“CHANNAPATNA TOY MAKING VILLAGE”
TENTH SEMESTER B.ARCH. THESIS
SUBMITTED BY
ABHERI SAJI
SCHOOL OF ARCHITECTURE AND PLANNING
Government Engineering College, Thrissur
Batch 2018-23
SCHOOL OF ARCHITECTURE AND PLANNING
Government Engineering College, Thrissur
CERTIFICATE
This is to certify that the thesis report entitled "CHANNAPATNA TOY
MAKING VILLAGE" submitted by Ms. ABHERI SAJI (TCR18AR002) in partial
fulfillment of the requirements for the award of the Degree of Bachelor of Architecture of the
APJ Abdul Kalam Technological University is a bonafide record of the thesis project work
carried out by her under my guidance and supervision. This report in any form has not been
submitted to any other University or Institution for any purpose.
PROF. JENCY. P. A
PROF. BIJU. C. A
Thesis guide
Internal Examiner
Thesis coordinator
External Examiner
PROF. BINDU. C. A
Head of The Department
DECLARATION
I do hereby declare that the thesis entitled "CHANNAPATNA TOY MAKING VILLAGE” is
a bonafide record of the study done by me independently during the tenth semester B.Arch
degree course in School Of Architecture and Planning, Govt. Engineering College, Thrissur
and the thesis has not previously formed the basis of B.Arch degree courses in any university
or institution. I also declare that I have adhered to ethics of academic honesty and integrity
and have not misrepresented or fabricated any data or idea or fact or source in my
submission. I understand that any violation of the above will be a cause for disciplinary
action by the institute and/or the University and can also evoke penal action from the sources
which have thus not been properly cited or from whom proper permission has not been
obtained. This report has not been previously formed the basis for the award of any degree,
diploma or similar title of any other University.
ABHERI SAJI
Thrissur
2nd June 2023
ACKNOWLEDGEMENT
The past 5 years of my life has been a wonderful experience as I went through my
undergraduate studies in Architecture. I take this opportunity to thank everyone who has had
a major part to play in shaping my thoughts and approach to the discipline.
I express my gratitude to Asst.Prof. Jency P A (Assistant Professor & Thesis Guide) for the
guidance, and constant encouragement throughout the course of this project.
I also express my heartfelt thanks to Dr. Ranjini Bhattathiripad .T (Principal), Assoc.Prof.
Bindu C.A (Head of the department), Prof. Biju C A ( Professor and thesis coordinator), for
their leadership and favourable decisions to support the students throughout the semester.
I owe Assoc.Prof. Surya S, Asst.Prof. Rekha V Kumar, Asst.Prof. Geetha A, Asst. Prof.
Dibini Bulhar, Asst. Prof. Shijna N P, Asst.Prof. Sanu K Thekkath, Asst.Prof. Deepak
Sudhir, Asst.Prof. Devika K C, Asst.Prof.Midhun Leo U, Asst.Prof. Radhika K M,
Asst.Prof. Lakshmi Krishnaraj, Asst.Prof. Prasanth A P, Asst.Prof. Sherin P V ,my sincere
thanks for their guidance and advice at different points through the course of the project. I
also take this opportunity to thank our former class tutor Prof. Reshma M for being with us
from the beginning.
My heartfelt thanks to my parents for being the pillars of support throughout the process.
Above all, I am grateful to science for its endless technologies that made this possible.
Thanks to all my friends for their love and support for one another, for being a family.
