EASTERN CRAFT CENTER
SAHERA SHAKYA
(BARCH/072/37)
BACHELOR OF ARCHITECTURE
DEPARTMENT OF ARCHITECTURE
I.O.E. PURWANCHAL CAMPUS
TRIBHUWAN UNIVERSITY
AUGUST 16, 2021
EASTERN CRAFT CENTER
SAHERA SHAKYA
(BARCH/072/37)
A THESIS SUBMITTED TO TRIBHUWAN UNIVERSITY IN PARTIAL FULFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
BAHCELOR OF ARCHITECTURE.
DEPARTMENT OF ARCHITECTURE, I.O.E. PURWANCHAL CAMPUS,
TRIBHUWAN UNIVERSITY
AUGUST 16, 2021
ii
DECLARATION
The thesis entitled “Eastern Craft Center” is conducted under the supervision of Ar. Sanjaya
Maharjan.
I declare that the information reported in the current paper is the result of my own
work, except where due to reference is made. This dissertation has not been previously
accepted in substance for any degree and is not being concurrently submitted in candidature
for any degree.
I hereby give consent for my dissertation, if accepted, to be available for any kind of
reproducing and understand that any reference to or quotation from my thesis will receive
an Acknowledgement.
Sahera shakya
B.Arch/072/37
IOE, Purwanchal Campus
iii
ACKNOWLEDGEMENTS
I would like to express my sincere gratitude towards Department of Architecture, IOE,
Purwanchal Campus, for giving me such a valuable learning opportunity.
I would like to acknowledge and give warmest thanks to my supervisor Ar. Sanjaya
Maharjan, for helpful suggestions that have helped me make better decisions and who made
this work possible. I am thankful for his valued guidance and ever positive attitude towards
me for this project. The contents of this proposal have been resourceful with the help of
many researchers who had done researches on the relevant topic.
Finally, I would like to give special thanks to my family as a whole for their continuous
support and understanding and my appreciation goes to my friends and all the people who
helped me directly and indirectly in the topic selection, site visits and preparation of this
thesis proposal. Also, I would like to express my special appreciation to the artists and a
related personnel’s who helped and gratefully provided information and guidance in the
process of case studies
Sahera shakya
(072/BAE/037)
vi
ABSTRACT
Crafts use indigenous modes of production, traditional skills and techniques. History shows
that the very basic day to day activities and surroundings constituted the element of
handmade, including objects and dwellings. Craftsmanship was an indigenous response to
their daily needs. It was a reflection of their region, materials, joys and festivals. Such
objects were a direct expression of man's creativity and were not bound to time or any
specification.
Eastern craft center is specially created to promote and provide continuity to the art and
culture. It is a platform for artists to interact and express their creativity. The art and craft
centers have direct/ indirect positive effects on the community. It acts as a communal hub
for people who focus on creative arts to express their visions and ideas with others of same
or different field. The core concept of Eastern Craft Centre is to develop art and craft
practices in Eastern Nepal.
Many people had started making crafts as an occupation. But in the current scenario there
is decline in interest among the youth to learn such skills. As even if one is interested in this
field, there are no any certain spaces to learn such skills. So, Eastern Craft Centre aims to
provide certain spaces for training and learning process. This centre includes different zones
in which activities are accommodated- promotional zone, administrative zone, educational
zone etc.
Nepal has unique arts and crafts. But in terms of craft education, Our country laggs behind.
There is no interaction between art and public, lack of infrastructure and programes. So the
project is an approach to develop interaction between art and public with functional and
creative architectural spaces.
vii
TABLE OF CONTENTS
Page
Declaration
iii
Acknowledgement
vi
Abstract
vii
List of Tables
ix
List of Figures
xiii
viii
TABLE OF CONTENT
1. INTRODUCTION ....................................................................................................................... 1
2. PROJECT INTRODUCTION ...................................................................................................... 2
2.1 BACKGROUND .................................................................................................................... 3
3. THE SIGNIFICANCE OF THE STUDY ..................................................................................... 4
4. JUSTIFICATION OF THE PROJECT ......................................................................................... 4
5. OBJECTIVES OF THE PROJECT ............................................................................................. 10
6. DEFINITION OF TERMS .......................................................................................................... 10
7. SCOPE OF THE STUDY ........................................................................................................... 11
8. METHODOLOGY ..................................................................................................................... 12
9. LITERATURE REVIEW ............................................................................................................ 13
9.1. CRAFTS .............................................................................................................................. 13
9.2. THE RELATION BETWEEN CRAFT, ART AND MANUFACTURE ........................... 13
9.3. EARLY HISTORY............................................................................................................. 14
9.4. NEPALESE HANDICRAFTS ............................................................................................ 14
9.5. ARTS AND CRAFTS CENTRE ......................................................................................... 15
9.5.1. IMPORTANCE OF A CRAFT CENTER ................................................................... 15
9.5.2. ROLE OF CRAFTS IN DIFFERENT ASPECTS ....................................................... 16
9.6. DESIGN DETERMINANT FOR CRAFTS CENTER ....................................................... 17
9.6.1. GENERAL CONSIDERATION ................................................................................. 17
9.6.2. GENERAL REQUIREMENT OF STUDIOS ........................................................... 20
9.6.3. WORKSHOP ............................................................................................................... 21
9.6.4. LIBRARY .................................................................................................................... 23
9.6.5. ADMINISTRATION SECTION ................................................................................. 25
9.6.6. DISPLAY SPACES ..................................................................................................... 26
9.6.7. REST ROOM ............................................................................................................... 30
ix
9.6.8. LIGHTING IN GALLERY ......................................................................................... 30
9.6.9. CAFETERIA ............................................................................................................... 34
9.6.10. DORMITORY ........................................................................................................... 35
9.7. CLIMATIC INFLUENCES ................................................................................................ 37
9.8. STUDY OF DIFFERENT FORMS OF CRAFT WORKS ................................................. 39
9.8.1. METAL HANDICRAFTS ........................................................................................... 39
9.8.2. WOOD CARVING ...................................................................................................... 41
9.8.3. STONE CARVING ..................................................................................................... 42
9.8.4. TEXTILE HANDICRAFTS ........................................................................................ 43
9.8.5. NEPALI PAPER HANDICRAFT ............................................................................... 44
10. CASE STUDIES ....................................................................................................................... 46
10.1. HANDICRAFT WORKSHOPS ........................................................................................ 46
10.1.1. WOOD CARVING INDUSTRY............................................................................... 46
10.1.2. MAHA BUDDHA HANDICRAFT .......................................................................... 49
10.1.3. NEPAL DHALOUT UDHOG ................................................................................... 51
10.1.4. ARANIKO STONE CARVERS ................................................................................ 52
10.1.5. GYANU STONE CARVING, PATAN..................................................................... 53
10.2. HANDICRAFT DESIGN AND DEVELOPMENT CENTER ......................................... 54
10.3. NEPAL ART COUNCIL ................................................................................................... 55
10.4. BABARMAHAL REVISITED ......................................................................................... 56
10.5. SIDDHARTHA ART GALLERY..................................................................................... 59
10.6. INTERNATIONAL CASE STUDY ................................................................................. 60
10.6.1. NEHRU MEMORIAL PAVILION ........................................................................... 60
10.6.2. NATIONAL HANDICRAFTS AND HANDLOOMS MUSEUM ........................... 62
10.6.3. OLD CAIRO ARTS AND CRAFTS CENTER ........................................................ 64
10.6.4.NATIONAL SANSKRITI KENDRA ....................................................................... 67
10.6.5. CARPENTER CENTRE FOR VISUAL ARTS ........................................................ 73
x
10.7. COMPARATIVE ANALYSIS OF WORKSHOPS .......................................................... 77
10.8. COMPARATIVE ANALYSIS OF GALLERY SPACES ................................................ 77
11. SITE ANALYSIS ...................................................................................................................... 78
11.1. SITE AND CONTEXT STUDY - ABOUT DHARAN .................................................... 78
11.1.1. PHYSICAL FEATURES ........................................................................................... 81
11.1.2. GEOLOGY AND SOIL CONDITIONS ................................................................... 81
11.1.3. HYDROLOGY AND DRAINAGE.......................................................................... 81
11.1.4. VEGETATION ......................................................................................................... 81
11.1.5. MACRO AND MICRO CLIMATE ......................................................................... 81
11.1.6 SERVICES.................................................................................................................. 82
11.1.7 ACCESS AND SITE APPROACHES ....................................................................... 82
11.2. LAND USE AND SETTLEMENT PATTERN ................................................................ 83
11.3. SITE SURROUNDINGS .................................................................................................. 84
11.3.1.SOCIO-CULTURAL ASPECTS ................................................................................ 85
11.3.2. BYE LAWS ............................................................................................................... 86
11.4. SITE JUSTIFICATION ..................................................................................................... 86
11.5. SWOT ANALYSIS ........................................................................................................... 87
12. PROGRAME FORMULATION ............................................................................................... 88
13. CONCEPT DEVELOPMENT .................................................................................................. 95
13.1 CONCEPT .......................................................................................................................... 96
13.2 SITE APPROACH- CONCEPT ......................................................................................... 97
13.3 ZONING ............................................................................................................................. 98
13.4 DESIGN DEVELOPMENT ............................................................................................... 99
13.5 FORM DEVELOPMENT ................................................................................................ 101
14. SERVICES .............................................................................................................................. 103
15. CONCLUSION ....................................................................................................................... 107
BIBLIOGRAPHY ......................................................................................................................... 108
xi
LIST OF FIGURES
FIGURE 1- FUNCTIONAL REQUIREMENT OF TYPICAL WORKSHOP ............................................................ 20
FIGURE 2- PROCESS OF WOOD WORK ...................................................................................................... 22
FIGURE3-FUNCTIONAL DIAGRAM OF MEDIUM SIZE LIBRARY .................................................................. 24
FIGURE 4- TYPICAL AREA FOR GROUP STUDY ......................................................................................... 24
FIGURE 5- BASIC OFFICES FURNISHINGS ................................................................................................. 25
FIGURE 6- DETAIL STUDY OF GALLERY SPACE ........................................................................................ 26
FIGURE 7- VIEWING DISTANCE FOR LARGER OBJECT .............................................................................. 27
FIGURE 8- POSSIBLE GALLERY ARRANGEMENT ...................................................................................... 28
FIGURE 9- DIFFERENT WAY OF DIVIDING EXHIBITION SPACE (JOSHEP DE CHIARA) ................................. 29
FIGURE 10- REST ROOM
......................................................................................................................... 30
FIGURE 11- METHODS OF NATURAL LIGHTING........................................................................................ 31
FIGURE 12- MINIMAL SEATING ............................................................................................................... 35
FIGURE 13- PARALLEL SITTING-1.75M ................................................................................................... 35
FIGURE 14- ACCOMODATION SPACES ..................................................................................................... 35
FIGURE 15- SINGLE ROOM ...................................................................................................................... 36
FIGURE 16- SPLIT DOUBLE ..................................................................................................................... 36
FIGURE 17- DOUBLE ............................................................................................................................... 36
FIGURE 18- TRIPLE ................................................................................................................................. 36
FIGURE 19- FOUR OCCUPANT ROOM ....................................................................................................... 37
FIGURE 20- CLIMATIC INFLUENCES ........................................................................................................ 38
FIGURE 21- INDIVIDUAL WORK AREA ..................................................................................................... 47
FIGURE 22- GROUND FLOOR ................................................................................................................... 48
FIGURE 23- SHOWROOM ......................................................................................................................... 48
FIGURE 24- WORKING AREA ................................................................................................................... 48
FIGURE 25- FLOOR PLAN ........................................................................................................................ 49
FIGURE 29- GROUND FLOOR PLAN .......................................................................................................... 51
FIGURE 26- FURNANCE .......................................................................................................................... 51
FIGURE 27- SHOWROOM ......................................................................................................................... 51
FIGURE 28- WORKING AREA ................................................................................................................... 51
FIGURE 30- STONE WORKING AREA ........................................................................................................ 53
FIGURE 31- COMPUTER LAB ................................................................................................................... 54
FIGURE 32- OFFICE ROOM ...................................................................................................................... 54
FIGURE 33- SECTION .............................................................................................................................. 54
FIGURE 34- GALLERY SPACES AND LIGHTING ......................................................................................... 55
FIGURE 35- FLOOR PLAN OF NAC ............................................................................................................ 55
FIGURE 36- BABARMAHAL REVISITED THEN ........................................................................................... 56
FIGURE 37- FLOOR PLAN AND BUBBLE DIAGRAM PLANNING .................................................................. 57
FIGURE 38- MUGHAL MAHAK ................................................................................................................. 57
FIGURE 39- HANUMAN CHOWK .............................................................................................................. 57
FIGURE 40- NEWAR HYBRID ................................................................................................................... 57
xii
FIGURE 41- MULCHOWK
........................................................................................................................ 58
FIGURE 42- SHOPS AND RESTAURANT WITH NARROW LANES INTERCONNECTED COURTYARD ................ 58
FIGURE 43- MANDALA USED AS INSPIRATION IN PAVILLION ................................................................... 60
FIGURE 44- EXTERIOR VIEW ................................................................................................................... 61
FIGURE 45- SECTION OF PAVILLION ........................................................................................................ 61
FIGURE 46- GROUND FLOOR PLAN .......................................................................................................... 61
FIGURE 47- ROOF PLAN .......................................................................................................................... 61
FIGURE 48- INTERIOR VIEW .................................................................................................................... 61
FIGURE 49- DISPLAYING OF TERRACOTTA FIGURES ................................................................................ 62
FIGURE 50- OLD CARIO ART AND CRAFT CENTRE ................................................................................... 66
FIGURE 51- MASTER PLAN OF KENDRA ................................................................................................... 67
FIGURE 52- FLOOR PLANS OF STUDIOS ................................................................................................... 69
FIGURE 53- OUTDOOR SPACE OF STUDIO ................................................................................................ 70
FIGURE 54- SEMIOPEN AND CLOSED DISPLAY ......................................................................................... 71
FIGURE 55- MUSEUM OF EVERYDAY ART ............................................................................................... 71
FIGURE 56- RAMP THROUGH WORKSHOPS .............................................................................................. 76
FIGURE 57- EXTERIOR VIEW OF CARPENTER'S CENTER ........................................................................... 76
FIGURE 58- PILOTIS WITH PARKING ........................................................................................................ 76
FIGURE 59- MAP OF DHARAN ................................................................................................................. 79
FIGURE 60- LOCAL ARTS AND CRAFTS IN DHARAN ................................................................................. 79
FIGURE 61- LOCATION MAP .................................................................................................................... 80
FIGURE 62- MAP OF BIJAYPUR HILL ........................................................................................................ 80
FIGURE 63- PROPOSED SITE, BIJAYPUR ................................................................................................... 80
FIGURE 64- SITE CONTEXT ..................................................................................................................... 83
FIGURE 65- CHAUTARI ........................................................................................................................... 84
FIGURE 66- GANESH TEMPLE.................................................................................................................. 84
FIGURE 67- SETTLEMENT ....................................................................................................................... 84
FIGURE 68- SANSKRIT CAMPUS .............................................................................................................. 84
FIGURE 69- NORTH-SOUTH CROSS SECTION ............................................................................................ 84
FIGURE 70- FIGURE- EAST-WEST CROSS SECTION ................................................................................... 84
FIGURE 71- NORTH VIEW FROM SITE ...................................................................................................... 84
FIGURE 72- PANAROMIC VIEW OF SITE ................................................................................................... 84
FIGURE 73- PINDESWORI TEMPLE ........................................................................................................... 85
FIGURE 74- BUDASUBBA TEMPLE ........................................................................................................... 85
FIGURE 75- DANTAKALI TEMPLE ............................................................................................................ 85
FIGURE 76- PANCHAKANYA TEMPLE ...................................................................................................... 85
xiii
1. INTRODUCTION
Arts and crafts comprise a whole host of activities and hobbies that are related to making
things with one's own hands and skill. These can be sub-divided into handicrafts or
"traditional crafts" (doing things the old way) and the rest. The specific name Arts and
Crafts movement was also given to a design movement of the late 19th and early 20th
century, whose proponents included William Morris and Edwin Lutyens. They believed
that medieval craftsmen achieved a joy in the excellence of their work, which they strove
to emulate.
Most crafts require a combination of skill and talent, but they can also be learnt on a more
basic level by virtually anyone. Many Community centres and schools run evening or
day classes and workshops offering to teach basic craft skills in a short period of time.
The term craft also refers to the products of artistic production or creation that require a
high degree of tacit knowledge, are highly technical, require specialized equipment and/or
facilities to produce, involve manual labor are accessible to the general public and are
constructed from materials with histories that exceed the boundaries of western art
history, such as ceramics, textiles, metal and wood. These products are produced within a
specific community of practice and while they differ from the products produced within
the communities of art and design, the boundaries of such often overlap resulting in hybrid
objects.
Art and Craft are inter-related in many aspects. They are a form of expression of ideas and
solutions through items they create. Different items that craftsmen have made, during their
civilization has brought a masterpiece and stated about the period of their times. Nepal is
a country with diversified cultures, art and traditions. It is because of these cultures and
tradition Nepal is known to the world today. These diversified cultures and traditions are
reflected on the art and crafts of the country, which not only specifies the identity but
has become one of the most important financial gains of the country. As stated in
Wikipedia (2010) Handicraft is known as craftwork or simple craft is a type of work where
useful and decorative devices are made completely by hand or by using only simple tools.
Usually the term is applied to traditional means of making goods. They are usually labour
intensive specialized skills and uses indigenous raw materials and resources.
