The backdrop: The rebuilding of the new theatre was on the site of the older amphitheater, built in 1994 by Ar. Kirtee Shah and the new acoustic wall by the firm Abhikram in 2017.  Critical to our new intervention was the adjacency of a small library built in 1963 by Ar. BV Doshi and the Darpana building built in 1968 by Ar. A.P Kanvinde used currently as a dance school. The edge to the river front road along the site was built out as a retaining structure by HCP Ahmedabad to house the Mrinalini Sarabhai Gallery in line with the acoustic wall. An intentional gap between the two elements along the river edge opened up possibilities for us to re- establish the lost connection to the river.

Architectural strategy: The proximity of the existing modern era buildings in exposed brick and concrete as well as the new acoustic wall inspired the warp and weft of the new theatre. The architecture sought to express continuity with the older materials through the use of exposed lime bricks recycled from the debris of the demolished older structures including the library that was in state of disrepair.

While design attempts continued to integrate the library, Mallika Sarabhai's decision to remove and recycle the old structure was met with support by Doshi who said, "How wonderful to learn, build and live in a historical recycled space. This should be seen, heard and experienced by everyone. Perhaps this will awaken their souls."

Fanning out the existing layout increased the theatre capacity. The natural contour provided the necessary depth below the cascading tiers to house the green rooms and utilities including the infrastructure for air circulation and cooling. The cross section of the tiered theatre culminates at the stage with its huge water harvesting tank below and the towering scale of the acoustical wall as its backdrop.

Juxtaposed with the solidity of the brick mass around, the curved metal cable stayed catwalk hovers high over the seating space expressing a nimble lightness. The metal work defines its own purpose of making, to provide the necessary flexibility for new age performances and state of the art lighting and sound. This tension between contracting elements defines its own idiom as a performance space. The scale of the entry and the back wall close to the Darpana building is modulated to adequately enclose the theatre.

The earthy seating tiers are expressed through the use of traditional china mosaic using terracota coloured ceramic tiles, interspearsed with the dark charcoal grey of the lime plastered walls. These two colours have been emblematic of the older Natarani as well. The grey of the exposed concrete copings and edges is extended through the grey pebblecrete in high wear thresholds and stepped edges. All metalwork is charcoal black which essentially gets negated at night, during performances. The physicality and scale of the theatre reverses dramatically at night with enhanced lighting and a sharp central spatial focus. The stage is built with a hard wood assembly flooring while the entrance plaza is defined by rough grey kota stone slabs that unites the semiopen and open areas of adjacent buildings which use similar materials.