1
TABLE OF CONTENTS
CERTIFICATE
I
DECLARATION
II
ACKNOWLEDGEMENT
1
1. INTRODUCTION
1.1. PROJECT INTRODUCTION
1.2. NEED FOR THE PROJECT
1.3.SITE LOCATION
1.4. PROJECT COMPONENTS
1.5. FEASIBILITY
1.6. AIM
1.7. OBJECTIVES
1.8. METHODOLOGY
1.8. SCOPE & LIMITATIONS
1.9. CASE STUDIES
9
9
12
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13
13
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14
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15
2. BACKGROUND STUDY
2.1. CHANNAPATNA
2.2. CULTURAL SIGNIFICANCE
2.3. POPULATION OF CHANNAPATNA
2.4. WORKERS OF CHANNAPATNA
2.5. HOUSES OF CHANNAPATNA ARTISANS
2.6. GENERAL CHARACTERS
2.7. TOYMAKING COMMUNITY NEAR THE SITE
2.8. ACTIVITY
2.9. RAW MATERIALS
2.10. TOOLS AND MACHINES
2.11. COLOUR MAKING PROCESS
2.12. TOY MAKING PROCESS
2.13. WORK SPACES
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3. CASE STUDY
3.1. KHAMIR CRAFT CENTRE
3.2. MAYA ORGANIC TOY FACTORY
3.3. THE LIVING AND LEARNING CENTRE
3.4. BAMBOO RESEARCH TRAINING CENTRE
3.5. ART AND CRAFT STUDIOS
3.6. DAKSHINACHITRA HERITAGE VILLAGE
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37
41
51
56
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4 . COMPARATIVE ANALYSIS
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2
5 . DESIGN BRIEF
6. SITE ANALYSIS
7 . DESIGN
7.1. ZONING
7.2.CONCEPT
7.3.LAYOUT
7.4. FLOOR PLANS
8. SPECIAL TOPIC
8.1. INTRODUCTION
8.2.CASE STUDY
8.3.CASE STUDY - Aspen Art Museum
8.4.APPLICATION
9. BIBLIOGRAPHY
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LIST OF FIGURES
Fig 1.1 Wages diagram
Fig 1.2 News report
Fig 1.3 News report
Fig 1.4 Site location
Fig 1.5 Components
Fig 1.6. Case studies
Fig 2.1 History timeline of Channapatna
Fig 2.2 Channapatna toys
Fig 2.3 Channapatna toys
Fig 2.4 Craft oriented areas
Fig 2.5 Urban fabric
Fig 2.6 Evolution of streets and buildings
Fig 2.7 Road network
Fig 2.8 Nodes
Fig 2.9 Connections to railway
Fig 2.10 Traffic count per hour
Fig 2.11 Channapatna population
Fig 2.12 Type of workers
Fig 2.13 Employment status
Fig 2.14 Houses of artisans
Fig 2.15 Houses
Fig 2.16 Toymaking community near the site
Fig 2.17 Street pattern
Fig 2.18 Massing of houses
Fig 2.19 Streets view
Fig 2.20 Streets
Fig 2.21 Toymakers house
Fig 2.22 Activities
Fig 2.23 Materials
Fig 2.24 Tools and machines
Fig 2.25 Colours
Fig 2.26 Process
Fig 3.1 Khamir craft centre
Fig 3.2 site layout
Fig 3.3 Built spaces
Fig 3.4 Built and unbuilt spaces
Fig 3.5 Concept diagrams
Fig 3.6 sections and views
Fig 3.7 workshops in Khamir
Fig 3.8 Functional analysis
Fig 3.9 Maya organic
Fig 3.10 Workshop floor plan
Fig 3.11 Activity mapping
Fig 3.12 Typical arrangement in workshops
Fig 3.13 Toy making Machine
Fig 3.14 Toy making Process
Fig 3.15 LLDC
Fig 3.16 Site plan
Fig 3.17 Ground floor plan
Fig 3.18 Gallery 1
Fig 3.19 First floor plan
Fig 3.20 Galleries circulation
Fig 3.21 exhibits
Fig 3.22 Skylights
Fig 3.23 Spotlights in galleries
Fig 3.24 Classroom and workshop floor plan
Fig 3.25 Printing blocks
Fig 3.26 Service room
Fig 3.27 Recharge tank & Fire pump room
Fig 3.28 Fenestrations on facade
Fig 3.29 Bamboo research centre
Fig 3.30 site layout
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Fig 3.31 Zoning
Fig 3.32 Components
Fig 3.33 Floor plan
Fig 3.34 Floor plan zoning
Fig 3.35 Academic block section
Fig 3.36 Art and craft studios
Fig 3.37 Site location
Fig 3.38 Massing , symmetry and geometry
Fig 3.39 Zoning
Fig 3.40 Floor plans
Fig 3.41 Circulation
Fig 3.42 Interior of the studios
Fig 3.43 Interior of the studios
Fig 3.44 Exterior analysis
Fig 3.45 Dakshinachitra heritage village
Fig 3.46 Dakshinachitra
Fig 3.47 Four divisions in Dakshinachitra
Fig 3.48 Site plan
Fig 3.49 Zoning
Fig 3.50 Waterbody
Fig 3.51 Built spaces and open areas
Fig 3.52 Form and function
Fig 3.53 Circulation
Fig 3.54 Pedestrian path
Fig 3.55 Craft centre & Artisans complex
Fig 3.56 Vegetation in Dakshinachitra
Fig 6.1 Site in the map
Fig 6.2 Key plan
Fig 6.3 Site plan
Fig 6.4 Site plan
Fig 6.5 site Views
Fig 6.6 Roads near the site
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Fig 7.1 zoning
Fig 7.2 Concept
Fig 8.1 Lumber Curtain
Fig 8.2 Lumber Curtain
Fig 8.3 Facade connections
Fig 8.4 Facade views
Fig 8.5 Sectional view
Fig 8.6 Aspen art museum
Fig 8.7 Structure
Fig 8.8 Wood facade
Fig 8.9 Connections
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LIST OF TABLES
Table 1.1 Methodology………….…..………..…...…. . ………………….… ..……..14
Table 2.1 works and spaces………….…..………..…...…. . ………………….…..….30
Table 3.1 Area statement………….…..………..…...…. . ………………….. ..……..36
Table 3.2 Area statement………….…..………..…...…. . ………………….. ..……..60
Table 4.1 Comparative analysis………….…..………..……………………......…….71
Table 5.1 Design brief…………….…..………..…...…. . ………………….. ..….….72
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1.INTRODUCTION
1.1.