1
2. PROJECT INTRODUCTION
Eastern Region is located at the eastern end of the country with headquarters at
Dhankuta. It is also known as Kirati region. It is composed of three zones which are
Sagarmatha, Mechi and Koshi Zones. Eastern region has its own significance of arts and
crafts. It includes many districts in which different craft works are practiced and are
famous all over the country. The use of bamboo is throughout the country, from making
household items to house itself; Nanglo, a flat and circular bamboo tray for winnowing;
doko, a bamboo basket to transport goods are some popular products widely used
throughout Nepal. Not just it, during ancient time, Kirantis of eastern Nepal used to keep
the letter in bamboo cases itself. Bhojpur District of eastern Nepal is renowned for the
famous khukuris of the Gurkhas. The Taksar tole of this district is home to many metal
craft shops whose principal products are bronze karuwas (water bearing vessels with
narrow spouts), panas (lamp stands) and other similar utensils and items related to
household and religious use. Traditional Dhaka products mostly woven by indigenous
Rai and Limbu people are famous as it has unique patterns in it. Eastern altitude consist
of abundant number of Lokta trees and hence lokta paper crafts are also famous among
it.
The project started with a simple thought to protect and preserve the arts and crafts that I have
been engaging in it as my family occupation. The culture of making arts and crafts has been
continuing through generations and generations but in the present stage people are unknown
about such works. The art of making traditional works are decreasing and in some years it
may get extinct. In Eastern region there are different forms of arts and crafts but due to lack
of exposure such works are not known. So with the idea to preserve and promote the eastern
arts and crafts this project and research are made.
"Eastern Craft's Centre" is a center for craft education dedicated to helping people live
creative lives. Craft's centre is a center or institute specialized in knowledge transfer in a
working environment and learning by doing. Nepalese arts and crafts are very unique and
it has a very nice scope in improving financial condition of our country and developing
tourism through crafts. The people studying in the centre not only learns and works about
the crafts but also get the opportunity to show their works. So, learning, working and
exhibiting will be the integral function of the centre. Mainly, the centre will cover different
fields of craft activities such as Metal crafts, Stone crafts, Handloom weaving and Nepali
Paper Products etc.
2
2.1 BACKGROUND
Handicrafts have been a valuable part of Nepalese heritage. They express the great tradition
and proud culture of this great Himalayan kingdom. Their origin can be traced back
to the Stone Age when human beings were devoid of tools of any kind. The history of
articles of everyday use may be as old as the history of man living in Nepal itself. But
the history of 'artistic handicrafts' probably can be traced only since the 5 th century A.D.
When
one
looks
back
to
the
Nepalese
handicrafts
design, material, tools
craftsmanship and product development he\she finds them as old as the human civilization.
According to Bal Chandra Sharma, "Nepalese people used to produce handicrafts
goods usually in volume with more or less standard quality, may legends are there for
evidence that almost all the Nepalese were been engaged in crafts works than in
agriculture. And crafts and commerce were in flourishing stage than agriculture during
'Kiratee' period".
The historical development of Nepalese craft and cottage industry, though very old, is full
of ups and down. A reference is found in Kautilya’s Economics about various
production and export from Nepal. During the time of Chandra Gupta Mouriya in forth
century there was considerable trade in blanket of wool, Nepal was mentioned as a
source of good blankets. It was rainproof blanket made of eight pieces joined together of
black color known as “bhiringisi” as well as “apasaraka”. In the same way it was
mentioned in the epics of Jain religion “Brihatakalpasutra Vhashya” that good quality of
woolen blanket were available in Nepal.
Various famous Chinese travellers
(Wangunshe and Huansang 648 A.D.) had highly appreciated many skills of Nepalese
craftsmen and artisans in travelogues. Right from the very beginning up to the mid
nineteenth century the rulers of the country to promote national industries a nd trade did
adopt various measures of production, promotion and encouragement. To save national
industries, only those commodities were imported which were not produced locally.
Production of various handicrafts and their use in the society has been an integral part of
Nepal‘s rural life. Agricultural and other tools (khukuri, Kuto Kodali, Halo, Chulesi etc),
rugs and blankets (Radi Pakhi), Bhangro (Hemp cloth) and Wickerwork (Gundri, Doko,
Namlo etc) have always been the part of rural life. In the same way, hand made paper,
3
handloom cloth, woolen knitwear and rugs have their own historical background
that cannot be confined to a specific era. In Lichhavi period, development of artistic
handicraft reached its height in various form of metal/wood/stone craft . The Thangka,
which is believed to be Tibetan origin, was also developed as Pauva from Nepal.
After 1951, when Nepal opened its door to foreigners, such craft products meant for
domestic market also noticed the possibility of exporting to countries in Europe, USA and
other Asian countries.
3. THE SIGNIFICANCE OF THE STUDY
Understanding skills of crafts with an aim of acquiring it's knowledge. To uplift and
promote their lifestyle through their skills. Although Nepal boasts of a rich civilization and
culture we have not been able to fully catch its potential and develop it into an income
generating source. We possess artists renowned in the world for their craft but still they
lack a formal way of training and a platform for information dissemination / publicity of
their skills. We have not been able to uplift Nepal and provide even basic requirements for
our people. This study helps in providing space to showcase their skills and promoting
creative works.
The Eastern region of Nepal lacks the platform for craftsmen to showcase their skills. If not
preserved and promoted it may be in the verge of extinction. Skills and talents are not given
much importance than higher education. So Eastern Craft's Centre aims of giving education,
promotion and platform to those who have skills and talents and pursuing their career on
creative works.
4. JUSTIFICATION OF THE PROJECT
According to Handicraft Association of Nepal (HAN), Nepalese handicrafts cover 42
groups of products out of which, metal craft (statue and utensil), pashmina products,
paubha (thanka), silver and gold jewellery, stone carving, wood craft, bags and accessories,
basketry products, filigree products, handmade paper products, handloom products,
ceramics, decorative items, leather products, horn and bone products, macramé (knot
crafts), religious goods, crazy/fancy hats, ethnic dolls, paintings, giftware, ethnic costumes,
hand knitwear, incense, natural buttons made of small tree branch, stone, bone and horn,
natural fiber products (apparel and non- apparel products made of hemp and allo),
puzzles and toys etc. are the major ones.
4
Present status of Handicraft (source: FHAN)
Nepalese handicraft is not curio any more. Although produced in households, some
handicraft products have taken the shape of small industry.
Population census 2001 indicates that Nepal has a population of craft workers to the tune
of 1 million. And the above table shows that the involvement of people in eastern region is
quite high whereas Morang district consists of 4.25% of craftworkers, 3.12% in Sunsari,
2.85% in Jhapa, 1.03% in Ilam, 1% in Udayapur, with 0.14% in Solukhumbhu and so on.
The participation of people is in the increasing rate but they aren't getting the platform to
show case their skills.
5
Eastern Dev. Region
There are different handicraft association established in different districts of Nepal. District
Handicraft Association of Jhapa and Sankhuwasabha are the two association in Eastern
region and there are different commodity association.
•
Volume of business / export
Handicraft export from Nepal is to the tune of 2.75 billion Nepalese rupees. Although there
is not any survey on local sales of handicrafts, on the basis of discussion with peoples
engaged in this sector, their sale is estimated to at 4.12 billion rupees. Thus, total business
of handicraft is estimated to at 6.87 billion rupees.
•
Revenue to Government – Import, Export, Income Tax
Handicraft business contributes to national revenue from various ways. Tariff for
imported raw materials, fees paid for Custom clearance and income tax from profit
generated by numerous enterprises are the major forms of revenue from handicraft sector.
Furthermore, enterprise registration and renewal also contribute to national revenue.
•
Working environment
As most of the handicraft production is done in household scale, the working condition is
not ideal. In urban areas, space at household scale is felt inadequate to expand
production.
•
Handicraft industry’s problems
Due to lower scale of economy, handicraft industry faces the problem of low productivity,
high cost of production, inconsistent quality and inadequate volume of production. Each
product has their own specific problems too. Absence of proper infrastructure has been
major problem in the areas of production, processing and marketing of handicraft goods.
6
•
Contribution to GDP
Handicraft sector contributes around 1% to the national GDP.
•
Contribution in the employment
Handicraft sector contributes around 9% in the total employment of the country.
Moreover, it has been a solid base for self employment.
The participation of women are mostly seen in the handicraft sector. Most of the women
are involved in woolen cloth weaving where the percent is 28 and is the highest. 14
percent women entrepreneurs are involved in paper making and its production i.e. Nepali
paper made from "allo" a forest raw materials, husk etc., 11 percent each, are involved in
jewellery, knot crafting and Dhaka weaving whereas 8 percent are involved in wood carving.
Craft industry is taking a developing route which must be preserved for its sustainability.
As said earlier a good designed environment is provided for creation, workshop, exhibition
and presentation. It employees and trains the people living in a society which in turn will
also promote the national craft and tourism to the world.
Table : Inventory of handicrafts and national income
SN
Export
Amt(NRs)
2042557
%
S.N
1
Non-Textile
Products
Bamboo Products
Export
Amt(NRs)
814426
%
1
Textile
Products
Allo Goods
0.18
2.
Crystal Products
4582502
0.40
2.
Dhaka Products
1610735
0.17
3.
Stone Crafts
5235045
0.46
3.
8868347
0.91
Thanka(Paubha)
5862994
0.51
4.
Misc. Textile
products
Hemp Products
4.
11346891
1.16
5.
Beads Items
6327248
0.56
5.
Silk Products
57729245
5.93
6.
Plastic Items
8713223
0.77
6.
Cotton Goods
71925124
7.38
7.
8.
Leather Goods
Inscence
8759971
13528076
0.77
1.19
7.
8.
229730809
256149678
23.58
26.29
9.
Ceramica Products
20436205
1.79
9.
Felt Products
Pashmina
products
Woolen Goods
336136114
34.50
10.
Bone and Horn
Products
29938245
2.63
11.
12.
Misc. Goods
Glass Products
37524204
39687124
3.29
3.49
13.
14.
Wood Craft
Handmade Paper
46722183
208467525
4.10
18.31
15.
16.
Silver Product
Metal Craft
Total
247640851
453328131
1138792300
21.75
39.81
100.00
Total
974311369.5
100.00
Table : Inventory of crafts and indigenous skills/trade
7
0.08
SN
IPs' Groups
Indigenous Skills/Trade Inventory
1. Eastern Mountain and hilly
Economic Purpose
1.
Kulung
∆ Rokchoki ‘allo-related products’
∆ Bamboo products
∆ Gift items (made by orchid ‘Sunakhari’)
∆ Rokchokhi ‘allo-related
products’
2.
Lhomi
3.
Lohorung
4.
Sherpa
∆ Den-takken ‘local carpet production’
∆ Local bamboo products
∆ Wooden crafts and utensils
∆ Allo Che ‘cloth-making\
∆ Varieties of carpet by local materials
like grasses
∆ Cultural attire making (thread spinning)
∆ Bamboo products
∆ Carpet products of local wool
∆ Bamboo products
5.
Topkegola
∆ Den-takken ‘local carpet
production’
∆ Local bamboo products
∆ Allo Che ‘cloth-making’
∆ Varieties of carpet by
local materials like
grasses
∆ Bamboo products
∆ Carpet products of local wool
∆ Bamboo products
∆ Radhi and Thumsi ‘local
carpet of local wool’
6.
Walung
7.
Yamphu
∆ Radhi and Thumsi ‘local carpet of local
wool’
∆ Bamboo products
∆ Kamlo/Liu ‘local carpet of local wool’
∆ Chyog chyi‘local carpentry’
∆ Shompa ‘local stockings made by males’
∆ Tangka painting
∆ Bamboo products
∆ Kamlo/Liu ‘local carpet of
local wool’
∆ Chyog chyi‘local carpentry’
∆ Bamboo products
∆ Traditional cloth making
8.
Thudam
∆ Kamlo/Liu ‘local carpet of local wool’
∆ Chyogchyi ‘local carpentry’
10.
11.
12.
13.
Lepcha
KirantiYakthung
(Limbu)
Kiranti-!ulung
Kiranti-Rodung
Kiranti-Kirawa
KirantiMewahang
Kiranti-Yakkha
∆ Kamlo/Liu ‘local carpet of
local wool’
∆ Shompa ‘local stockings made by
males’
∆ Karbomu ‘metal work’ production
∆ Chyogchyi ‘local carpentry’
∆ Damrapu ‘cloth making’
∆ Lahuk ‘wood work’
production
∆ Lahuk ‘wood work’ production
∆ Khisukwa ‘traditional bag’ production
∆ Damrapu ‘cloth making’
∆ Bamboo products
∆ Khisukwa ‘traditional bag’
production
∆ Champhuri ‘cultural attire’ production
∆ Bamboo products
∆ Bamboo crafts and products
∆ Bamboo crafts and products
∆ Bamboo products
8
2. Eastern Terai
14.
Dhanuk
∆ Dali ‘straw-basket making’
∆ Dali ‘straw-basket making’
15.
Dhimal
∆ Tana ‘looming’
∆ Dungri ‘fish-net’
∆ Bona ‘women’s cultural attire’
∆ Tepana ‘cultural belt for women’
16.
Gangai
∆ Dali ‘straw-basket making’
∆ Tana ‘looming’
∆ Dungri ‘fish-net’
∆ Bona ‘women’s cultural attire’
∆ Tepana ‘cultural belt for women’
∆ Dali ‘straw-basket making’
17.
Jhãgad/
Dhagar
∆ Pitri ‘mattress made up of local fibre’
∆ Dauda ‘basket mad
e up of local reed’
∆ Chauki-Jalli-Pahi-Jalli ‘fish net made up of
18.
Kewat
∆ Baskets and carpets by local straw and
19.
Kisan
∆ Clay pottery
∆ Taripatta ‘handicraft’s products
20.
∆ Bhakra ‘local jute carpet’
∆ Petani ‘cloth making’
∆ Jauli ‘local back’ production
∆ Bhakra ‘local jute carpet’
∆ Petani ‘cloth making’
∆ Jauli ‘local back’ production
21.
Koch
(Rajbamsi)
Kumal
∆ Pottery
∆ Pottery
22.
Kumhar
∆ Baskets and carpets by local straw and
∆ Baskets and carpets by local straw
and grasses
23.
Mallaha
∆ Fishing, boating, fishing net making
∆ Fishing, boating, fishing net
making
24.
Meche
∆ Dokhna-Aronai 'local handloom'
∆ Dokhna-Aronai 'local handloom'
25.
Munda
26.
Rajbamsi
27.
Satar/ Santhal
∆ Local handloom
∆ Baskets and carpets by straw and
grasses
∆ Bhakra ‘local jute carpet’
∆ Petani ‘cloth making’
∆ Jauli ‘local bag’ production
∆ Taripatta ‘handicraft products
28.
Tajpuriya
∆ Local handloom
∆ Baskets and carpets by straw and
grasses
∆ Bhakra ‘local jute carpet’
∆ Petani ‘cloth making’
∆ Jauli ‘local bag’ production
∆ Clay pottery
∆ Taripatta ‘handicraft products
∆ Dhakra ‘local jute carpet making’
Source- Adapted from Rapacha and Thulung Rai 2013: 19-23
9
∆ Pitri ‘mattress made up of local
fibre’
∆ Dauda ‘basket made up of local
reed’
∆ Chauki-Jalli-Pahi-Jalli ‘fish net
made up of
thread’,
∆ Baskets and carpets by local straw
and grasses
∆ Taripatta ‘handicraft’s products
∆ Dhakra ‘local jute carpet making’
Furthermore, the table shows that many of the indigenous peoples living in Eastern region
have similar types of indigenous skills. For example, many of the indigenous groups,
especially in the eastern region, have skills and knowledge of making varieties of bamboo
products/goods. Similarly, woolen carpets, local handloom, cultural attire production,
carpets made up of local materials including grasses and straw, wooden crafts and many
more types of skills are common among many of the indigenous peoples.
5. OBJECTIVES OF THE PROJECT
•
To provide space for training halls, workshops and exhibitions, for exchange of their
views and ideas and create a new attraction for tourist.
•
To promote, preserve and give exposure of their skills and strengthen local crafts of
nearby region
6. DEFINITION OF TERMS
Key words- Craft, Craft's centre- Educational and promotional
Nepalese Handicraft refers different types of products such as Pashmina, Woolen,
Cotton, Silk, Dhaka, Silver Jewellery, Metal Craft, Handmade Paper Product, Wood Craft,
Bamboo products, stone crafts etc" which represents cultural and religious history of
Nepal". The purpose of exporting Nepalese Handicraft in foreign countries is
to uplift
socioeconomic life standard of people which creates self employment, employment
opportunities and reduce poverty through making awareness in city and remote areas of
Nepal".
Crafts centre is a place, typically having one or more workshops, an exhibition gallery and
a shop, where tourists may watch local craftsmen at work and buy examples of their
craft. Promoting handicraft tourism isn’t just about displaying and selling the handicraft
products in tourist areas. It is about allowing tourists to actually understand the skill and
craft behind it and appreciate Nepal’s unique traditions. Thus, when it comes to handicraft
tourism, linking tourists to the artisans to help them understand and appreciate the art is
important.
10
7. SCOPE OF THE STUDY
The project basically comprises of Crafts which are contextual to Eastern part of
Nepal. Nepal is diversified nation and so is its crafts industry. Thus all of the crafts is
impossible to be accommodated in a single complex. Thus taking this into account, crafts
such as :
a. Wood Craft
b. Stone Craft
c. Metal Craft
d. Handloom weaving and
e. Nepali paper crafts has been attempted to be accommodated.
