicular and pedestrian ways properly defined.

* Service blocks are separated

* Security measures provided are minimum.

* Signage provided is minimum.

Figure 4.2.1.ai

Figure 4.2.1.aj

Figure 4.2.1.ak

Figure 4.2.1.al

Figure 4.2.1.am

* The trees have to some extent blocked the view to the river

* Public spaces too large.

Area Statement:

1. D.M Kalamandir :1300sq.m

a,Total Seating :977

b,Proscenium Stage Opening :9.6Mts

c,Expandable :11.4Mts

d,Proscenium Height :4.5Mts e,Depth

From Curtain Line :12.6Mts

f,Appearance Stage Depth :2.7Mts

g,Orchestra Pit :7.2 X 2.1Mts

h,Stage Height From First Row :.8Mts

2. Open Air Auditorium :1750Sqm

a,Seating (Chair) :1312 nos

b,Seating (no Chair) :2000

c,Proscenium Opening :15Mts

d,Appearance Stage Depth :2.7Mts

3. Mini Theater (Open Air) :340sq.m

a,Seating (Chair) :215 nos

b,Seating (No Chair) :300 nos

c,Tread :.85Mts

d,Riser :.45Mts

e,Aisle Width :1.2Mts

f,Steps (Tread) :.28Mts

g,Steps (Riser) :.15Mts

h,Stage :7.5 X 7.5Mts

I,Farthest Seat :6Mts

4. Black Box :175sqm

a,Seating (Chair) :150 nos

b,Seating (no chair) :200 nos

5. Preview Theatre :45sqm

a,Capacity :24 nos

6. Administration :500sqm

7. Rehearsal Hall :150sqm

a,Seating (chair) :100 nos

b,seating (No Chair) :200 nos

8. Meeting Room :7.3 X 6.15sqm

9. Library :135sqm

10. Cafeteria :450sqm

11. Guest Room :53sqm

12. Art Gallery :150sqm

a,Running Wall Space :48 X 1.5Mts

b,Mobile Display :4.2 X 1.5Mts (3nos)

13. Class Room :8.6sqm

a,Vocal Class Room :1.1sqm/Student

b,Instrumental Class Room :1.8sqm/Student

14. Car Parking :2000sqm

Kala Upasana Music and Dance Academy VID . M.A

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KALA ACADEMY GOA’S COLLEGE OF THEATRE

KALA ACADEMY GOA – The premiere institute acting in the

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Kala Academy: The Latest Architecture and News

New petition aims to save charles correa's kala academy from demolition.

A new petition has been started to save Charles Correa 's Kala Academy from demolition by the State Government in India . The project has become one of the only government-run arts institution with a diverse set of cultural offerings across Western and Indian programming. As Goa’s cultural center, the late 1970's structure is a rare example of an equitable public building in India.

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Charles Correa Foundation

Education and Research in Human Settlements

Save Kala Academy

Click the image below to watch CCF’s press-conference and presentation held on Saturday, 14 May on the restoration of Kala Academy.

For information about Kala Academy, including coverage that has arisen around its proposed demolition and renovation, click the image below.

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2 thoughts on “ Save Kala Academy ”

its our heritage, by demolishing we are disrespecting correa sir

Disrespect of a person? No, a personal attack is not what it is. Kala Academy is a concept and the architecture includes, even defines the purpose and inspiration of the Academy. That a world renowned architect of Goa conceived the design is itself a part, inseparable, of the institution. These many dimensions need to be considered when disturbing the structure, even for maintenance and upkeep. To say Charles Correa was a routine designer engaged only to develop a structure, to obtain a TCP approval, is to deny the purposecand the character of the Academy.

This is why architects and artists who are committed to this icon of Panaji city need to be associated. Routine maintenance, however competent, is sure to destroy the unity of its many aspects

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