PROJECT INTRODUCTION
Channapatna, a village in Karnataka is a homeland of wooden toys. the village also known as
‘Gombegala ooru’ and the people there has been making the toy for more than two decades.
Channapatna Toys are not mere toys. They are the main livelihood for a majority of people in
Channapatna.
Toy making has been the livelihood for almost 70% of Channapatna’s population for
centuries. Though the place carries the luxury of a patna (city) in its name, it is a small village
with narrow, muddy roads, huts and thatched roof workshops. Apart from the numerous
toyshops on both sides of the highway that display colorful toys, nothing is colorful about the
village, as the villagers struggle to make both ends meet.
1.2.
NEED FOR THE PROJECT
Decreasing demand in the Channapatna toys and the people loosing interest in toymaking
because of less opportunities. Due to the low wages and struggle makes their children
hesitant to take the toy making business.The middlemen, traders, & exporters snatch the
profit of the industry.Difficulties in exporting.Limited facilities don’t address the actual
problems of toy makers.The facilities implemented by government are inadequate.
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Fig 1.1 Wages diagram
An artisan makes less money on average than people who work in the construction, bamboo,
or silk industries. This is one of the primary causes of the decline of artisans who engage in
the craft form. Figure 3's bar graph displays the number of artisans who have registered with
the Karnataka Handicrafts Development Corporation (KHDC). Over time, there have been a
sharp decline in the number of registered and active artisans.According to market research
estimates, there is an increase in demand for eco-friendly wooden toys all over the world.
More parents and educators are aware of the dangers of plastic and how it affects children's
health as well as the environment.
This presents a chance to increase the manufacturing and sales of wooden toys. The Indian
market for wooden toys, which currently only accounts for a small portion of the country's
overall toy sales, is predicted to expand at a compound annual growth rate (CAGR) of 25%
over the next five years
(https://www.reportlinker.com/p03812874/Toys-Market-in-India.html, 2021)
Decline in Chinese Export - Customs duty hike & Improved quality norms
Customs Duty on toys, tricycles, scooters, scale models and dolls has seen a steep increase
from 20% to 60%. Labour wages in India has improved in India over China too. The
10
improved quality norms for import products have made the import of cheap quality chinese
toys decline to 50% in India
Fig 1.2 News report
Fig 1.3 News report
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1.3.SITE LOCATION
Site is located near the Toy making communities , 600m away from the Channapatna town
centre.
Site situated along the SH 17 Mysore road.
Site has Views from the nearby Kunnir katte pond.
Can easily reach the artisan communities from the site.
The homeland of wooden toys , Channapatna is now in decline. Lack of opportunities,
exploitation , lack of awareness of the toys around the country itself are all affecting the
channapatna toys sector at its bottom level.
Fig 1.4 Site location
1.4. PROJECT COMPONENTS
The goal is to promote and increase Channapatna's growth potential through effective
marketing assistance, product training, support for infrastructure development, and
sustainable income. The artists receive facilities and platforms to display their work and the
village's history to tourists.
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Fig 1.5 Components
1.5. FEASIBILITY
Channapatna is the toy hub of Karnataka.This traditional craft is protected as a geographical
indication (GI) under the World Trade Organization, administered by the Government of
Karnataka.