Eastern Crafts Centre includes
A. Administration : overall management and supervision of activities
B. Research and training hall: knowledge sharing, advancement
C. Workshop: demo rooms on prototype designs
D. Craft gallery: craft display, exhibitions
E. Exhibit, Sales and promotion: showrooms, shops
F. Supporting units: To manage the complex an administrative body is required.
G. Facilities and recreation: Such as restaurants, parking and rest rooms.
Scope and limitation of the project
•
The culture of craft making can be preserved and promoted.
•
The study is limited to eastern part of nepal only.
•
The study only includes the crafts that are more prevalent in eastern region- stone,
metal, wood, dhaka weaving and paper products.
•
Literature review are listed on the basis of above craft activities and services.
11
8. METHODOLOGY
The process includes the project, case study of the similar projects within the country/abroad
or building situation, questioner (with craftmen) and design program formulation.
Primary and secondary data collection
Following points will be considered in primary data collection:
•
Case studies of similar prototype structures and related structures.
•
Questionery survey
•
Spaces communicating with the visitors.
•
Architectural expression and functional needs of craft centre.
•
Effect of light, colour, material, idea and any extra ordinary form of art.
•
Visit proposed site
For secondary data, following points will be included:
•
Books on Architectural Spaces and senses
•
Books about Architecture lighting
•
Time Saver Standards and neufert standard
•
Various websites
•
Other relevant books will also be studied as the study progresses.
The methodology for the study of the project can be broadly classified under analysis,
evaluation and synthesis process. The process is,
1. Literature Review
2. Case Study
3. Program Formulation
4. Preliminary Design
5. Analysis of Program
6.
Final design
12
9. LITERATURE REVIEW
9.1. CRAFTS
The word 'Craft' comes from the 'strength' or 'skill' derived from the Old English word Craeft
which means- skill in planning, making and executing or an occupation or trade requiring
skill.
•
Craft is characterized by a certain type of making, in which objects are created by hand with
the skilled use of tools. Craftsmanship has also been characterized by David Pye as the '
Workmanship of risk', as the quality of result is not predetermined but depends on the
judgment, dexterity and care which the maker exercised as he works.
•
Craft is characterized by certain kinds of products which involves the new creation of
essentially functional objects.
•
It is a kind of specific medium that is always identified with a material and technologies
invented to manipulate it.
Every civilization has developed their own crafts and the term can be applied to numerous
aspects of each of them. Within the scope of this project the term is applied only to handcrafts but it should be understood that the term is equally applicable to writing and other
forms of expression. Crafts and culture are inter-related. Some specific definitions have
been put forward regarding crafts in particular culture. 'Mingei' is referred to as the Japanese
craft products, which literally means the art of the people, for people, had to be the work of
anonymous craftsmen, produced by hand in quantities, functional in daily life and
representative of the region in which it was produced.
9.2. THE RELATION BETWEEN CRAFT, ART AND MANUFACTURE
Craft is a creative process, described as middle ground between art and mechanized
manufacture. A certain distinctions have been made in between crafts and art. In Europe the
intellectual separation of the two came in the Renaissance, with the idea of artists as a unique
individual with rare talent. Since then fine arts came into certain movement such as the early
Bauhaus that have taught that arts and crafts are same. But some differences were made that
crafts can be distinguished from fine art by the function of the end product. Craft objects
are created for use rather than contemplation, unlike fine arts which is an object for
contemplation only. According to Rose Slivka- Crafts throughout their long history are
considered as fine arts, as when a contemporary craft objects is displayed as art rather than
used. (Donkin, Crafts and Conservation: Synthesis Report for ICCROM, 21 June 2001)
13
9.3. EARLY HISTORY
In the 19th and 20th century industrialization provoked movements which attempted to
revalue and revitalize traditional crafts. The thinking of John Ruskin and Willam Morris,
and the ideals of the Arts and Crafts Movement, inspired artists thorough out the world. In
japan, Yanagi Soetsu and the English potter Bernard Leach sought a return to the beauty of
handmade objects and greater fulfillment of the craftsman in their production. In Hungary
the artist Nagy Sandor set up an artists' colony where members designed and made their
own furniture and a school for local women. These movements often recognized that crafts
were not simply a certain way of making things, but were bound up with the structure,
values, history and identity of the communities in which they are practiced.
9.4. NEPALESE HANDICRAFTS
Nepalese handicrafts have been known all over the world for its rich art and crafts and
oriented architecture for centuries. Each and Every product is unique in itself and reflects
the arts and skill of the craftsmanship. It is cottage scale and home based industry where
traditional techniques and skill have been handed over from generation to generation. They
can depict such art and culture, which are religious in character and symbolic in nature
found in different region of Nepal. Nepalese Handicrafts are classified into Textiles and
Non- textiles products and it can be categorized into:
Traditional/Conventional Handicrafts:
It includes the product such as metal statues, ethnic customs, traditional silver Jewellaries,
wood carving, religious and ritual objects, stone sculpture, metal utensil, Paubha painting,
ceramic, handmade paper, hand knitwear, filigree products and so on.
Contemporary/Modern handicrafts:
It includes home furnishing materials, floor covering, modern painting and pasmina
products, puzzle toys, macrame's (knotted crafts), leather products, gift ware, decorative
items, dolls and puppets, crazy hats, Batik, Bead crafts, bone/horn products, natural buttons
and so on.
14
9.5. ARTS AND CRAFTS CENTRE
An arts and crafts centre is a facility from which products with artistic and/or souvenir value
are made and sold, along with a range of products which emanate from local cultural groups.
Such centre aims to foster and promote the advancement of education of the public in
contemporary visual art, craft and design by developing artistic understanding and
participation in visual art, craft and design and by stimulating and promoting high standards
of visual arts practice, craftsmanship and design and by providing greater access to the arts
and crafts to the public. Crafts and manual arts are a part of inherited heritage for all people
to express their social identity, after the technological advances that these days a lot of
handicrafts had disappeared with its makers and teachers. The idea of centre for arts and
crafts is to revive the traditional crafts and arts to protect it from extinction.
9.5.1. IMPORTANCE OF A CRAFT CENTER
The importance of art and craft in the everyday art of a people cannot be underestimated.
At one time the so-called household art objects were sold as common items in the market
places of the world. They were made for use in daily life and not as art objects to be
displayed in museums. But as the forces of industrialization and modernization emerged
these fine traditional handicrafts, which combined aesthetics with utility and skill, began to
disappear to give place to machine made and mass produced objects. Now most of the
wonderful examples of exquisite arts and crafts have started to disappear and be forgotten.
Only such centres can save these objects and serve as a source of reference for reviving and
improving craftsmanship and design. The collection itself can become the reference library
for the craftsmen. If they are interested and consciously involved in the programmes of the
centre, they can recognize the superior quality of craftsmanship, design and materials and
will strive to achieve this again today.
Moreover, a centre of this type can invite craftsmen to come and demonstrate the various
processes of their craft. This will generate appreciation for labour intensive handicrafts in
the minds of the people. Through such mediums, person's labour, patience, collectively
inherited sensibility and age-old experience can be understood. If these things are seen being
made by the magical fingers of the craftsman, they are better appreciated and this
contributes to preservation and promotion of traditional craft.
15
9.5.2. ROLE OF CRAFTS IN DIFFERENT ASPECTS- Economic process
The specific economic significance of crafts varies between cultures and between types of
crafts. A large number of people derive their livelihood from crafts or use them to produce
essential items for personal consumption. According to United Nations, nearly 90 percent
of all women in developing countries are engaged in some form of artisanal activity
throughout the year. Crafts are actually valued for their contribution to employment and
economic growth. By contributing to the sustainability of rural communities, crafts can help
prevent migration to the urban area.
•
Social dimension
The practicing of crafts plays a significant role in the structure and functioning of society.
Particular clans, tribes or castes may be associated either with artisan work or specific craft
processes, thus giving the practicing as the hereditary aspect. However, the specific crafts
practiced by the particular group doesnot remain static but can change according to time
and availability of labour.
•
Religious dimension
The craft works are practiced in general to possess a religious significance. Crafts, as acts
of creation, may be perceived as a sacred occupation. For example- Pre-Hispanic Maya
civilization considered weaving as a sacred activity, in India crafts were considered a
sacrament rather than a secular trade'. In Nepal also tools are blessed and purified each year
during Dashain festival. This religious element might also have certain control over who
can practice crafts and its various components.
•
Cultural dimension
Crafts also reflect the identity and culture of various groups, whether regional, national, or
ethnic. Craft products are often highly specific to the locality in which they are produced,
partly through the availability of materials and particular needs, as they are expressing their
certain identity.
•
Environment and Space
Crafts particularly rural ones mostly employ local materials which means craftsmen develop
a familiarity with the materials and the resultant products can be repaired with local
resources. In many areas of the world the practicing of crafts is reflected in the structure of
the built environment and the organization of space, both within the house or settlement as
a whole. Rather the space is given meaning by the activity and reflects on its social
significance.
16
9.6. DESIGN DETERMINANT FOR CRAFTS CENTER
Program Components:
1. Administration
2. Workshops, training halls/Studios
3. Exhibition halls/ Gallery
4. Library
5. Accommodation Space- Hostels/ Quarters
6. Shops – sells and Promotion
7. Multipurpose halls
8. Facilities and Recreation- Cafeteria, Parking etc
The general idea behind the production of craft related items is the production, display,
sales. Thus related studies were undertaken to understand these aspects. Various layouts and
working environment were studied thereafter to get knowledge about craft related works.
Following studies were done to understand and review basic design space and consideration
for specific purposes.
1. General Considerations
2. Design of Multifield workspace
3. Display Spaces
9.6.1. GENERAL CONSIDERATION
The following gives guidelines to designing and maintain relation with other activities:
Freedom and Flexibility of Space:
As most of the handicraft production is done in household scale, the working environment
is not ideal. In urban areas, space at household scale is felt inadequate to expand production.
Hence, for ideal working condition - large ventilated rooms, with high ceiling and
transitional areas such as courtyard, or open to sky spaces should be well appreciated in the
studios and work areas. The link between indoor and outdoor space should be maintained
as far as possible.
17
Visual Environments:
Studios must have good amount of natural daylight, with high level windows equal to at
least 25-30% of the floor area. Roof lighting is also preferred. All windows should have
some sort of daylight control. Artificial light comes into use in absence of natural light,
where detail work and displayed images are to be focused. Lighting should be such that
it does not produce any glare, less maintenance, much saving of wall and ceiling space
Buffer Zones:
It is possible that noise producing workspace can affect the other. So buffers can
be created by additions of walls or vegetations. Artist prefers to work in peaceful
environment for better concentrations there should be sound control in the studios. Sound
coming from the road or from both inside and outside the studios can be reduced by creating
the buffer zone. The location of studio should facilitate delivery of supplies. They should
also have an outside door to use when holding classes outdoors and to supply good natural
lighting.
Locating space with respective to activities:
Spaces should be provided according to functional requirement. Work which requires
huge machinery or supply of materials should be placed on the ground floor.
18
Thermal comfort:
A workspace should be thermally, mentally and physically comfortable. Thermal
comforts can be gained by application of passive techniques. It is quite difficult to maintain
the thermal environment in a workspace. As there is frequent opening for supply of raw
materials, heat produced by machine and vibration, heat gain and loss are frequent. Use of
proper ventilation, growing vegetation as shading devices, using double glazing can
be the solutions.
Space interrelation:
Spaces created should be inter-related- studios, gallery, café, outdoor space should be
interesting and inter-related. One cannot sit alone or isolated for longer time, it needs
communication and transition of space. (Shrestha, 2011 January)
19
9.6.2. GENERAL REQUIREMENT OF STUDIOS
•
The workshops for each craftwork are
likely to have sufficient number of
students
to
justify
accommodation. One lecture
usually
separate
hall
is
adequate except for the large
departments.
•
Craft workshops do not need true
north light and since many involve
Figure 1- Functional requirement of typical
workshop
noise in their use. The control of noise
emanating from craft room must be carefully considered in order to prevent disturbance in
other rooms. Various craft rooms are better to be grouped together to facilitate the
concentration and distribution of services.
•
General foundation level studios require floor area of about 50 sq.ft.per person and
height about 3.8m. If really good side light is available, top light may be omitted but when
circumstances permit, some top light should be provided. Sink is another integral part in
any studio and workshop. As an alternative to the sink in the studio itself, it is advantageous
to have a small sink room adjoining the studio and entered from it so that all the water
and untidiness may be kept away from the studio itself.
DETAILED STUDY OF STUDIOS
It is very important to learn about the final product that comes out from the studio. The
character of each studio depends on the final process involved in the studio works. Each
step and process involved in the studio work demand separate consideration while planning
the studio. The planning depends on furniture required for studio work, materials, tools
and also equipments used during the process. Space planning is very much dependent on
these requirements. It gives the idea of the studio area and storage area.
20
9.6.3. WORKSHOP
A workshop is the space for working manually with the help of equipment. It includes three
basic units of accommodation:
•
Workspace area that includes various workspace such as machine room, planning and
designing.
•
Storage area for raw material, finished work, storage space for tools and small,
moveable equipment etc.
•
Services and amenities such as staff room, locker room, washroom etc.
The flow of the spaces should be uninterrupted and carefully arranged. The working
environment should be comfortable with thermal comfort, space and furnitures so that the
users are adaptable. Generally a workspace required to be designed is calculated as per place
area. The calculation is based on common combination of fields of study. Per place work
space calculation for any field of activity will have to take an account on:
•
Individual workspace area plus circulation about the area.
•
The areas for common activities plus the associated circulation area.
•
An area near one of the individual or other workspaces for tools and temporary work
store and an area for workspace.
The space requirements vary as per the type of workshop. The basic requirements are:
•
Storage
•
Workspace
•
Staffroom
•
Other ancillary spaces- toilets, washroom etc.
•
Visual environment- Day light, Glare reduction, proper artificial lights
•
Thermal comfort- Openings as required, double glazed window
•
Noise level- Segregation of spaces
•
Safety- Knowledge about hazards
21
Area coveredFunctions
Area per place in sq.m
Wood working
4.7
Metal working
5.3
Electricity and electronics
3.3
Ceramics
5
Drawing studio
3.5-4.5
Wood workshop :
This workshop requires space and equipment for a variety of general carpentry. Within the
woodworking area, space must be provided for: receiving and storing lumber, using fixed
power equipment‘s, building projects both large and small, using hand tools, finishing, hand
sanding, storing projects, noisy, dusty machines should be separated from the general work
area. Finishing and drying needs a separate dust free space. Hardened concrete floor are
most common in wood workshops. Wood floors offer a softer walking surface and better
acoustics, but they have higher initial cost and greater maintenance. Floors should be
nonslip. Low windows are not desirable, but windows may be provided above door head
height. All glazing should be wire glass or plastic.
Figure 2- Process of wood work
Source- Time Savers Standards for bldg types
22
Metal Workshop:
Processes include designing and construction with sheets, wires and tubes and soldering,
welding and casting. Projects include various forms of jewelry, ornaments, hollow ware,
welded metal sculpture and utensils executed in copper, bronze, silver, tin, lead
and gold.
Hand and power tools are used in the various processes. This is
highly specialized and expensive process that few sculptors are
equipped to do themselves.
•
There should be spacious entry and exit points where raw materials
and finished model works can be transported from one space to the
other.
•
Space division should be done according to the progression of the
work. Such as separate material preparation and modeling space,
separate for drying, separate for working on detailings of models,
separate for washing in sinks and separate for storing.
•
Size of the studio should be larger..
•
Flooring should be resistant to heat and oils and should be non-porous. Terrazzo/ hardened
concrete floor are preferable.
•
Store spaces for models and tools should be provided.
•
Natural North and East lights are preferable.
9.6.4. LIBRARY
A library is a collection for sources, resources, obtain, research purpose and services, and
the structure in which it is housed. The facility is open to public generally. In academic
library reference rooms are provided and counters for loans from the closed stacks and free
access to open shelves of magazines, book or separately presented educational material in
reading rooms. The number of reading place depends on the number of students on the
various subjects. The number of book shelves depends on the type of organisation,
accessibility for users, type of shelving, the system of subject ordering in use and its method
of installation, the separation of different formats and also the structural grid of the building.
The information is arranged in the systematic way, i.e. by subject. The service offered
include inter-library loan as well as photo copying, reading and printing are available.
23
Figure 3-Functional diagram of medium size library
Source: Earnst and peter neufert
Standard workplace: 0.35-0.55 sq. m
Book issue and return: 5 sq. m/person
Information desk: 19-20 sq. m/person
Storage in I 000 volume stacks: 20-30 volumes/meter
Access per person: 4 sq. m
For 1000 volume reference books: 20-40 sq. m
Circulation route: l .2 m
Spaces between shelves: l .3-l .4m
Space, Height and Distance between
the tables
area
centre-line
distance (m)
stacks
1.35
( 1. 20)
1 .44
open-access
shelving
1.40
1.70
enquiry area
and
reading room
1.60
Figure 4- typical area for group study
2.00
24
Aisle width should be wide enough so that the bottom shelves can be adequately lighted,
and two persons can pass each other without too much difficulty. Area required for 10,000
books: 300 m2
Source- Time Saver Building Type
9.6.5. ADMINISTRATION SECTION
The administration space in every institutional premises is the controlling centre. Here the
institutional records are kept and recorded, budgets are established, books are kept. The
planning of administration section should have efficient working practices and good internal
communication.