A facility can consolidate many activities linked to the production of wooden toys, trade
facilitation, training, and designing in one location. The channapatna toy industry may benefit
from this by having a stable future.
1.6. AIM
- To find an architecture solution for deriving a centre to preserve the heritage of channapatna
and to promote the Channapatna toymaking community.
1.7. OBJECTIVES
- To collect and study the lifestyle of Channapatna Artisans.
- To conduct case studies and acquire inferences from it.
- To study site features and analyse possibilities of design.
- To design a Toy making & skill development centre for the upliftment of Channapatna
people.
- To design a museum that showcase the history of channapatna toys.
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1.8. METHODOLOGY
Table 1.1 Methodology
1.8. SCOPE & LIMITATIONS
Scope - The upliftment of the toy making community through the tourist village.
In one site, a complex can consolidate several activities related to the manufacture of wooden
toys, trade facilitation, training, and design. The channapatna toy business may profit from a
solid future as a result of this.
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1.9. CASE STUDIES
1. Khamir Craft centre
2.Maya organic toy factory
3.LLDC, Gujarat
4.Art & craft studios
5.Bamboo research & Training centre
6. Dakshinachitra heritage village
Fig 1.6. Case studies
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2. BACKGROUND STUDY
2.1. CHANNAPATNA
Channapatna Also Known as "the land of toys" is a city and taluk headquarter in Ramanagara
District, Karnataka, India.
Channapatna is Famous for its wooden handicrafts. This town has a rich cultural history and
is home to a seasoned artisans practicing their craft from hundreds of years.
Channapatna is approximately 60kms from Bangalore and 80kms from Mysore.
Gombegala Ooru is a locally popularly town known for business since the Tipu Sultan era.
The handworks consist of beautiful wooden products shaped like toys, puzzles, keychains,
wall hangings and other decorative art pieces including kitchenware. Ivory-wood was used to
make these products.
Fig 2.1 History timeline of Channapatna
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2.2. CULTURAL SIGNIFICANCE
The Channapatna toys and artisan is a two- century-old industry. It was initiated by Tipu
Sultan in the 18th century. Ivory wood known as Aale Mara was initially used was used in
making these toys for nearly a century.
Artisans who learnt the craft settled in Channapatna,while some settled about 5km
from his capital Srirangapatna and that's how the town's association with toy began.Toy
manufacturing on Japanese technology,Bavas Miyan,the father of Channapatna Toys,
dedicated time in learning and training interested artisans, helped them in improving their
skills.Wood cutting machines, turning machine etc where brought into factories by him
making production easier.Eventually, sandalwood,rosewood,teak,rubber and other forms of
wood were used.
Fig 2.2 Channapatna toys
A few years into the trade game, the Channapatna toys began to score down due to cheaper
Chinese products placing higher market stakes.
It was then that the Karnataka Government helped it gain momentum on a global level
too.Maya Organic is a Bengaluru based NGO established with the intent to promote the
17
exquisite art of Channapatna.IFolk Channapatna toys and handicrafts, a group formed by
Bharath Art and crafts,
promotes and supports lacquerware artisans to do innovation and modernisation of their
products. Ifolk was formed to honour School Bavas Miyan (father of modernisation of
Channapatna toys)
Fig 2.3 Channapatna toys
Fig 2.4 Craft oriented areas
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URBAN FABRIC
The urban fabric is dense around the Channapatna town. The interior areas have scattered.
Fig 2.5 Urban fabric
EVOLUTION
The streets remain unchanged but the residential areas have gone denser. new comercial
buidings, small workshops are also seen in between.
Fig 2.6 Evolution of streets and buildings
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ROAD NETWORK
Road network is evolved in irregular grid pattern. The highway divides the town into two half
with of the highway NH 275- 25 m with arterial roads 6 m width arterial roads 3 m.
Fig 2.7 Road network
NODES
High traffic intensity is seen at the most of the major nodes. The traffic from four lane 25 m
wide road is being squeezeed into 6 m wide arterial road this is one of the reason for traffic
congestion in the area traffic count is very high compared to with of the roads in the area.
Fig 2.8 Nodes
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Road connecting to railway is a two lane 12 m road.
Fig 2.9 Connections to railway
The peak traffic during day time on this is observed at 10:00 AM – 11:00 AM and the peak
traffic during night time is observed at 8:00 P.M – 9:00 PM.
Fig 2.10 Traffic count per hour
2.3. POPULATION OF CHANNAPATNA
The population of Channapatna sub district is 261304 people, among them about 130408 are
male and 130896 are female. Total number of house holds in Channapatna Teshil is 62384.