Staff room- 7.9m2 per person (individual 10m2 minimum)
Additional spaces- Computer- 2m2
-Photocopy- 2m2
File storage- File cabinet- 6-8m2per 1000files
-Box files- 3m2 per 100 files
Chief and other head of sections- 18-30m2
Meeting hall- minimum 30m2 and it should be located on peaceful zone
Photocopy- 8-10m2
Additional space- collecting- 2m, binding-2m2, lamination- 2m2
s
Figure 5- Basic offices furnishings
25
9.6.6. DISPLAY SPACES
Generally, display refers to show or attract attention. Displaying Spaces are a source of
communication. Craft made and displayed are made commutable through these displays
spaces. Exhibit and display area are important in art and craft centers. Display spaces can
be in the form of a Museum, Gallery, showroom, shops and so on.
DETAIL STUDY OF GALLERY SPACE
Gallery is a formal space for displaying various items of art and craft. Spaces provided can
be for permanent, semi-permanent or special exhibits that are held from time to time. Care
should be taken while fixing devices and furniture in walls, floors and ceilings so that
maximum space is left vacant.
Exhibition should be displayed in a way which allows the public to view them without effort.
This calls for a variety of carefully selected, spacious arrangements in rooms of a suitable
shape and especially in galleries in an interesting and logical sequence.
•
The display area should be large and simple. Phones, light switches, thermostats, and other
necessary electric outlets should be placed where they are accessible but do not interfere
with otherwise usable display spaces.
•
The normal angle of vision starts 27° up from eye level. For a standing viewer, well lit
picture should be hung 10m away with the top not more than 4.9m above eye level and the
bottom about 70cm below.
Figure 6- Detail study of Gallery space
26
•
A favourable viewing space is between 30° and 60° up, measured from the middle of the
floor. This means a sill height of 2.13m for pictures and viewing range of 3 – 3.65m for
sculpture.
The mean adult eye-level height is about 5 ft 2 1/4 inch. With little eye movement, people
usually see and recognize with ease things that are within an approximately elliptical cone
of vision, with the apex of the cone at the eye-level height.
•
In general, the adult gallery visitor observes an area only a little over 1 ft above his own eye
level to 3 ft below it at an average viewing distance of 24-48 inch as shown in figure below.
Eye level
1’-0”
3’-0”
•
For some quite large objects, the visitor must be permitted space to back far enough away
from the object to comprehend it without any difficulty.
Figure 7- Viewing distance for larger object
Source: time saver building type
GALLERY ARRANGEMENT
In art galleries there is generally no continuous circular route, just separate wings are
preferred. The flow of visitors is like the flow of water in a stream.
27
•
If the cases are arranged with gently curving lines to take advantage of this pattern of
movement (Fig . b), visitors will find the room more attractive and can progress easily with
the line of the case .
•
Often the arrangements can be staggered (Fig . c) which produces a certain mystery and a
desire on the part of the visitor to peek around corners to see what is next .
•
It is not always necessary to have a wide opening into a hall. Cases that are arranged to
narrow the entrance a bit (Fig . d), so that the hall inside then opens out, provide a certain
amount of interest .
Figure 8- Possible gallery arrangement
source: Time saver building type
28
Circulation pattern
•
A gallery space should have well planned circulation pattern. The entry space should guide
the visitors to the gallery area, so that they are able to survey what is there to see, select a
starting point and moving to it as directly as possible. The circulation pattern should be
continuous and uninterrupted that allow the visitors to move from object to the other, from
one gallery to the other.
•
Dead end should be avoided in the circulation pattern with exhibits mainly on one side or
with windows in one wall only. The visitors may pass along one side and return along the
other wall, if the lighting permits.
• It is human nature that, when visitors enter a gallery he/she tends to turn right, so the
circulation pattern as such should be kept in mind.
• Visitors should be able to move as such that one is not forced to walk past object that has
already seen. There should also be enough space for visitors to move at different speed
so that few viewers can move continuously, while others stop to take a detailed look.
DIFFERENT WAYS OF EXHIBITION PLANS
•
If all same size then the flow becomes monotonous.
•
Monotony can be reduced by varying dimensions and relation between height and width and
by different colours.
•
Monotony also results if number of rooms follows one another in straight line.
•
Position of the doors also plays an important role in planning the room.
•
The door should be placed in such a way that a visitors coming through it will see the full
length of the opposite wall.
•
Shape and size of room should be adapted to the size of exhibits.
•
Overhead lighting allows greater diversity of shape of room.
Figure 9- Different way of dividing exhibition space (Joshep De Chiara)
29
9.6.7. REST ROOM
Sanitary requirement will vary from place to place. The following are the general guide
Gents restroom
WC’s- minimum 3 (up to 50 males), then 1
for each additional 50
Urinals- minimum 3 (up to 50 males), then 1
for each additional 50
Wash basin- minimum 1 for each WC plus for
each urinal
Ladies restroom
WC’s- minimum 9 for 140 ladies
Figure 10- Rest room
Wash basin – 3 for 140 ladies
9.6.8. LIGHTING IN GALLERY
Light has substantial impact on perception of space and upon emotional response of visitors.
Lighting is one of the major planning factors guiding the space quality in a gallery. It is also
a basic element for the expression of a space. There are mainly two lighting options for
gallery lighting and they are:
•
Natural Lighting
•
Artificial Lighting
Proper lighting is essential to the success of museum. Gallery lighting is highly theoretical,
the quality of light is vital. The needs of gallery lighting vary with the function of the space,
type and size of the works and layouts. The type of lighting used for two-dimensional and
three-dimensional objects are different. Proper lighting system is used depending upon the
sensitivity of the material. Also, the gallery lighting has both the physiological and
psychological needs to be fulfilled so it is best to blend both the sources to get desirable and
useful light.
30
Use of Natural light
The level of illumination suggested for different tasks in school are
S.
No.1.
2.
3.
4.
5.
6.
7.
8.
9.
SPACES
classroom & lecture room(desk)
classroom and lecture room ( chalk boards)
laboratories
art room
work shops
libraries
offices
staff room
staircases
ILLUMINATIO
N
300 lux
400 lux
400 lux
600 lux
600 lux
400 lux
450 lux
250 lux
100 lux
METHOD OF NATURAL LIGHTING
Day lighting from top: There are various method of introducing diffuse, low glare lighting
from the roof level, including sky lighting and roof monitors. Roof monitors are popped out
extension of the roof, with vertical glass areas. Large roof monitors often appears to be form
of vertical extension of the ceiling, and can provide dramatic high internal spaces in special
areas. One advantage of roof monitor is that there is less risk of water leakage than with
conventional sky lightings. The daylight easily penetrates the normal 25-30 feet roof level
to first floor level.
SECTION
PLAN
Figure 11- Methods of Natural lighting
31
OTHER TECHNIQUES FOR NATURAL LIGHITNG
Day lighting through wall: The perimeter space of the library can be effectively day lighted
for approximately 20 feet from the exterior wall by using windows and clear facade.
Generally, taller the window, deeper will be the sun control device to provide adequate
shading. Horizontal sunshades located above the eye level easily shade the south-facing
window and create the least obstruction to view and day lighting.
Sun-control at north-facing should not be ignored in hot climate since late afternoon summer
sun will penetrate the north-side spaces from May through July. Simple fixed vertical
elements are adequate to control this type of direct glare. East and west windows are more
difficult to shade since the sun is low in the sky in the morning and afternoons and the angle
of incident sunlight is almost perpendicular to the glass. For this some kind of vertical device
or operable shutter is preferred.
Use of Artificial light
To accommodate changing displays, the lighting design should be flexible. This can
be achieved with track-mounted lights which can be easily adjusted. The quality of light
must be suitable for all objects displayed. Displays can be flat, two dimensional objects on
vertical surfaces, three dimensional objects or display cases.
32
Two dimensional lighting
Steep angles emphasize texture, but may
cause shadows from fame
30 degree angle from vertical is preferred
Shallow angles enhance color, may cause
reflected glare
Framing projector can make objects look
internally illuminated
Adjust light cutoff precisely match
illuminated image
Three Dimensional Lighting:
Light form from different direction can reveal shape and texture. Use directional light (key
light) to add shadows and to express depth and diffuse light (fill light) to add detail in the
shadow. Lighting large objects can cause glare problems. Use ambient diffused light (fill
light) in combination with narrow beam light (key light) for high light.
33
30o angle for small, low objects
High-reflectance pedestal
9.6.9. CAFETERIA
To be able to eat comfortable, one person requires a table area of around 60cm wide and
40cm deep. This provides sufficient clearance between adjacent dinners.
•
Floor ht- 2.5-3m
•
Min walkways- 1.1m
•
80-85 cm 0f width is suitable for a dining table.
•
Round table of 90-120 dia is ideal for 4 people.
Mailnly 3 areas:
dining areas – major area.
kitchen- should be of 50%of the dining area.
storage area-can be of 1.5-2 times of the kitchen.
34
Figure 12- minimal seating
(used in crowded courts or small ones)
Figure 13- Parallel sitting-1.75m
9.6.10. DORMITORY
Dormitory is a building containing a number of private or semi private rooms for
residents, usually with common bathroom facilities and recreation areas.
Accommodation spaces
•
Minimum area-90 sq ft
•
Optimum area-110 sq ft
•
Generous area-120 sq ft
Optimum recommended areas for dormitories i.e there is no overlap of items and use
space, is given belowSingle Rooms- 110sq.ft
Double rooms with bunked- 160sq.ft
Double rooms without bunked beds- 220sq.ft
Figure 14- Accomodation Spaces
35
TYPES OF SPACES
Single rooms
The single room provides controlled privacy for its occupant
with respect to all other occupants. The area of the room
should be more than 120sq.ft.
Figure 15- Single room
Split double room
The split double room consists of two spaces with a
connecting opening. When connected with a door, there is
a degree of acoustic privacy.
Figure 16- Split double
Double room
The double room is the present standard in dormitory
housing, consisting of two spaces. The area of a double
room varies between 145 and 250sq.ft
Figure 17- Double
Triple room
The triple room consists of the three beds and spaces
where this arrangement has been used with movable
furniture, the extra area provided in the single space
has made possible a large number of different space
arrangements.
Figure 18- Triple
36
Four occupant room
There is a slight advantage in that the space is usually large enough to be subdivided by
wardrobes, lightweight partitions, and other elements.
Figure 19- Four occupant room
9.7. CLIMATIC INFLUENCES
•
Building designs for Arts and Crafts Centers should be responsive to regional variations
in climate. This affects not only building orientation and fenestration but also use
of outside space for activities which may be performed in either open or covered
work areas. In mild climate zones, advantage can be made of this factor to increase
the usable amount of work area within the authorized programmed space allowance.
•
With the growing concern for energy resources it is important to begin considering
conservation factors at the early planning stages. For example, in more severe
climates, buildings should be compact to minimize perimeter walls. They should be
oriented to reduce exposure on prevailing weather sides and to reduce heat loss. In
temperate locations, full advantage should be made of overhangs,
setbacks
and
orientation to shade windows and utilize prevailing breezes, thus reducing the need for
mechanical cooling. Covered exterior work areas may be provided in addition to
indoor space.
37
(1) Sever climate dictates compact building
forms
(2) Temperate climate permits the use of natural
ventilation and light
(3) Warm climate permits the maximum use of
covered exterior work areas in addition to indoor
spaces
Figure 20- Climatic influences
Arts and Crafts Centers generate a large amount of activity. They are places
of excitement where creative things happen. Although traffic and noise problems
which result from the operations of the center must be considered in each design
solution, the facilities themselves generally do not disturb their neighborhoods
and therefore need not be isolated. . In fact, the Arts and Crafts Center might
well be part of a larger social/recreational complex which offers numerous leisure
activities in much the same manner that a shopping mall gives it people purchasing
choices. Libraries, theaters, recreation centers and snack bars are all compatible
facilities that might be mutually supportive of a large complex.
Landscaping of Arts and Crafts Centers can not only improve their aesthetlc character
but serve other purposes as well. Landscaping can help create or define outdoor
work areas, direct the flow of traffic, muffle noise and dirt, screen objectionable
views, control sun, wind and rain, reduce glare and conserve energy. Vegetation
adds to the environmental qualities of an area by controlling erosion, sustaining
wildlife, absorbing carbon monoxide and dioxide, and discharging oxygen.
38
9.8. STUDY OF DIFFERENT FORMS OF CRAFT WORKS
9.8.1. METAL HANDICRAFTS
Metal handicrafts is the most ancient art of Nepal and one of the most appreciated works in
Nepal. The metal crafts products include metal statues of popular motifs of Hinduism and
Buddhism and utilitarian utensils. These metal crafts are mostly produced by household
units clustered around the city of Lalitpur (Patan). Caster in Nepal uses the ancient lost wax
method to make metal statues. The craftsmen form Patan has preserved the art of making
statues. The art and skill is transferred hereditary to next generation. But today, many of the
younger ones have not shown interest to these traditions and adopted other jobs. If the same
trends continue the metal crafts of Nepal is in a blink of extension. Sculpting metal statue is
a lengthy procedure that requires great skill. A large piece of metal sculpture can take up to
six months to create and several people need to work on it. Crafting the work by hand is
sometimes exhausting. As recently 1998, the production of metal art was government
controlled in many ways. The secrets of quality Metal sculpturing work were kept restricted
to a few families. Knowledge of the skill was passed down generation to generation and was
guarded from those outside the family circle.
Lost Wax Method
Process of metal statue making using lost wax method is one of the oldest & finest methods
of statue crafting in Nepal. This method of statue making was pass on to them by their
ancestor Shakya clan who have acquire this art during their frequent trade visit to Tibet in
their ancient past.
All of these metal statues and sculptures in a showcase are created by the skillful artist using
the process called Lost Wax Method.
The following is the step by step process of the “Lost Wax Casting”
method. This process normally takes approximately 3 to 4 weeks to
complete a single statue or sculpture. There is a lot of time and labor
involved in each piece, each bronze is hand finished once in wax and then
again in metal. It takes very skilled artists to complete this process.
The stages in this process, which are numerous, commence with the
construction of a model of the desired object in wax.
39
Basic shaping and contouring of wax is achieved by bending the cut portions of wax sheet
over the heat. Then, the craftsman is concerned with the formation of layers of protective
clay, the refractory. The wax model is coated with the mixture
(clay and rice bran) and placed to dry carefully in the sun until
the clay is hardened. A second and third coat is then applied and
likewise carefully dried in the sun.
The mould when completely dried is placed over a gentle charcoal fire on metal grids and
gradually warmed until the wax has melted. Such moulds will then be accumulated until the
day arrives for casting.
Then, on the day of casting, moulds are placed upright so that, the aperture for the metal is
exposed to the top. Then, molten metal poured into the moulds. The moulds occupied by the
metal are allowed to remain in position until it has returned to
solid form. Once the metal has set, is thrust into a container of
cold water. The clay is then removed and thus, the object, now
in metal form, emerges, unique and exclusive items.
Then, the object goes forward for final polishing and finishing. As it is cleaned, polished
and rubbed, it begins to show the fine luster and brilliance of the metal.
Then, the craftsmen with chisels and miniature hammers accentuate the details of hair,
mouth, lips, expression and decoration that are required.
A last and overall rub with soft cloth brings the final luster to the
items. Then, the mercury process applies gold plating. Semiprecious and precious stones are fitted. Painting using suitable
and appropriate colored lacquers and paints used to highlight
particular feature. The value of these creations cannot be exactly measured in hours or days
as an item take intense labor and concentration of a statue artist.
40
9.8.2. WOOD CARVING
Woodwork in Nepal has been flourishing since the early years of the Licchavi period (300879 AD), though the remains of this work have not been recovered. Wood work has been
part of traditional architecture of Nepal and wood carvings have graced monasteries,
temples, palaces and residential homes since twelfth century, although the earliest surviving
dated temple decorated with wood carving, the indresvara Mahadeeva temple in Panauti
near Banaepa, bears the date 1396.
One of such wooden monument, a traditional architectural site named Kasthamandapa a
wooden mansion near Hanuman Dhoka, Kathmandu, still stands. Kasthamandapa was built
before 1143 as a shelter for travelers in the trade route. It must have been rebuilt many times
during the following years, but the present state strongly indicates what the first
Kasthamanadapa must have looked like. The woodwork and carvings show the
advancement of the woodcraft during the transition period. The indications from this site
are that it would have taken a long time for such skills in the crafts and woodwork to have
generated. There are no physical monuments remaining from this era in Nepal to prove their
creation except for its being mentioned in documentaries. A Chinese traveler Wang Hsuan
tse, who has described Licchavi kingdom in his travel log, has clearly mentioned the
beautiful woodcrafts, wood sculptures, and decorations used by the Licchavis.
During and after the Malla period, the houses built in
Kathmandu used wood as a very important constructing
material. Wood was extensively used for doors, windows,
pillars, and tudals. Wood has been traditionally the main
building material in the valley and it was only natural that the
heavy wooden framework, which forms the essential part of
the structure, the beams, struts, pillars and entablatures,
forming an ingenious system of load distribution and roof system, should be used for
ornamentation. All available surfaces of wood, including doors, windows, cornices, brackets
and lintels wee beautifully shaped and formed and lavishly carved in intricate patterns of
geometrical, floral, human and animal forms.
41
The wood carving designs are mostly based on Holy Scriptures and mythical structures of
Buddhist or Hindu faith -- sculptures of deities, demons, animals, religious symbols as well
as intricate patterns. Some images also include erotic art, carved into the wooden beams of
roof structures. The language of the Newars has a rich vocabulary that includes wood
carving term, giving each detail of the craft a specific name. The carving has to be very
precise in order for the details and patterns to fit together as the craftsmanship uses neither
nails nor glue.
The Newari tradition is still very much alive. The craft is passed down in family businesses,
taking the younger generation more than 10 years to perfect their carving
skills. Using mostly traditional tools, the process of creating Nepali wood carvings stayed
almost unchanged. However, most family businesses need to turn to commercial art,
creating Newari art inspired furniture and souvenirs for paying customers. The majority of
these products go overseas, making wood carvings one of the biggest export trades of Nepal.
In many of these new items the true symbolism of the ancient Newari art is lost or even
mixed with symbols of other Asian cultures. The conservation of old and existing wood
carvings is not lucrative enough.
9.8.3. STONE CARVING
The history of Nepalese stone sculpture goes back at least two thousand years. The survival
of the oldest sculpture in the country indicates that stone sculpting was among the first art
forms to have developed in the country.
Many sculptures of deities, animals, serpents, people, bells, water fountains, vessels, yogis,
dwarfs, and Garudas (mythical half – bird half – human creatures) are made on stone. The
craftsmen are highly gifted in their profession. Among all the traditional art forms of Nepal,
they have, without a doubt, showed their greatest workmanship in stone carving.
Stone sculpting has historically been a profession that is passed down from father to son.
For stone sculptors, like numerous other forms of
traditional art, the home was the shop as well as the school.
Despite being a profession that is centuries old, stone
sculpting has never had a large number of practitioners.
A rough sketch is made on stone. It is entirely the "feel" of
the artisan that determines the quality of the product.
Experience teaches the artist how to work. The only way they learn is through
apprenticeship. Today, most of young generation are interested in this field. This has made
42
a good business in Nepal. People have been practicing these works as a gift from their
forefather creating their own masterpiece.
.
9.8.4. TEXTILE HANDICRAFTS
Clothing and textile being one of the three basic needs of human beings, apart from food
and shelter, find place almost everywhere from the most common material of cotton to the
expensive silk and wool. Most of the textile crafts are self-sufficient systems where the
process starts right from acquiring raw materials to making them worthy to be woven,
dyeing, printing, painting, embroidery, etc. Some of these traditions are hundreds of years
old. In Nepal, the production of handicraft is an age-old practice. Novel handicraft is also
developed in harmony with changing market taste. For the last 25–30 years, export of
handicrafts has been growing. The development of handicraft helps the conservation of
national heritage and culture of country; which in return contributes to uplift poverty by
creating job opportunities.
Textile products: Pashmina Products, Woolen Goods, Felt Products, Silk Products Cotton
Goods, Hemp Goods, Dhaka Products Amidst all Dhaka defines nepali textile industry more
than other fabrics. Dhaka gives this old romantic impression of Nepal maybe a hundred
years ago, an impression of a more and truly cultured Nepal, bearing its own unique,
untainted identity, unaffected by the waves of foreign influence in fashion and culture. The
history of Dhaka, a story in itself is part of an inherent timeless yet forgotten story. Charkhas,
Taans – the spinning wheel and the weaving loom, back to the basics. Cloth woven from
hand spun thread, which in turn is sourced from cotton
grown locally. It’s easy these days to take for granted how
clothes and everything else is made. Cloth is woven from
thread that comes from cotton, or a range of synthetic
materials these days. Before the advent of the power looms,
when everything was done by hand, making clothes was a
skilled thing to do and cloth in itself was valuable.
Dhaka in particular was more than just cloth. It was special, extra special. It featured colors,
designs and prints, which while taken for granted today were things of significance then.
The use of dyed threads, its signature patterns – all achieved by hand weaving required great
skill and was extremely tedious. Today this makes it a part of the past; in the past, it was a
thing of wonder.
43
Dhaka like most things has seen changes over time, and the methods of production involved
in its making as well as the raw materials that go into it have changed slowly too. Originally
made entirely by hand from cotton that was spun into raw yarn which in turn was dyed and
then woven in hand looms called ‘Haate taan’, these days there are factories where
everything is automated and instead of being made purely from cotton, synthetics such as
polyester are used. Due to the modernization the culture of weaving by hand is disappearing
and it should be preserved.
9.8.5. NEPALI PAPER HANDICRAFT
The art of making paper from lokta barks dates back to the 18th century. Lokta was widely
used in Nepal until 1950s when cheap machine-made papers from India took over the market
and pushed this traditional paper to near extinction. But some Nepali entrepreneurs have
managed to revive the tradition.
Recently, the preparation of lokta paper from tree bark has proven to be a reliable source of
income for rural entrepreneurs. Commercial lokta farming has also started in a few districts
of eastern Nepal. On the one hand, it engages people and supports their livelihood and on
the other, local resources which would otherwise go to waste is used. In Nepal, there are
many entrepreneurs and workers who are making a living from lokta. Its harvest has little
impact on forest ecosystem, compared to timber harvest, but offers plenty of socio-economic
benefits to the community. The state should encourage such beneficial micro enterprises.
Nepali kagaj or lokta paper has many interesting and important uses. Besides being handmade and representing a tradition, it is durable, resistant to insects and moths and nonperishable. This is why it is widely used in government offices for record keeping. Also, it
is a must in preparing astrological charts (chinas). Presently, its use has been diversified for
commercial purposes: to wrap incense sticks, and to make visiting cards, wallpapers, festive
decorations, greeting cards, notebooks, calendars, lampshades, envelops, and many more
decorative and useful stuff.
44
Paper making process
The traditional process of making Lokta paper is simple. It does not involve huge machines
and equipment. For ages, the Nepali people have been using the same process. The
technique that has been handed down from generation to generation has been refined for
mass production, by the present-day manufacturers who produce it for commercial
purposes. The paper making process begins with the cutting of the stem and the bark of the
stem is then taken out and thoroughly cleansed and all the knots or dark spots are removed.
This leaves only the clean white inner bark, which is then stored until needed. The bark is
cooked in boiling water to remove organic matter and then well rinsed under cold running
water. This part of the process is extremely important and must be handled with care and
deliberation as it ensures a clean, high quality sheet of finished paper.
In the next step, the cooked bark is beaten with wooden hammers turning it into a muddy,
sticky paste. This paste is then rolled into balls for
easy measurement. Manual beating presses the
long fibers closer together giving the paper added
strength. The resulting pulp is then mixed with the
right proportion of water and poured into the frame
plate making sure that it is evenly spread. The
frame with the pulp stretched across it is then
placed in the sun for drying.
The surface texture of traditional paper comes from this natural drying process. Finally,
when the paper sheets are thoroughly dry, they are taken out from the frame and stored.
These dry paper sheets are ready for use for various purposes like writing, drawing, etc.
Today, different processes are used to modify and give various shapes to the paper or to
add color.
45
10. CASE STUDIES
1. Wood craft
2. Metal craft
3. Stone craft
4. Textile craft (Dhaka weaving)
5. Paper craft
10.1. HANDICRAFT WORKSHOPS
10.1.1. WOOD CARVING INDUSTRY
Location: Patan Industrial Estate, Lagankhel.
Area: 5 Ropanies
Specialization: Wood work, carved detailings, souvenirs
Study area: - Space for wood carving works; process.
General:
- Six sections- sale area, workshop, store, carpentry, seasoning room and temporary sheds
store.
- The numbers of workers are 38 out of which 14 are administrative and 24 are laborers.
Building Description:
The industry has 3 entry- side
entry,
showroom
entry
and
service entry. The side entry leads to
the
administration.
designing,
account,
Reception,
marketing,
waiting room is managed in the hall
with removal partitions. Showroom
acts as the spine to connect
MACHINE
ROOM
administration and workshop
from the elevation i.e. it can be accessed either from administration or workshop. It can also
be accessed from the main road as it exposes it‘s facade to the main street. The showroom
is a double storey building where only the ground floor comes into use.
46
Working environment
Lighting and Ventilation:
•
Workshop and machine room requires more light than others.
•
Both natural as well as artificial lights are provided.
•
The openings provided for natural light is approximately 35% of the floor area while 16%
opening in machine room. As most of the operations are performed in main workshop,
natural light is sufficient.
•
Ventilation is provided in work area but is not sufficient as the space is heated during
summer season, so electrical fans are used.
•
Roofing is with GI sheet, and there is no thermal insulation.
Work stages- Raw materials store, Seasoning, Machine room, Storing, Sketching, Carving.
Infrastructure: Buildings
•
Large open to sky space and covered semi covered spaces for the storage of raw
materials and finished products.
•
Large open hall for machine room and workspace.
•
Workshop and machine room are of load bearing type with finishes such as plaster, mud
mortar and brick finishes.
•
The halls have sloped roof which uses queen post truss to hold the GI sheeting slope roof
(less than 35°).
•
Indoor workspace ht. 16 ft
Area provided and stage of workWork stage
Floor space(sq.ft)
Raw material store
4750
Seasoning
900
Machine
1875
Storing
3750
Sketching
150
Carving
1200
47
Figure 21- Individual work
area
Figure 22- Ground Floor
Figure 24- Working area
48
Figure 23- Showroom
Inferences•
Adequate workspace area( 4.1sqm per worker)
•
Clear division of functions- admin, display, workspace etc
•
Workshop with C.G.I sheets- 4.8m ht and 7.6m span.
•
More heights avoid heat and acoustic problems.
•
No fire safety.
10.1.2. MAHA BUDDHA HANDICRAFT
Location: Patan Industrial Estate
Specialization: Metal works include images of
god and goddess, metal carving detailing utilitarian
utensils, religious items, souvenir.
The industry has four section- sales area, workshop, staff room and store.
Building Description:
The industry has two entry points, one leading to the show room while the other to the
workspace. The showroom can be entered from workshop as well. There is an open court
which is surrounded by semi open spaces i.e. workspaces, offices and stores. The workspace
is provided for series of work in process – casting, cutting, carving, buffing, finishing and
storing.
There is an open court which is surrounded by semi open spaces i.e. workspaces, offices
and stores. The workspace is provided for series of work in process – casting, cutting,
carving, buffing, finishing and storing.
Figure 25- Floor plan
49
Buildings:
•
Open to sky space and semi covered spaces for workspace.
•
Both workspace and showroom are of frame structure with rough plaster and brick
finishes.
•
Ceilings are flat with cement mortar finishes
Lighting and Ventilation:
•
Natural light sufficient in work space - semi open space facing the open to sky court.
•
Artificial lights used in show rooms and office areas.
•
Ventilation provided on the walls of workspace, acts as a cross ventilation.
Safety: No fire extinguishers provided. Fire kiln not separated or isolated
Thermally: Workers work sitting on the cement floor finish. During summer it is suitable
but in winter it is extremely difficult.
Inferences• Measures to reduce environmental pollution using smoke filters and fire
proof material in furnace.
• Safety should be considered.
• Precautions to be taken during casting work.
• Planning is to be done in such a way that has continuous flow of work
50
10.1.3. NEPAL DHALOUT UDHOG
Location- patan industrial estate
Building Infrastructure
•
Top floor is used for making wax moulds.
•
First floor is where the mud preparation, layering and drying of models are done.
•
The ground floor consists of casting, baking, carving, welding, finishing and storing.
•
A small showroom is at the entry point and the administrative office is located to the
another corner on left.
•
The workshop is similar to the shade made from
brick walls and CGI roofing with ht 12ft.
•
Metal casting workshop with 11 workers.
•
Industry within residence.
Inference-
Figure 26- Furnance
•
Rcc structure with addition of truss.
•
Sufficient natural light
•
Separate sections for working.
•
Isolated klin and heating units.
•
Small and conjusted space for workers.
•
Roof lighting with transparent sheets.
•
Open terrace for drying with framed structure
Figure 27- Showroom
Figure 28- Ground Floor Plan
51
Figure 29- Working area
10.1.4. ARANIKO STONE CARVERS
Location: Patan Industrial Estate, Lagankhel.
Area: 1.75 ropani (890.28 sq. ft.)
Specialization: Stone works, large stone works to
small souvenirs.
The stone industry basically deals with stone carving of small souvenir to large carving of
images and deities. The industry has mainly three section- store, workspace and sales unit.
Machines and tools used:
•
Saw with Rail
•
Hand Drilling
•
Hand Grinding
•
Hammer and Chisel
•
Scribers and cutting machine
Buildings
•
Open to sky space and covered spaces for the storage of raw materials and finished
products.
•
Workshops are of both load bearing type and frame structure with finishes such as plaster,
mud mortar and brick finishes.
MANUFACTURING PROCESS
RAW MATERIAL
STORE
ROUGH CUT
TO SHAPE
FINAL
SHAPE
SKETCHING
FINISHING/
POLISHING
PAINTING
52
CARVING
10.1.5. GYANU STONE CARVING, PATAN
•
No managed workshop areas
•
Open area for working and not sufficient space
Open storage
Entry
pantry
Working Environment-
W/C
Lighting and Ventilation:
•
Open Working
area
Machine area
As different spaces are provided for work shop natural lighting is not sufficient for detail
work.
•
Use of artificial lighting is needed.
•
•
Ventilation as such are not provided.
Thermal environment: As stone itself is a cold item, during winter season it is much difficult
for workers to work on stones. In some of the work space due to large room height the
thermal environment is satisfactory during summers.
Inferences• Good planning is necessary for continuous flow of work.
• Since dust is produced, regular cleaning and ventilated room is necessary.
• Machine area separate from workspace.
• Safety precautions should be made.
• Changing and washrooms required for the workers.
• Sound insulation required.
Figure 30- Stone working area
53
10.2. HANDICRAFT DESIGN AND DEVELOPMENT CENTER
Location: Pulchowk, Lalitpur
Institutional building
Specialization: Course in traditional crafts.
Established in 2006 focusing on the preservation and
dissemination of knowledge on traditional arts and
crafts.
Purpose: The center offers seminars, workshops and exhibitions on the development of
traditional art. It offers trainings to artisans on thanka painting, clay sculpture, metal arving
, wood carving and stone carving. Part of their mission is to bring this educational institution
one step further into the future with the development of a resource center and library within
the facility that collects and shares appropriate master research analysis for the archives
returning the true meaning and representation of original art to Nepal.
seminars enhancing one‘s knowledge on the development
of traditional art.
No. of students: 40
8 students in each stream
For three months package: 8 students in each group
Figure 31- Computer Lab
Architectural character:
In a residential bldg, three blocks :a) guard house, handloom workshop
b) design training center
c) administration
14' x 20'-6" computer lab for 20 student - 10 computer
14' x 20'-6" classroom for 22 student - 22 drawing seats
Figure 32- Office room
Figure 24- SectionFigure
25- Office room
Figure 33- Section
54
10.3. NEPAL ART COUNCIL
Location: Babarmahal, kathmandu.
Area: 2641.7 sq. ft
Holds art exhibitions ranging from fashion art,
paintings to sculptors.
Gallery space:
•
Used only for temporary exhibitions not for
every day.
•
Variation in the gallery sizes and wall
alignments prevent monotony.
•
White wall makes the hall look more spacious which
focus on the art works.
•
Only one entry/exit door.
•
Easy circulation
Natural lighting:
Figure 34- Gallery spaces and lighting
•
Side lighting in lobby spaces.
•
Clerestory lighting in gallery which also
saves the wall space for exhibiting paintings.
•
No sky lighting facility.
•
Self-directive circulation and transitional
spaces.
•
Variation in heights such as mezzanine
levels.
•
Centralized type of circulation makes the flow
of visitors easy.
55
Figure 35- Floor plan of NAC
10.4. BABARMAHAL REVISITED
Specialization- To study the connections of courtyards and souvenir shops.
INTRODUCTION
Located in south-east of the city near the Singha Durbar government offices, Baber Mahal
Revisited (BMR) is a unique complex that can be called a museum of Rana architecture.
The Ranas, who ruled Nepal from 1846-1951, were responsible for introducing a unique
blend of European, Indian and local architecture. Till 1996, the area where Baber Mahal
Revisited stands, housed a cowshed and a guard house.
Figure 36- Babarmahal Revisited Then
There are five courtyards inside and all
the courtyards resemble some palaces
of the Valley. The entrance is a reduced
replica of Singha Durbar porch. There’s
another Chowk whose facade is a copy
of Thapathali Durbar and the Newari
chowk is reminiscent of the hybrid
Nepali European architecture. There is
another courtyard with a replica of a fountain in Keshar Mahal, and another with the
recreation of a wall in Bal Mandir. Mul Chowk is the biggest courtyard where the front on
one side is a replica of Babar Mahal. This is the hub for social gatherings and functions. The
antique windows also adds to the old world charm as these are all salvaged from houses
marked for demolition in the old city.
56
Figure 37- Floor plan and Bubble
diagram planning
First Courtyard- Mughal Mahak
This courtyard has the impression of plastered mughal
style of Lucknow, India which was used by Junga Bahadur
Rana in his garden palace in Thapathali.
The same style is followed here.
Figure 38- Mughal Mahak
Second Courtyard- Hanuman Chowk
Here the hindu monkey god- Hanuman, and servitor of
Prince Rama is placed thus named from it.
Third Courtyard- Newar Hybrids
Figure 26- Hanuman
ChowkFigure 27- Mughal
Mahak
Figure 39- Hanuman Chowk
The European palaces styles of the Ranas soon trickled
down to the more humble townhouses and shop fronts of
Newar merchants and urban farmers. This and the
adjacent courtyard preserve a number of typical shop
Figure 28- Newar
HybridFigure 29- Hanuman
Chowk
fronts and windows from patan whose classical columns,
louvered grills are a blend of European and Asian
Figure 40- Newar Hybrid
sensibilities.