Total Literates persons are 165887 in which total male literates are 91666 and female literates
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are 74221. Under the age of six years child population of Tijara tahsil is 25383, among them
12968 are boys and 12415 are girls.
Fig 2.11 Channapatna population
2.4. WORKERS OF CHANNAPATNA
Fig 2.12 Type of workers
Fig 2.13 Employment status
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2.5. HOUSES OF CHANNAPATNA ARTISANS
Most of the houses are Single storied or double storied buildings.The artisans mostly live in
single storied houses with sloped roof. Currently in Channapatna there reside about 5000
families which still carry a link with the soon diminishing craft.
The residents occupy this area from the time of their ancestors. Staircases are provided from
the outside for to let or for the mixed use of the buildng. Single story traditional buildings
have sloped roof ade with curved terracota tiles. Materials used are brick,concrete, teracota
roof tiles.Exterior of the buildings are painted with bright colours.Houses are compact in
plan.In some of the renovated houses, A room in the front area is dedicated to toymaking.
This is mainly for using the electrical machines for the toymaking.
Fig 2.14 Houses of artisans
2.6. GENERAL CHARACTERS
Houses are brightly coloured.Some houses have a front verandah where they sit and work
together.Compound walls are absent for the units and don't have proper setback from road
of neighbouring buildings.Most of the recently built houses don't have a sitout area and the
main door directly opens towards road. Flat roofed buildings are like box structure with
less ornamentation. the sunshades given are also very small in size.
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Fig 2.15 Houses
Some of the artisans have started coming together forming small shops so that they can work
together.3-4 Artisans works in a group converting small buildings into shops.
2.7. TOYMAKING COMMUNITY NEAR THE SITE
The artisans community near the site consists of dwellings of the toymakers, toy producing
workshops of artisans working together and toy shops, emporiums etc.
Fig 2.16 Toymaking community near the site
STREET PATTERN
Orthogonal grid pattern in the arrangement of streets.
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- single streets
- Double streets
Fig 2.17 Street pattern
MASSING OF HOUSES
No Common walls shared between the houses.Space in between the buildings.Some old
single stories houses
converted into workshops.Workshops and retail shops are located
between the houses.wood workshops or wood cutting and polishing small centres are situated
in the surroundings of the retail shops.
Fig 2.18 Massing of houses
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STREET CHARACTER
Single storied and double storied residential buildings.
Traditional single-story buildings have a sloped roof made with curved terracotta tiles. Brick,
concrete, and terracotta roof tiles were used as building materials. The exteriors of the
buildings are brightly coloured. Houses have a compact floor plan.The renovated houses with
in the past 15 years has flat roof.Coexisting traditional and modern architecture. styles from
different eras present.
Fig 2.19 Streets view
Fig 2.20 Streets
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Fig 2.21 Toymakers house
2.8. ACTIVITY
4-6-8 am - Religious activities
Temple visit, socialising
9am - 6pm - Toymaking related activities
5pm - 8 pm - religious activities
4- 6pm - socialising
Fig 2.22 Activities
2.9. RAW MATERIALS
One of the most basic and essential raw materials used in making Channapatna toys is wood.
The artisan requires a special kind of wood to make these toys. The wood used in this craft
27
should be light in weight, closely grained and easy to work with. A particular kind of tree
called Alamara, which is naturally found in abundance in this geographical area, is used for
making toys. The wood from this tree is suitable for toy making as it is easy to cut, process
and finish. Apart from wood the artisan also use lacquer of different colors to paint the toys.
Fig 2.23 Materials
2.10. TOOLS AND MACHINES
Files and chisel: Artisans use a lot of tools to shape the wood in other to develop a product.
Different shapes and size of files and chisels are used by the craftsperson. Vernier caliper,
hammers, and divider are also used in the context of toy making.
Lathe Machine: At conventional level artisans use hand lathes to make the toys but on bigger
scale production mechanized lathes are used. In work-sheds, a single motor is used to run the
8 small lathe machine. These motors run on electricity and have conveyer belt connected to
one end, which runs the other small lathe machines. These machines are customized by the
craftsmen and can be dismantled and assembled anywhere. To stop the lathe the belt is
manually removed from the main line and the lathe gets switched off, without affecting the
other lathes.
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Fig 2.24 Tools and machines
2.11. COLOUR MAKING PROCESS
Process of making colors:
● The artisans first prepare vegetable dyes, which are dried naturally.