57
Fourth Courtyard- Mulchowk
This restored courtyard includes former cowsheds and
outbuildings dating to 1920's as well as new buildings. The
new architecture incorporates classical details borrowed
from the original BabarMahal façade, homage to grand style
of Babar Shumsher. The original Babar Mahal consisted of
250 rooms and 4 courtyards in European style and
approached with brilliard room, a Japanese garden hillock
with temple to Bhimsen, an English rose garden and
"putalibagaich", a garden dedicated to JangaBahadur's wife.
Figure 41- Mulchowk
Fifth courtyard
It used to be a cowshed and guard complex where cows once munched. Now it has been
transformed into a restaurant where people enjoy international cuisine .
Souvenir shop
There are many shops in this area. Shops are developed
along the pathway and some facing courtyard having
area of 70sqft. The ht of building is similar to typical
Newari style which ranges from 7-8 ft. The courtyard is
paved with telia tile and there is proper drainage system
to drain out as the courtyard is open to sky.
Figure 42- shops and restaurant with narrow lanes
interconnected courtyard
Figure 30- Mandala used as inspiration in pavillionFigure 31shops and restaurant with narrow lanes interconnected
58 courtyard
The building heights are designed in such a proportion and the idea was to break the
monotony of the ground and make the complex look like a small city in itself. Building
materials like mud mortar and lime plaster for the walls and metal sheets for the roof adds
to the old Rana period aura of the complex. This building now hosts some of the finest
Nepalese art and artifacts stores, pashmina outlets and a contemporary Nepalese art gallery,
The Siddhartha Art gallery.
Inferences•
Use of multiple courtyards for natural lighting and ventilation.
•
Multiple open spaces in the form of courtyards.
•
Different kinds of handicraft shops coexisted in one place.
•
Use of different architectural styles in one place.
10.5. SIDDHARTHA ART GALLERY
Location: Babarmahal, Kathmandu.
Commercial art gallery
• Gallery accommodation in existing site.
• Art gallery accessed through souvenir shops
and restaurants in the complex.
• Two storied and has halls of area 750 sq.ft. –
used for temporary exhibits.
Lightings
•
Use of sky lights in staircase.
•
Few small windows are provided for side lighting.
•
Artificial light is used as adjustable spot lights.
Space used: As seen, exhibits are mainly those of art that are hung on the walls. Floor space
can also be used for displaying exhibits.
59
Inferences•
Accommodation in small space.
•
Close proximity with curio shops, cafes, book shops, etc. as supportive elements and
inter linkage between them.
•
Oriented to view existing site.
10.6. INTERNATIONAL CASE STUDY
10.6.1. NEHRU MEMORIAL PAVILION
Location: New Delhi
Architect: Raj Rewal
Building Type: Exhibition Gallery
Construction System: Structure embedded in artificial earth mound.
General
•
It is embedded in grassy mounds.
•
Form derived from the earliest Buddhist Stupas in Nepal which
are earth mould containing relics of Buddha.
•
Circulation system for the exhibition based on 'Parikrama',
movement around the central structure and plan resembles
Cosmo-graphs called 'Mandalas'.
•
Figure 43- Mandala used as
inspiration in pavillion
There are two levels
➢ Upper level – with A/V room
➢ A stepped roof in the centre for exhibition.
Figure 32- Exterior ViewFigure 33-
Mandala used as inspiration in
pavillion
➢ Four corner windows allow ventilation for lower spaces, while the steepped roof,
in the form of
truncated pyramid, has glass bricks providing subdue natural light.
60
➢ In lower level displays are conceived around 4 sections. Double height enclosure on four
corners allowing space for large panels.
➢ Harmonious relation between visitor and
displays.
•
There is a sense of monumentality combined
with human scale.
•
Stepped roof as amphitheatre..
•
Considerable views of
Figure 44- Exterior View
Natural and artificial
lights.
Figure 45- Section of Pavillion
Figure 47- Roof plan
Figure 46- Ground floor plan
Concrete used for the structure has been left exposed where
the patterns from wood contribute a note of simplicity.
Outdoor spaces have not been neglected a no. of spaces have
been created for
Figure 48- Interior View
Isometric view
Figure 35- Interior View
61
Figure 34- Displaying of terracotta
figuresFigure- Isometric view
Inferences•
The structure shows the blend of culture and modern architecture and it is an example
of preserving art and culture in a modern way.
10.6.2. NATIONAL HANDICRAFTS AND HANDLOOMS MUSEUM
Location: Pragati Maidan, New Delhi
Built up area: 6800 sq. m.
Architect: Charles Correa
This museum serves as the collection of rare
materials to keep the losing tradition alive.
Introduction
•
Set up in 1956 by the all India handicrafts board.
•
Museum divided into three sections:
➢ Display gallery and store
➢ Village complex
➢ Crafts Demonstration area
Figure 49- Displaying of
terracotta figures
VILLAGE to TEMPLE to PALACE, a metaphor for the Indian street.
•
It is organized around a central pathway, going from
•
Functions contained in the complex:
➢ Museum for a large permanent collection of folk art
Figure 36- Displaying of
terracotta figures
➢ Workshop area for the craftsmen
➢ Shop and sales area for the crafts
➢ Library
➢ Amphitheatre
➢ Administration
➢ Services
Planning Concept
•
Galleries, store, administrative areas and library situated around a series of open to
sky courts.
•
Unique rustic ambience coupled with modern functionality.
62
Figure- Roof plan
Amphit
heatre
Figure- Roof plan
Amphit
heatre
Festival square
Festival square
Figure- Ground floor plan
Figure- Ground floor plan
Layout level
•
Organized around a central pathway, as one travels down this spine punctuated by the
village court, temple court, darbar court that one catches glimpse of exhibits that lie on
either side.
•
Amphitheatre at the end with spaces arranged in an organic pattern similar to the
traditional village settlement patterns.
•
All the components and units are built in accordance with regional construction and
materials.
•
Use of dark colours to create rural ambience causes negative feeling and visitors
wishes to move on.
•
Variation in built spaces to avoid monotony.
Transitional space
•
Raised level at entrance- bridge level
•
Descending from the bridge- transform to a natural rural environment on seeing the
heavily decorated wall of the souvenir shop.
•
Starting point- Tulsi plant and temple chariot.
63
•
Courtyard- steps with brick laid paving- physical transition- resting space provided
around the courtyard.
•
Interplay of open, semi open and closed spaces.
Inference•
Great examples of preserving and conserving traditions, art and culture in a modern
way. The skillful art, the lost tradition must be preserved as they are our identity; we
need not to go out and search for our identity.
•
The thoughtful space planning, the human scale, the tribal and rural display all gives a
sense of belonging.
10.6.3. OLD CAIRO ARTS AND CRAFTS CENTER
Location: Cairo, Egypt
Project: 2015A.D.
Designed by: Mohamed Elbangy
Area: 26,000 sq.m.
Design Brief
Crafts and manual arts are a part of inherited heritage for all people to express their social
identity, after the technological advances that we have these days a lot of handicrafts
disappeared with its makers and teachers. The idea of faculty for arts and crafts is to revive
the traditional crafts and arts to protect it from extinction.
Concept
Simple forms related to the surroundings from formation of clear geometric plans and forms
based on climate analysis from sun path and prevailing wind to emphasize the use of
environmental factors in the design by creating shaded and un-shaded areas which make air
pass from place to another.
Two rods arranged in a way attract the prevailing wind from
northern west direction.
Each
divided
intointwo
partsattract
to form
buildingwind
that from
laid
Tworod
rods
arranged
a way
thetwo
prevailing
beside
eachother.
northern
west direction.
Each rod divided into two parts to form two building that laid
beside eachother.
64
The rods trimmed from bottom to reduce buildings footprint,
shifted upward from the upper side and arranged in way to attract
the prevailing wind to the middle of the center.
The rods trimmed from bottom to reduce buildings footprint,
shifted upward from the upper side and arranged in way to attract
The auditorium is simple huge
space abstracted
from
the prevailing
wind to
the middle of the center.
pottery and ceramics production which is one of the
academy departments and act as a landmark Shading
unit
The auditorium is simple huge space abstracted from
pottery and ceramics production which is one of the
academy departments and act as a landmark Shading
Shading unit Creating shading unit between the two building that
unit
overlooking to the middle of the centre by linking between several
points on the upper inner side of each building, the result is a
shading unit can let the air to penetrate through the space based on
its formation.
A site location in old Cairo at the religious complex which is an important attraction point
37- Old
Cariois Art
and Craft
beside the traditional Figure
crafts center,
also there
the origin
of craftsCentreShading
and manual artsunit
in the
Creating
shading unit
between
the two building
that overlooking
to
historic Cairo. The project
is composed
of four
departments
for this center
in four separate
the middle
the acentre
bylayout
linking
between
severaland
points
on the
buildings only as buildings
massesofwith
proper
contain
landscape
an auditorium
eachinbuilding,
the result
is afor
shading
unitcrafts
can to
with a capacity 1200upper
personinner
withside
fullofplans
two levels.
-Facility
arts and
air to penetrate through the space based on its formation.
revive traditional artslet
andthe
crafts.
-4 departments in 4 separate buildings.
Design Guide
Simple forms related to the surroundings from formation of clear geometric plans and forms
based on climate analysis from sun path and prevailing wind to emphasize the use of
environmental factors in the design by creating shaded and un-shaded areas which make air
pass from place to another.
65
Structure & Geometry
The auditorium principally consists of two collaborating systems:
composite structure combined with a space frame system. In order to
achieve large-scale column-free spaces that allows the fluidity of the
interior and free column spaces. Materiality Glass Fiber Reinforced
Concrete (GFRC) and Glass Fiber Reinforced Polyester (FRP) chosen as
ideal cladding materials for the Auditorium, as they allow building
plasticity in design responding to different functional.
Sustainability and innovations
Positioning of main 4 buildings in direction and position to catch
prevailing wind and let it pass through central space through social
areas.
Continuity of the shading element between the two buildings
overlooking to the central space adding visually dynamic enclosure
for the central space design, also to create a difference between two
zones shaded and un-shaded to enhance the air passing through the
center buildings.
Integrated water features in the landscape varied between fountains and water walls which
makes air pass through it more fresh and cool.
Figure 50- Old Cario Art and Craft Centre
Figure 38- Master66
Plan of KendraFigure 39- Old
Cario Art and Craft Centre
10.6.4.NATIONAL SANSKRITI KENDRA
Location- Mehrauli, New Delhi
Architect- Upal Goshh
Typology- Culture and art promotion
CONCEPT: A living, creative complex, the Kendra is intended to provide temporary
residential and working space to both traditional and contemporary artists and craftsperson's
and in doing so, it aims to promote interaction between the two. Thus the complex includes
in addition to two museums, an open-air auditorium, conference hall and studio apartments.
For rural craftsperson's, a separate cluster of huts with individual cooking facilities provided.
All spaces are scattered in a manner of a village dwelling. Over two thousand trees were
planted across the plot with a banyan tree at the entrance.
Figure 51- Master Plan of Kendra
Built vs Open spaces
Architect says "the complex manifestation of built form in a warm climate, where between
closed-box and open to sky, there lies in a whole continuum of zones, with varying
definitions and varying degrees of protection. One steps out of the box to lend oneself in a
verandah from which one moves into a courtyard and then under a tree, and beyond onto a
terrace covered by a bamboo pergola, and then perhaps back onto a balcony and so on. The
boundaries between these zones are not formal and sharply demarcated, but easy and
amorphous. Subtle modulations of light, of the quality of ambient air, register each
transitions on our senses . "
Circulation and movement
Movement patterns are very clear service road runs on the periphery of the site.
67
Distribution of spaces:
•
Public spaces like museums & office-the governing body comes first with entry.
•
Sitting spaces comes next having a little bit privacy by planting trees.
•
Workspaces: studios and dormitories- a very personal spaces are away from the public
spaces to avoid any kind of distraction allowing artists to work with concentration in a
very natural & fresh environment.
•
Services like laundry, washing are placed at the end of the site away from public
movement along the service road.
DISTRIBUTION OF THE ACTIVITIES
Baithak
The bathe is the common room of the Kendra, housing facilities such as the dining room,
conference room, library, computer room and office. A two-storied
structure,
it
is
internally connected, both visually and physically by a double height covered court with
steps so configured that they can be used as tiered seating during conferences, etc.
Flow of spaces : The building can be entered from various levels. Except the office and
the library, all other spaces flow into each other giving the interior a very open feeling.
Figure- Ground floor
Figure- First floor
Figure 40- Floor
plans of
Office at higher lvl: In keeping with its supervisory role the
office
has been
strategically
studiosFigureFirst
floor
placed at a higher level overlooking the entire complex.
Play with levels: The architect has also played with levels within the building maintaining
smooth movement horizontally as well as vertically.
•
All area are placed along the south side to have the advantage of sun as the sun directly
enters the room throughout the winter .
68
•
The building is made keeping in mind green architecture to have more of natural
environment .
•
Building is planned in staggered form to have mutual shading following green
principles.
Haveli: This is the resident of O.P Jain , the moving force
behind the organization, his plan is based on six and half
overlapping squares with intersecting paramedical roofs
.The dinning, living, bedroom and the kitchen are arranged
around an agan (courtyard). The most striking feature is
the meticulously restored old entrance door from Rajasthan from where one gets the first
glimpse of agan – perfect square patch of green with an equally geometric rectangle of water
along one side.
Accommodation for international residencies
There are eight studios in two blocks placed along the Nahar where participants with an
urban background can live and work. The units are small and simple but provide varieties
of spaces, both indoor and outdoor. There are located away from other built forms that allow
artists to concentrate on their work. All studios are equipped with worktables, work counters,
easels, storage space and kitchenettes.
• All studios have attached bathrooms with clean linen and towels.
• Laundry services are available against payment. Dry cleaning can be arranged if requested.
• The tariff for accommodation includes the rental, meals and use of all facilities, including
free participation in all the many cultural, artistic events and activities that take place at the
Kendra.
Figure 41- Floor plans of studios
Figure 42- Outdoor space of studioFigure
43- Floor
69 plans of studios
Figure 53- Outdoor space of studio
44- Semiopen and closed displayFigure
Green ArchitectureFigure
in studio
45- Outdoor space of studio
Works space and the living area get north light as north side gets only light throughout the
day without any heat so it is cooler. Bedrooms, dining, kitchen and the sitting are along with
a separate personal garden are facing south side, thus get more sunlight and solar heat in the
winter and lesser in summer. Studios are located in the calm area surrounded by greenery
and away from any built form to maintain privacy and providing environment to
concentrate. Water body nearby add to its beautiful
environment.
EXHIBITION AREAS
The Kendra incorporates two museums•
The Sanskrit museum of India terra-cotta and
•
The Sanskrit museum of everyday art. These, the most public of all the spaces, needed
special attention for clarity of movements. The layout of spaces is such that a visitor
moves from one exhibit to the next without repeating any.
Museum of Indian terra-cotta- A series of modular units, have been arranged around
landscaped courtyards, Good play with transition of spaces :The module, square in plan, has
been used in various forms - sometimes as just a platform, a room without roof, a room
with roof but no walls, and sometimes totally enclosed with regular doors and windows.
The roof is always pyramidal as it suits the square plan and blends well with the scale and
rural setting. A majority of terracotta belonged to open and semi-open environments. From
the common earthen pot that stores drinking water to giant-sized cultic equestrian
figures of rural Tamil deities of the aiyyanar cult, terracotta art occupies a central position
in Indian life and culture. Having had their existence always outside the rigid and binding
rules and regulations of the shilpashastras or the constituted Hindu
70
canons governing artistic expression, terracotta art enjoys tremendous freedom in
imagination and conception. Sanskriti found it somewhat intriguing that in spite of their
widespread usage, antiquity, artistic merit and cultural significance, terracotta objects have
not been systematically collected.
Figure 54- Semiopen and closed display
Figure
46- Museum
of Everyday
Sanskrit museum of Indian
textileThe museum
intends to serve as a resource for the
ArtFigure 47- Semiopen and closed
study of Indian textile traditions. It moves away from the masterpiece culture as much as
display
from creating an exhaustive inventory of textile genres, as is often the case with many
museums of the kind. Its objective is to display representative examples of selected
traditions of Indian textiles, and to create a pool of information around these that will
eventually serve as n academic resource for study and research.
Figure 55- Museum of Everyday Art
Figure 48- Museum
of Everyday Art
71
Landscaping
•
Landscape element is a judicious mix of formality and informality, both in plant and
hardscape.
•
Geometric forms, pavements, paths and hedges intersperse the lawns, vans and Naharr
and the meandering parks.
•
The rainwater drainage channel that runs down the centre, and existing clumps of trees
become the major structuring elements of the layout plan,
•
The rainwater channel has been converted into a linear water body (The Nahar).
•
This starts from a semicircular pool fed by water pond, passed under a couple of foot
bridges, washes up the steps of Ghats on either sided, and ends at the munch and excess
water is run off through a by pass drain.
Amphitheatre
It accommodates approx 200-250 audiences. The theatre has a large circular stage with a
beautiful backdrop of an 18th century carved stone Jharoka.
It is suitable for performances as well as children's play.
Sanskriti Kendra has a highly specialized reference library
housing around 2000 books on art, culture, museums, Indian
traditions of textiles, handicrafts and Indian terracottas, etc.
Inference•
Building exhibit a prefer example of an environment suitable for cultural setting.
•
A cultural centre where arts, craft, literature, performimg arts etc are practiced in
tranquil environment.
•
Use of natural landforms.
•
Spaces are well articulated and circulation pattern is very interesting from open to sky
to semi-covered court and finally closed space.