● After drying it hardens a little and then it is made into colored sticks.
● The colors are then added to hot lacquer and mixed properly so that the colors blend
uniformly with the lacquer.
● Once the colors are mixed these are then made into sticks and dried.
Fig 2.25colours
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2.12. TOY MAKING PROCESS
Fig 2.26 Process
2.13. WORK SPACES
Table 2.1 works and spaces
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3. CASE STUDY
3.1. KHAMIR CRAFT CENTRE
Location : Kukma , Bhuj , Gujarat
Architects : Ar. Neelkanth Chayya
Design team : Hunnarshala foundation
Ssite area : 8093.71 Sqm
Building area : 2500 Sqm
Completion year : 2007
Topography - Gentle contours
Climate - Average temp. in summer 31°C. In winters it drops to ab0ut 12°C.
Fig 3.1 Khamir craft centre
Khamir is a platform for the crafts, heritage and cultural ecology of the KUTCH region of
Gujarat. I nstituted after the earthquake of 2001, it is a space for engagement and
development of Kachchh's rich creative industries.
31
Khamir works to strengthen and promote the rich art and traditions of Kutch district.
Moreover the campus design is responsive and sensitive towards the user groups. The
campus is planned in a way which comes together through fragmented notions in
coordination with the existing context and scale of the region.
Site Layout
Fig 3.2 site layout
Fig 3.3 Built spaces
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70% of the total area consist of open areas which acts a s circulation area, workshop area.
Most of the activities occur in these areas more than the built area.
The void organizes the Surrounding and is necessary to make it workable.Permits circulation
among the path admit light and air
Fig 3.4 Built and unbuilt spaces
Concept
Concept of planning - this center is derived from the local streetscape and village pattern
noted before the earthquake .
Y shaped branching of streets forming interconnections at regular intervals.
Chowks which further form village settlement.
Every house had an internal courtyard.
which is either placed at the entrance forming an entrance courtyard which is open to the sky
or an internal courtyard which is connected to other spaces.
33
Fig 3.5 Concept diagrams
Typical street layout
The planning of khamir is done in the same manner as of the village street layout
forming chowks and courts. As an accelerator for community spaces throughout
the campus. It establishes a kind of urban approach having intergrity and involvement.
Fig 3.6 sections and views
The courtyards of khamir are planned similar to the courtyards in the houses such that it has
both semi covered, covered and internal courtyards which are connected to each other which
becomes the major activity areas.Mostly two storied structures interconnected by courtyard
for light and ventilation.It is a human scale structure which is connected to the ground. The
height width proportions of the courtyards and streets provide shade for most of the day.
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Fig 3.7 workshops in Khamir
Functional analysis
1.Administration Office
2.Office Space and studio space for 7 craft focal points
3.Service Centre for documentation design
4.Facilities for regional natural and chemical dying
5.textile laboratory
6.tailoring unit
7.raw material depot
8.collaborative spaces for demonstration and learning
9.meeting and exhibition halls
10. Private Residences and dormitory
11.dining hall and canteen
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Fig 3.8 Functional analysis
Table 3.1 Area Statement
36
The locally available materials rammed earth, rubble stone, wattle and daub, light weight
metal lath plaster and panelling are used effective.
Designed in response with the climate, openings are made small in such a way withoutletting
sand and dust enter inside and filter the light coming.
The movement through the verandas of the workshop buildings across a series of shaded
courtyards recreates the winding patterns of the village, from courtyard to courtyard, from
one house to another.
The residential buildings are more humble in comparison with the others. They are carefully
positioned in the relatively private and calm diagonal extreme of the campus.
Manifestation of the idea of local availability and sustainability. Disaster resilient techniques.
Clubbing of courtyards and activities.New techniques like POP sculptures wall.The site
selection criteria should be based on the location of the users.
3.2. MAYA ORGANIC TOY FACTORY
Location - Channapatna
Fig 3.9 Maya organic
Maya organic assists artisans and worker co-operatives to develop and market high quality
products and services. Maya Organic supports skill development of workers and ensures
access to health and education facilities.
Workers usually work for 3 to 8 hours daily and a paid around for rs 400 per day.
Maya manufacturers good which can be categorised mainly into three categories
37
- push and pull toys
- Montessori toys
- home accessories
The most popular toy that they make is Kabi. raw materials is used are all organic natural and
free of chemicals the would have to dry before seasoning to avoid fungal at that various
methods are used for processing the wood
PROCESSING OF WOOD
smoke to dry the wood which takes around 15 days for the wood to dry out rather than taking
2 months if done through usual method palm leaves are used to spread the colour over and for
giving a glossy finish.