•
Proper combination of museums, studio, landscape etc.
72
10.6.5. CARPENTER CENTRE FOR VISUAL ARTS
Location: Cambridge, Massachusetts, Unite
Architect: Le Corbusier
Year: 1963
Concept
Circulation through the building and initial
ramp idea.
Initial sketch shows that ramp
and pilotis
wasthe building and initial
Circulation
through
present from the beginning. The idea forramp
the idea.
circulation of building came from the concept
of lungs, blood flowing into the arteries and
swelling into the lungs which are shown in the
building as the studio spaces. The layout
clearly reflects the lung structure.
Initial sketch shows that ramp and pilotis was
present from the beginning. The idea for the
circulation of building came from the concept
of lungs, blood flowing into the arteries and
swelling into the lungs which are shown in the
building as the studio spaces. The layout
clearly reflects the lung structure.
The building is located within the traditional background of the Georgian setting in Harvard
University. The carpenter Centre greatly contrasts the surrounding buildings and links the
two sides of the street. The site was very small and art was considered as a less important
element so Le Corbusier made a ramp to link the two sides of the street and bring people
into the arts centre. For Corbusier, the Carpenter Center was meant to be the synthesis of
the arts where architecture would join with painting, sculpture, photography, and film.
73
Spaces
The Carpenter Centre for visual Arts houses the Department of Visual and Environmental
Sert Gallery on the third floor, the main gallery at the ground level, and the Harvard Film
Archive.
•
The Sert Gallery at the top of the ramp, features the work of contemporary artists.
•
The main gallery consists of variety of exhibits to support the curriculum of the
Department.
•
The five levels of the building and the role of flexible work spaces for painting,
drawing and sculpture, and the path through the heart of the public construction
encourages movement and provides views of the works, making visible the creative
process through the design of building.
1
2
1
2
3
4
5
3
4
5
1. 1. Exhibition room ( Film Achieve)
2. 2. Studio Space (Contemporary art)
3. 3. Studio Space (3D)
4. 4. Main Gallery
5. 5. Projection Room
The building is based on his Five Points of Architecture:
1) The Pilotis
2) The free plan, division of spaces through the use of the pilotis
3) The free facade- the free plan in vertical
4) The long horizontal sliding window
5) The roof garden
74
The elements of Carpenters CentreThe Ramp
The ramp flows through the building causing the journey to begin
through the building. From the ramp the Interior is glazed and the
work and exhibition spaces can be seen around. The ramp enters on
the third floor and links the two street together.
The Pilotis- Breton Brut
The pilotis are present throughout the building and are the main
structural element, they are made of breton brut concrete however
LeCorbusler had refinded and developed the concrete by this stage to
create a smoother finish rather than the rough textures in other work.
In section the pilotis work with window structure to create the division
of the free internal space.
The Brise Soleil Windows
It is the another principle developed within this building.
The shading device was carefully studied to create the perfect
lighting within the work and exhibition spaces. The glass covers
much of the exterior and also the main focus of the structural ideas
of the building.
75
Figure 56- Ramp through workshops
Figure 49- Exterior view of Carpenter's centerFigure
50- Ramp through workshops
Figure 57- Exterior view of Carpenter's center
Figure 58- Pilotis with parking
76
10.7. COMPARATIVE ANALYSIS OF WORKSHOPS
Description
Literature
Wood Carving
Industry
Planning
Spatial planning
in continuous
pattern with
function
Function
Fire ,wood and
machine works
must be separated
Metal-5.3sqm/per
Wood4.7sqm/per
Stone3.25sqm/per
Good natural and
artificial lighting
with well
ventilated spaces
Spatial
organization
but lacks well
organized
spaces
Separate area
for separate
function
4.1sqm/person
Workspace
Lighting
and
Ventilation
Natural as well
as artificial
lighting, Not
sufficiently
ventilated
spaces
Nepal Dhalot
Udhyog/
Mahabuddha
Handicraft
Unmanaged
Planning, congested
and unsafe/
planning with
continuous
Good division of
spaces
Araniko Stone
Carvers/ Gyanu
stone carvers
2.3sqm/person
2.25sqm/person
Sufficient natural
light with roof
lighting, less
ventilated/ Natural
lighting with semi
open spaces, well
ventilated
Natural lighting
and ventilation/
Lighting is not
sufficient
Open to sky
space and
covered spaces/
Unmanaged and
unsafe planning
Functions are not
separated
10.8. COMPARATIVE ANALYSIS OF GALLERY SPACES
Description
Literature
Building planning
Nepal Art
Council
Siddhartha Art
Gallary
Nehru Pavillion
Simple
rectangular plan
Simple rectangular
plan
Plan based on
Mandala
Exhibits
Hanged, showcased,
free standing etc
Hanged and
showcased arts
Hanged and
showcased arts
All types
Gallery usage
Separate for
temporary and
permanent
North, east
Diffused and
directional
Congested and
temporary
Congested and
temporary
Permanent
exhibition
Ribbon windows/
Diffused and
directional
Sky light above
stairs, side lighting
at south walls/
Diffused and
directional
Diffused and
directionalFour corner
windows allow
ventilation for lower
spaces and glass
bricks providing
subdue natural light.
Energy Efficiency
Active/Passive solar,
RWH, Luminaries
Passive design,
CFL lights
Sky light in gallery
Lightings with
passive designs
Open Spaces
Possible linkages
with outdoor
activities
No natural view
Front courtyard
only
Embedded in grassy
mould with open
spaces around
Natural lighting/
Artificial lighting
77
11. SITE ANALYSIS
11.1. SITE AND CONTEXT STUDY - ABOUT DHARAN
Dharan is a major city in eastern Nepal, in the Sunsari district, located between the foot of
the hills and the edge of the Terai. As Dharan is rich in culture and environment, it is
essential to be conserved not only for religious essence but also for economic growth. The
location of Dharan in between Terai and hill region provides benefit of varying landscape.
Hence, tourism can be developed in the area. In the concept of urban development planning
of Dharan, it is to be developed as one of the triangle of the “Green East”.
History
Since 1584 AD till 1774 AD, Dharan-Bijaypur was the capital city of Morang Kingdom of
Limbuwan. It was also effective capital of the entire Limbuwan region or ten Limbu
Kingdoms which was also known as Pallo Kirant Pradesh. Dharan was known as Bijayapur
until the mid of 19th century, when people establish settlements on the southern lap of a
historical cliff . The town which was historically connected with the legacy of Bijayapur
eventually came into existence as Chandra Nagar (now Purano Bazaar) after Prime Minister
Chandra Shamsher in 1900s named the town after him. Later, Prime Minister Juddha
Shamsher declared the town as Juddha Nagar (now Naya Bazaar) after him. It was much
later that the city took the name of Dharan. City abstracted its name after “Dharan” (Nepali
word) a rectangular hollow dug under the ground and a low platform upon it for sawing logs
with a big saw; one person on the platform and other below it. And, after the establishment
of Dharan city, logs used to be widely split uphere in “Dharan”.
In modern era, Dharan started as a small trading settlement. Over the last couple of decades,
the population of Dharan has increased and diversified to include people from various
ethnicities like Limbu, Brahmins, Chhetris, Rai, Gurung, Newar, Sunuwar, Yakha etc.
Dharan emerged as one of the biggest towns in eastern Nepal. It is in a true sense a melting
pot of different ethnic groups, languages, and religions. Dharan, Illam and Taplejung area
can be focused as an alternative tourism destination to the “Golden Triangle” in central
Nepal, which links Kathmandu, Pokhara and Chitwan and is currently the principal tourism
destination in Nepal.
78
Dharan is the main economic center of eastern Nepal and the future plan shall focus on
employment generation and poverty reduction synchronizing with local trainers for
providing useful trainings such as craft works to create self-employment.
Figure 59- Map of Dharan
Site location:
The Proposed site is located at Bijaypur, Dharan. There are 128 medium-small scale
industries in Dharan. Mainly furniture, woods, handicrafts, metal crafts, stone carving.
Local Handicraft is also an attraction in Dharan. Dharan is a sub-metropolitan city
in Sunsari District of Nepal. It is situated on the foothills of the Mahabharat Range in the
north with its southern tip touching the edge of the Terai region at an altitude of 1148 ft
(349m).
Figure 60- Local arts and crafts in Dharan
Bijayapur is famous for the Budha Subba Temple, pindeswor and the Dantakali Temple.
The site is located near to the pindeswor temple in which the two way leads to dantakali
path and pindeswori path. Dharan is the route or gateway that connects the terai and hilly
region and the climatic condition is much favourable than other places. Many of the
indigenous people reside in dharan and thus, the crafts centre gives the community space to
share their indigenous crafts. Thus, the built form can also be taken as one of the landmark
in Dharan.
79
Figure 61- Map of Bijaypur hill
Figure 62- Location map
Figure 63- Proposed site, Bijaypur
Figure 51- Site ContextFigure 52Proposed site, Bijaypur
80
11.1.1. PHYSICAL FEATURES
•
Pindeshowri path , Dharan , Nepal
•
Latitude: 26°48’57.1” N
•
Longitude: 87°17’40.7” E
•
Altitude: 460 m
•
Orientation: East
•
Site area: 20614.3230 SQM, Site is in its organic form and currently used as
agricultural land with residential settlements in proximity.
11.1.2. GEOLOGY AND SOIL CONDITIONS
• Temperate Zone
•
Compact hard soil
•
Bearing capacity of soil is 20 tons/sq. m
11.1.3. HYDROLOGY AND DRAINAGE
• Water table - (200-250) m below the ground.
11.1.4. VEGETATION
• The site contains vegetation and numerous trees in the periphery- Teak, mango, litchi,
sakhuwa, dumri, coconut, rudhraksh etc.
11.1.5. MACRO AND MICRO CLIMATE
➢ Macro (Dharan) climate data (1981-2010)
•
Climate: Tropical monsoon category, temperate climate
•
Slopped terrene: altitude changes (305m-700m) at a short distance of 4 km.
•
Surrounded by hills in 3 directions.
•
Charkhose jhadi to the east and west
are seuti and shardhu rivers.
•
Higher temperature: 39.4° c
Average high: 29.6° c
Average low: 20.4° c
•
Low temperature : 5° c
81
•
Precipitation: 3128.6 mm (123.173”) per annum.
•
Average rainy days: 131.6
➢ Micro climate
•
Altitude: 503 m
•
Cloud and Humidity:
•
Temperature: 20°c
•
Wind Direction: SW at days and NE
at night.
•
The city is warm in most of the
times except few months of winter. In winter, the cold breeze of Sheet Lahar is
experienced.
11.1.6 SERVICES
•
Water supply from public supply(ADB) nearby.
•
Electricity from NEA.
•
The building around have septic tanks and soak pits for sanitation.
•
The site is at slope and natural drainage is possible due to its topography.
11.1.7 ACCESS AND SITE APPROACHES
•
Existing 18’ wide approach road on the east.
•
Pindeshowri Sanskrit bidhyala to the east side.
•
Buddhasubha temple:1.1km apart
•
Pindeswari temple: 50 m apart
•
Dantakali temple: 1.0 km apart
•
Panchakanya temple: 2.1 km apart
•
Approach market:750m apart
•
Main market: 1.6 km apart
•
BPKIHS: 3.8 km apart
•
Main highway: 1.3 km apart
82
Figure 64- Site Context
Figure
53- ChautariFigure
5411.2. LAND USE AND
SETTLEMENT
PATTERN
Site Context
The land use within Dharan are main urban areas, residential area, agriculture area, river
and water cover area, forests, road and bus parks, parks and gardens, industrial and
educational areas. Most of the flat lands are in the plain (in the south) and hilly sides are
mostly covered by forest. Almost 50% of the total area of Dharan is occupied by preserved
Char Koshe Forest. Urban settlement lies on the center of present boundary of municipality
and extended toward west. The existing settlement pattern of Dharan can be clearly
classified as Central Business District (CBD), Residential areas, Squatter Area, Open areas,
Institutional area.
Core area (Central Business District): The area along the Koshi Highway and from Bhanu
Chowk to peripheral area having massive business activities and growth of health, business
and service sector. It is potential business hub and transaction of trade and commerce.
Institutional area: The area with the educational facilities, health facilites and government
offices are scattered around the CBD.
Industrial area: The educational facilities are near the southern side due to the availability
of large area of land. Industrial zone is also situated on the southern side.
83
11.3. SITE SURROUNDINGS
Figure 65- Chautari
Figure 66- Ganesh
temple
Figure 67- Settlement
Figure 68- Sanskrit campus
Figure 55- Sanskrit
campusFigure 56Settlement
Figure 69- North-South cross section
Figure 57- North-South cross
sectionFigure 58- Sanskrit
campus
Figure 70- East-West cross section
The site is East oriented. The surrounding includes residential buildings at its eastern and
Figure 59- North view from siteFigure 60western sides. At the southern side of the site lies Pindeswori
temple.
It issection
surrounded by
East-West
cross
temples and land is known for its religious importance. The site is located at some distance
away from the main highway, so there is not much noise from the traffic. Due to openness
of the site, there is proper breeze and wind flow around the area which provides fresh air
and prevents unwanted odor. The site gets views of the hills and greenery from the north
and east direction.
Figure 71- North view from site
Figure 72- Panaromic view of site
84
11.3.1. SOCIO-CULTURAL ASPECTS
Figure 73- Pindeswori Temple
Figure 75- Dantakali Temple
Figure 74- Budasubba Temple
Figure 76- Panchakanya Temple
Figure 61- Panchakanya Temple
The site is socially bounded with public spaces like parks, temples, schools, markets and
public taps. Public gathering and chautara, tea-shops, public taps reflects social interaction.
Active public participation in community development programs also indicates strong social
bound between the locality habitats. There are various parks in city but these parks not only
increase the beauty of the city but also provide a natural environment for the citizens to
relax, chat and meet.
There is drawback in management and operation of the park and they haves not been utilized
in full fledge. These parks have higher potential for developing as picnic spots, playing areas
and gathering area.
Besides, the area is mostly influenced by religious beliefs, cultural values of the local people.
Budhasubba, dantakali, pindeshwori and panchakanya all these four temples are located
within the periphery of 2-3 km which denotes the prevailing religion beliefs toward Hindu
and Kirat god and goddesses. Most of the handicraft shops are also found nearby temples.
85
11.3.2. BYE LAWS
Zone- Residential zone
Setback- 1.5m from ROW
ROW- 3m
G.C.R- 50%
Setback- 3m from road and 1.5 from boundry
11.4. SITE JUSTIFICATION
•
Dharan has strong regional linkage with koshi highway and all these other regional
centres trade mainly with Dharan Bazar directly.
•
Biratnagar is nearby 40 km from Dharan.
•
Thus, the project 'Eastern Crafts Centre' is favourable in Dharan and with this, the
culture and tradition of making crafts can be develop and flourish in the eastern Nepal.
•
The site has very strong social and cultural potentials and is near to the culture, nature
and community attracting more tourists.
•
It is far away from the hustle and bustle of the city yet easily accessible.
•
As it is one of the institutional area, the crafts center in this site will potentially uplift
the art and culture of the region and the day to day life of the occupants as well.
•
Craftsmanship is practiced but it is overlooked and the importance seems less. People
do not get any credit or the platform to showcase their talents.
•
Thus, this project helps in building the ideas and future plans of Dharan municipality
by providing many services and uplifting the importance and value of crafts.
86
11.5. SWOT ANALYSIS
Strength:
•
Located in the hill top with great scenic beauty.
•
Socially bounded with more cultural influences and comfortable climatic conditions.
•
Easily accessible and less pollution.
•
Historical area and promotes tourism.
Weakness:
•
Sloppy land.
•
Crisis of drinking water as underground water table is very low.
Opportunities:
•
Enhance site's artistic and cultural values.
•
To play with the slopes to create exciting designs and spaces.
•
Interaction and communal space for people can be developed.
•
It has high commercial and educative potential.
Threats:
•
As the site is obtained by cutoff hill and is on high altitude with a steep slopes on the
sides there might be the threat of landslide.
87
12. PROGRAME FORMULATION
S.no
Program
1.
Entry
Entrance
Nos
Area
per
unit
1
Persons
Area
per
person
Total
area
240
0.5
120
lobby+waiting
Information
2
20
counter
Ticketing
2
3
20
Guard room
2
6
12
Toilet
2
20
20
Total
2
192
Administration
Reception
1
0.5
Manager room
1
20
20
Director office
1
20
20
A/c section
1
15
15
Meeting room
1
Staff room
1
Faculty room
5
12
60
Marketing
1
15
15
15
30
30
50
section
Pantry
1
Toilet
2
10
10
Total
3
20
270
Wood Workshop
Raw material
1
30
30
Finished store
1
20
20
Seasoning
1
25
25
Equp. room
1
50
50
store
88
Design room
1
15
15
Carving
1
Assembling
2
Finishing
1
Staff area
1
20
20
Learner area
1
20
20
Equipment
20
0.5
10
Toilet
2
8
16
Pantry
1
6
6
20
15
20
2
40
2
30
2
40
cabinet
Total
4
322
Metal workshop
Raw material
store
Finished store
1
30
30
1
25
25
Design room
1
15
15
Waxing
preparation
Modeling
1
Klin
1
Assembling
1
Finishing/polishi
ng
Equipment store
1
1
15
15
Casting
1
10
10
Washing
10
0.5
15
Staff area
1
20
20
Learner area
1
20
20
Equipment
cabinet
Toilet
20
0.5
10
2
8
16
Pantry
1
6
6
1
20
1.8
75
36
75
40
15
15
20
Total
1.5
30
378
89
5
Stone workshop
Raw material
1
30
30
Finished store
1
25
25
Kiln
1
40
40
Welding
2
15
30
Engraving
1
42
42
Polishing
1
10
10
Design room
1
15
15
Gold/silver
1
30
30
Face painting
1
30
30
Learner area
1
20
Material cabinet
20
0.5
10
Staff area
1
20
20
Toilet
2
8
16
Pantry
1
6
6
plating
Total
6
20
20
324
Textile
Weaving(Dhaka)
Raw material store
1
20
20
Design room
1
10
10
Cone room
1
30
30
Beam room
1
15
15
Weaving(10
1
160
160
Cutting
1
18
18
Packing /Store
1
30
30
Learner area
1
20
20
Staff room
1
20
20
Toilet
2
8
16
looms)
90
Pantry
1
6
6
Total
7
345
Paper Craft
Raw material store
1
20
20
Cooking area
1
30
30
Drying area
1
25
25
Collecting area
2
10
20
Design room
1
40
40
Finished store
1
25
25
Learner area
1
20
20
Toilet
2
8
16
Pantry
1
6
6
Total
8
202
Training
and
research block
Conference room
1
75
Computer room
1
50
A/V room
1
50
Class rooms
3
Library-
main
50
1
stack
Reading area
2
150
0.35-
75
0.55k
1
Issue counter
2
50
5
50
Photocopy
1
12
Ref. area
1
125
Library office
1
15
E-library
50
Total
9
702
Cafeteria
Kitchen
1
50
Washing
1
8
Indoor sitting
80
1.3
104
Outdoor
30
1.5
45
91
Service counter
1
5
Cash counter
1
4
Store
1
20
Toilet
1
6
6
Total
10
242
Multipurpose
hall(150p)
Main hall
Projection
1
control
150
1.5
225
1
25
Greenroom
1
36
Store
1
12
room
Guest rooms
35
Total
11
333
Souvenir shop
Account section
1
8
showroom
5
50
250
Shops
5
20
100
Store
1
35
Rest room
1
10
Total
12
403
Other facilities
Service room
1
20
Store
1
20
Generator/machine
1
120
Washroom
2
20
Clinic
1
120
room
Total
300
92
13
Gallery
and
Exhibition space
Reception
1
25
25
Permanent
1
150
1
425
collection
Exhibition
gallery
Store
4
25
Curator's office
1
Toilet
2(3U,3
100
15
10
20
W/C)f
or 50200
person)
Total
14
735
Accommodation
Men's dormitory
1
(8.36
20
289
20
213
-11)
Women's
1
(8.36
dormitory
Staff
Quarters
-11)
8
560
(8@70)
Total
1062
93
ANALYSIS
TOTAL SITE AREA- 20614.3230 SQM
BUILT UP AREA- 5809 SQM
CIRCULATION AND STRUCTURE @35% OF BUA- 2033
TOTAL BUA- 7842.15 Sqm
DESCRIPTION
AREA
PERCENTAGE
Total area
20614.3230 sqm
100%
Ground coverage
5809 sqm
30% of total area
Total built up area
7842.15 sqm
40% of total area
Parking no. of vehicles
200(bike+bicycle), 20car, 5bus
(2.5sqm,12.5sqm,48sqm)
1000 sq.m
5% of total area
Parking area
94
13. CONCEPT DEVELOPMENT
Basis
The main objective of the project ‘Eastern Craft Center’ is to create an institutional space
that helps to practice, learn and encourage the traditional forms of art and crafts. These kinds
of arts and crafts are losing its essence and value and only few of the expertise are left
continuing these activities. Due to this, the importance of traditional arts and crafts has been
lost and people are losing interest in it. In our eastern region, artists and craftsmen are facing
certain problems as they are not given the importance and respect that they deserve.
Institutionalization of such kinds of arts is not present in current scenario and is only limited
to homes of oneself. So, this may be the certain problem and hence this project is developed
as the catalyst for solving problems. Not only institutional space but also a promotional
space is necessary for theses arts and crafts to survive in the commercial world.
Therefore, Eastern Craft Center helps in reviving the declining art forms through the means
of formal education with the promotional activities in our society.
95
13.1 CONCEPT
ART is an expression- feelings, belief or characters which is made visible by form whereas
ART AND CRAFT CENTER is a functional community centre with the specific purpose
to encourage art practices and to provide facilities as gallery, workshops and other governing
facilities.
Handicrafts reflect the pristine culture of the country. In the traditional period, the crafts are
made on the stone and wood of the temple with religious values and now a day the crafts are
not only made for temples for other purposes also. Ancient arts and crafts and the designing
of temples, like that of religious images, sculptures etc of temples with religious and spiritual
values are coded in a craft text books called ‘SHILPASHASTRA’.
SHILPASHASTRA deals with arts and crafts such as forming statues, icons, stone murals,
paintings etc and every design offer the symbolic representation of nature such as Earth,
Air, Water, Fire, Space.
Graphical representation of 5 elements of Nature
Educational
Educational
Administrational
Administrational
Promotional
Promotional
The programmes are divided into three zones – Educational, Administrational and
Promotional. Promotional zone represents the water element as there is the active movement
of public. Administrative zone represents the fire element where as fire element acts as a
connecting element between earth and space and hence administrative zone is connecting
and governing element between the two spaces. And Educational zone represent the earth
element as it is the stable and foundation part of the project. These are the three spaces
representing the different elements. The air and space element always represent the open to
sky spaces so the courtyard spaces are designed in each of the units.
96
13.2 SITE APPROACH- CONCEPT
• As site is surrounded by temples- three of the main shrines are located in
triangulation.
•
Strong axis of triangulation tilted in certain degrees that fit the site, acts as a base
for design.
BUDASUBBA
TEMPLE
DANTAKALI
TEMPLE
PINDESHWOR
TEMPLE
The triangular part acts as a strong base in which the units representing 5 elements of nature
are placed above it. The triangular points show the three religious shrines and the motive is
to design within the religious shrines such that the structure act as an artistic landmark and
get exposed to large number of people visiting the temples.
97
13.3 ZONING
The three functional elements of the project is the basis for the zoning. Site is surrounded
by two roads where as the junction being as a public zone which holds the promotional
events and attracts public. Semipublic zone holds the administrative services which controls
both zones and private zone covers the educational part- workshops, research block and
dormitory. The elements are further divided in site as follows-
PARKING
DORMITORY
SEC.
ENTRY
DORMITORY
WORK
SHOP
SEC.
ENTRY
WORKSHOP
RESEARCH
BLOCK
COURTYARD
CAFE
MULTI
PURPOSE
COURTYARD
ADMIN
GALLARY
COURTYARD
GALLARY
SCULPTURE
GARDEN
TERRACE PLAZA
ENTRY
TERRACE PLAZA
PARKING
INITIAL ZONING- BUBBLE DIAGRAM
INITIAL ZONING- BUBBLE DIAGRAM
98
Response to contour
Designing along the contours of the site, adjusting according to the requirements. The site
consists of moderate contour of 15 meters with contour difference of 1m. The height of these
contours is used to show hierarchy and required privacy.
13.4 DESIGN DEVELOPMENT- Distribution of activities
From the site analysis, concepts and functional zoning, master plan was developed.
Entry:
The entries are provided on the nodes of the triangular base. The main entry to the site in
east direction is given from 0m level of road leading to the public zone in which a person
get exposed to a large open space. The service entry is given from 4m level and the third
entry from west direction is given from 15m level connecting the private dormitory space.
In front of the main entry there is pavilion.
Gallery space:
As a visitor enter to the site at 0m level through the main entry, they can
see a large raised platform with large mass building. The steps and
ramps leads upto 2m level. The visitors enters through the large
colonnades to the temporary display o f arts and crafts made by students
as well as professionals. The courtyard space of gallery consists of a
water body.
There is a two way stairs leading upto the 3m
level- souvenir shops with two exit side by side. At the west side,
staircase connects up to the first floor with the temporary exhibition
halls and souvenir shops and the third floor consists of the
permanent gallery. The circulation is selfdirective.
Administration:
The administration sector is dedicated to the institutional sector. It
holds the main function of administration being account section, head
offices, staff room, meeting rooms etc.
99
Next to admin area there is a multipurpose hall accommodating 130
people. It has a easy access from gallery and can be used for events,
training sessions etc and on the upper floor is the library for the
students. There is a spill out spaces from the hall which has a stair
connection to the 9m level open spaces. The third floor consists of
clinic for the students. Courtyard allow the air movement and
interaction spaces.
Studios and Workshop:
This is the educational zone which consists of different studios. It is
four storey in which the ground floor is dedicated to wood workshop,
first floor- metal workshop, second- stone workshops and fourth
floor as a theory block. The theory block has theory classrooms,
computer labs, A/v rooms and conference halls. Studios for 20
students are provided. Central courtyard provides interaction spaces
for students. The services are provided in this block through the
ramps which connects to the first floor and raw materials are
collected in each section through small service lifts. Workshops at 5m level faces towards
the north to obtain the north diffused lights and an easy work flow is maintained.
Dormitory:
Dormitory is necessary in any of the institutions. This facility
is provided for those who are from far and cannot afford proper
shelter. Total of 40 students are accommodated in dormitory in
which the two section is connected by a café at ground floor
and the upper floor is directly connected to the west entry.
Small OAT has been provided as a communal space. And for
staffs, 8 studio apartments are provided with a collaborative
central space at 8m level. Staffs and student dorms are buffered
with vegetation and it is oriented towards the east where they can have a scenic beauty. To
capture the wind flow from east, staff quarter is made one storey and student dorm with two
storey.
100
Cafeteria:
Cafeteria is placed in such a way that it connects all the units. It is
designed for 110 people and the outdoor sitting is also provided.
Next to it a large water body is placed which provides a serene and
a clam environment.
Outdoor and plaza spaces:
Rest of the spaces are designed as a recreational zones. Terraced sculptural garden is
designed where the artistic sculptures are installed at different levels and this result as an
attracting point for people walking through two roads of site. Existing trees are preserved
and different varieties of trees are planted. This also act as OAT spaces during promotional
activities. Different green spaces are provided for different purposes.
Towards the entrance a large sculpture of Viswakarma god is placed- which represent the
myth that the site Vijaypur was made by Viswakarma for gods shelter and when gods started
to reside they made a linga and named it Pindeswor.
And also in our society people worship crafts and craft
tool in Viswakarma puja. The main theme of the
landscapes is to provide a flexible multi-functional
space for public.
13.5 FORM DEVELOPMENT
Acts as a Datum
Intersecting of planes
Acts as a Datum
Intersecting of planes
Final form- As a
sculptural mass
Final form- As a
sculptural mass
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FORM CONCEPT- Architectural Expression
MONUMENTALITY
•
It is a spiritual quality which is inherited in a structure that conveys a feeling of
immortality.
•
It is concerned about the physical structure, strength and a building material for the
spiritual qualities inherent in such matters.
•
Not only buildings in classical times was built on a monumental scale, but also the
important buildings in every phase of history is constructed with memorable
monuments- palace, government buildings, religious buildings, museums etc.
•
Besides the quality of spiritual, physical, strength and building materials are
important things in showing the impression of monumental buildings.
•
Architecture that comes with the monumental impression can be a landmark for the
region or a city.
The gallery part of building is oriented towards the main visual axis of the site and the other
parts is oriented towards the longitudinal road axis. The front elevation is developed almost
symmetrically along the visual axis. Variations are seen in the building height due to the
contoured site.
Front façade
( along symmetrical axis )
Longitudinal east façade
Exposed bricks and woods are used to
match the vernacularity of the place.
Horizontal and vertical glass openings are
used as a notion of modernity. Angled
shading devices are used for the thermal
comfort which provides a rhythmic effect on the facades. Such forms and materials are used
to make contrast in the surrounding so that people can perceive it as an art building.
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Mostly slope roofs are used in locality so the varieties of
slope roofs is designed. water features in the landscape
varied in between structures makes air pass through it more
fresh and cool.
Jali walls, a perforated brick screen are made which utilizes
natural air movement to cool the interior and create intricate
patterns of light and shadow.
The outdoor retaining walls are made green walls with
niches in it which provides space for showcasing different
items of art.
14. SERVICES
Sources of water will be from the near by water supply. The size of water tank is determined
by calculation which is given below.
Calculation of water demand
Description
No. of persons
Water
Total
demand/day
lpcd
Exhibition
200
40
8000
Admin
25
45
1125
Multipurpose
130
20
2600
Library
30
20
600
Studios
100+8
40
4320
Cafe
100
50
5000
Dormitory
40
100
4000
Total
25645
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Water demand = 25.64 cu.m/day
Water as fire demand = 20% of 25645 lpcd = 5129 litres
Total water demand = 25645 + 5129 = 30774
Capacity of underground tanks = (Eq to 30 cu.m)
Calculation of septic tanks
Waste water disposal is done by collecting all the waste water to the septic tanks along with the
soak pit. Septic tank and soak pit are located at the entrance plaza which is located at the
lowermost part of site.
Water demands = 30000
Quantity of waste water : 75-80% of water consumption
Q = 0.8 x 30000 = 24000 ltrs = 24 cu.m
Retention time = 1-3 days
Volume of septic tanks (V) = Q x t = 24 x 3 = 72 cu.m
Assuming depth of tank, h = 3m
Area= Volume/height = 72/3 = 24 sq.m
Freeboard = 0.5m, height = 3+0.5 = 3.5m
No. of septic tanks = 3
Septic tank size = 6 x 1.5 x 3
Solar photovoltaic panel
Solar panels are designed in southern part of the building ( dormitories and workshops) to
harvest maximum solar energy which helps the craft center to rely on its own source of
energy.
1 PV module (1.2m x 5.5m = 6.6 sq.m ) of 65 watts can generate 0.27 Kw hr/day
-
Area of solar roofs: 1287 sq.m
-
No .of modules: 195
-
Total capacity: 52.65 Kw hr/day ( 4hrs sunshine)
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Rain water harvesting
The roofs of the buildings can be used as catchment area for rain water harvesting.
Total quantity of rain water (Q) = CIA
Where,
C = runoff coefficient = 0.9
I = intensity of rainfall = 1.51 m
A = catchment area
Assuming 10 minutes of rainfall per day,
S.No
Buildings
A(sq.m)
Q(cu.m /year)
1
Gallery
583
792.297
2
Workshops
524
712.11
3
Admin
427
580.29
4
Shops
547
743.37
5
Cafeteria
233
316.64
6
Dormitory
763
1036.91
7
Staff dorm
528
717.55
3605
4899.167
Total
Annual rainwater harvesting potential = 4899.167 cu.m = 4899167 liter
Rainwater harvesting storage tank = 5% of the annual rainwater yield (BS 8515 2009)
Thus the tank capacity of rain water = 5% of 4899167 liters. = 244958.35 liters = 244.9583
cu.m. ~ 245 cu.m.
Therefore 5 rainwater tanks of 49cu.m. has been provided each to collect surface runoff
from hard surfaces and pond. The overflow however is set to flow to the city drainage system
while maximum of the paved area i.e. roadways and pedestrians are made permeable to
charge the ground water table.
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STRUCTURAL DETAILS
SPACE FRAME-ROOF DETAIL
106
15. CONCLUSION
The final design attempts to achieve a physical manifestation of the intents and principles
established during the course of research. Craft is much more than a single activity, that it
is an infrastructure both physical and social. It has a very real architecture around it which
it operates. And what has been lost over time is not just the knowledge of unique practices
but more fundamentally this infrastructure of interaction which was once so integral to daily
life.
Arts, crafts and other forms of traditional cultural expression are closely related to the
identity, heritage and socio-cultural wellbeing of indigenous and local communities.
Tradition referring to cultural expression generally were first created a long time ago, which
have been transmitted from generation to generation and are regarded as pertaining to a
particular people or its territory.
Craft as such are a source of tradition which has been passed on from one generation to the
other. It is our duty to continue this generation of craft, a skill to be preserved and promote.
Eastern craft center tries to achieve this continuation of generation. It will space a space for
craft as well as craft people to house different craft in a single community. It will continue
the culture of craft and inspire people.
Modernization has crept into scene but it is also true, that forgetting our tradition and culture
is like losing our identity. Both should go hand in hand - preserve and develop. Eastern craft
center is a modern achievement where function provided are traditional and based on culture
and society.
Thus, Eastern craft center has tried to achieve a communicable space for craft, craftsmen
and visitors.
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Army, D. o. (1976, August). Unified Facilities criteria.Arts and Crafts Centre.
Balık, D. a. (n.d.). Reinterpretation of Traditional Craft Practices in Contemporary Architecture.
Bernier, R. M. (1984). Survival of Wooden Art in Nepal: Three.
Donkin, L. (21 July 2001). Craft and Conservation: Synthesis Report for ICCROM.
stinky, E. (n.d.). Nepalese Handicraft.
J/V, E. (JANUARY 2018). Integrated urban development plan, Dharan municipality.
Jinal Shastri, 1. (Unitec Institute of Technology, 2017). Artist Village.
Joshep De Chiara, J. C. (n.d.). Time Saver Standards for Building Types, 2nd Edition.
(n.d.). KwaThema plaza, Arts and Crafts centre.
Mohommad-Al-Habi. (2017-2018). Academy of Industrial Arts and crafts.
shah, D. (2017). Craft promotion center, abhapur, polo forest(sabarkatha), Gujarat.
shrestha, K. (2071). Center for Arts and Crafts.
Shrestha, R. (2011 January). Thesis on Craft's Village.
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MODEL IMAGES
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