The wood is usually cut into length of 3 inches. The product passes through QC twice and
then goes for packaging colouring natural first grade lakh is used which is completing on
toxic which is mixed with natural colouring materials.
A typical workshop consists of spaces mainly for toy making, storage, seasoning room,
assembly , and packaging etc.
Fig 3.10 Workshop floor plan
Toy making room
Area - 215 .23 sqm
This space is where the process of cutting the wood into pieces to finishing the toy joining the
components happens.
the room is divided into 3 parts.
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in the first area the cutting of the seasoned wood into desired size happens. then it is stored.
A storage room is provided in the middile to store the cut wood pieces and materials which
then easily used by the other workers.
Other section is where the shaping and painting of the wooden toy occurs.
Assembly
Area - 38.35 sqm
The toys which are made then assembled in this room for checking and testing.
this is to make sure that the toys are completely safe for the children.
Packaging
Area - 56. 25 sqm
The packing of the toys which passed the tests are done in this room. and the packed products
aare stored kept ready for sale delivery.
The packaging room is adjacent to the loading and unloading area.
Fig 3.11 Activity mapping
39
The production of a toy begins with the acquisition of raw materials, which are obtained from
local wood suppliers and then seasoned for 1-3 months depending on the size of the planks.
Though the government supplier provides seasoned wood, the craftsmen choose to acquire
the wood locally and season it themselves to save money. The seasoned wood is chopped into
various sizes based on the requirements.These little pieces are installed on a lathe machine
and fashioned into spherical, round, or oval forms according to the design using various types
of chisels. After that, the surface of the shape is smoothed using sand paper.The lacquering
process begins once the wood has been moulded to the appropriate shape. The artists press
the lacquer stick against the wooden item while it is still on the lathe, and the lacquer is
attached to the wood owing to the heat caused by friction.
Using a dried palm leaf, the lacquer is distributed evenly across the surface. This also adds
lustre and sheen to the product.
Artists typically use a Vernier calliper and divider to measure size and maintain accuracy.
Once completed, the object is removed from the lathe and further surface ornamentation or
assembly of distinct sections (if the toy is formed of two or more parts) is completed. At this
time, further ornamental works on the toy's surface are also completed.
Fig 3.12 Typical arrangement in workshops
Fig 3.13 Toy making Machine
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Fig 3.14 Toy making Process
3.3. THE LIVING AND LEARNING CENTRE
Location - Ajrakhpur, Kutch, Gujarat
Architects - Uday Andhare & Mausami Andhare
design team - Mitesh Panchal, Sayali Andhare
Site Area - 8 acres (33000 sqmts)
Completion Year - 2015
Built up Area - 11150 sqm
Climate - Tropical deserted climate
Topography - contoured
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Fig 3.15 LLDC
The living and learning design Center (LLDC) was conceived as a project during this time. It
was meant to be a ‘place’ that would becomes a tactile and visual repository of the various
crafts of Kutch. Its primary role as a resource center for artisans doubles up as a public
museum and place for demonstrative, hands on learning.
Fig 3.16 Site plan
The Eastern entrance leads to a central forcourt-with planted trees To the south is the entrance
to the exhibit spaces-buffered by a two entrance waysGround floor is contains an auditorium
too next to the exhibition hall. The second floor can be accessed through several flight of
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steps from the entrance wayThe exhibit space on the first floor is accompanied by other
exhibit spaces on the south.
No separate service entry.
A road goes around the building throughout the site which used by service vehicles.
Parking
35 Car parking provided at the entry.
Vey limited vehicle entry inside the compound ( visitors vehicles are strictly not allowed.)
Materials
Lime+Sand+Crushed Brick = Lime Mortar , Gauged lime mortar- used in the masonry
work, Natural lime plaster
Marble + Tile flooring
White Tile roofing
Fig 3.17 Ground floor plan
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Viewing Galleries are set in different levels Ground floor - access to the gallery is through the
rear.This makes a walk around the gallery to access it - giving a preview through glass
partition on the way. Climate response plays an integral part in museum experience .
Climate responsive design here makes summers cool and winters warm creating comfortable
user experience.
Exhibits in the first gallery are the early craft work and the equipments that used for making
them. In this gallery every exhibits are protected by glass partitions.Displays to show the
story of early ages of Kutch art.
Fig 3.18 Gallery 1
Hands on gallery
This zone allows the visitors to try out the craft under supervision and guidance. This gives
the visitor a varied and exciting experience.
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Fig 3.19 First floor plan
Gallery 1 - Basic research , datas collected for research, Temporary exhibits
Gallery 2 - After research - exhibited
Museum galleries 2 and 3
The exhibits in the galleries changes according to the research.
The Exhibits that are displayed in this gallery are the part of researches that they are currently
having.Open displays and one with glass partitions are seen. open displays are protected with
barricade for visitors to not damage the exhibits.
The exhibits here change with in few months and transferred to the
next gallery when the research is complete.
The exhibits that are displayed here are the one transferred from the previous gallery.
interactive displays to learn more about the craft.
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Fig 3.20 Galleries circulation
Gallery layouts
The layout is frequently updated to avoid the museum becoming obsolete, and exhibits are
replaced and saved in secure archives.
The organic elements in the layout keep the area fascinating. They provide a glance ahead,
making the circulation unique and exciting.
Exhibits
The gallery tries to show portraits in a variety of narratives. Mannequins are utilised for
clothing exhibits to make them more relatable. Photos of indigenous cultures are also
displayed.
Fig 3.21 exhibits
Lighting in galleries
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The light in the galleries was kept at 300 lux by covering the funnel with fabric. The
thickness of the fabric is used to change the lighting. 300 lux has been determined to be
excellent for textile shows. The complexities are enhanced by this lighting.
Lighting in GalleriesLight in the galleries is guided through carefully crafted concrete
truncated conical skylights(with IR/UV film ), which orient to the sun allowing for a diffused
play of light. Only spotlights are provided in addition to the natural sunlight let in through the
skylights. Its unique form adds character to the space and improves the ambience.
Fig 3.22 Skylights
Only spotlights are provided in addition to the natural sunlight let in through the skylights. Its
unique form adds character to the space and improves the ambience.
Fig 3.23 Spotlights in galleries
Digital displays - showing the information about the exhibits.
Signs are given to guide the visitors.
Natural cooling system .
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Fans at regular intervals.
CNC partitions with designer cut work similar to kutch embroidery.
Ceiling - Steel frame work.
Floor - Natural kota stone floor.
Services
Electrical control units are separate for each gallery.
Fire & Safety - Sprinkler system 3m x 3m grid
Smoke detective sensors.Thermometers one the different walls of the galleries.
Fig 3.24 Classroom and workshop floor plan
Because the machines take up enough space, the classrooms are spacious.
lockers are provided for students, area for the lecturer.
storage for keeping the materials.
in classroom for manual training, students are free to use the space as they want.
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workshop areas are rooms with necessary tables equipments and shelves , storage design
areas for students.Different type of workshop areas depends on the activities.
Fig 3.25 Printing blocks
Services
Service room is situated above the second gallery.
Main electrical room and the Pump room are inside this room.
The room is 2m in height . 50% of power is getting from the solar panels.
Fig 3.26 Service room
Fig 3.27 Recharge tank & Fire pump room
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Fenestrations - windows and cutouts on the west and south allow the winter sun to warm the
interiors while keeping out the summer sun.
Controlled apertures, calibrated to the sun angle ensure its working and becomes a simple
strategy to effect ventilation without increasing thermal gain.
Fig 3.28 Fenestrations on facade
Application of the concept of local availability and sustainability Modernization of
vernacular architecture Techniques for resiliency in the face of disaster courtyard and activity
clubbing Incorporation of light into galleries through truncated pyramids The location of the
users should be used to determine the site selection criterion. Use of a water treatment
facility.
1. Large amount of landscaping in front of the building
2. Working spaces include permeable walls and numerous holes
3. Lime mortar and natural lime plaster are used in climate-responsive design.
Landscaping in front of the building and possible additions zoned at the back
5. Design studios are located near informal workshop areas.
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3.4. BAMBOO RESEARCH TRAINING CENTRE
Location : Chandrapur, Maharashtra
Architects : Ar. Sanjay Prakash & Ar. Abhinav Pandey
Design team : Shift Architects
Site area : 12.5 Acres
Building area : 13354 sqm
Completion year : 2015
The center supports tribal communities in Chandrapur & Gadchiroli for employment and skill
development.The center aims at giving basic craftsman training as well as advanced training
to the local artisans who can earn regular livelihood.by creating various bamboo products.
they aim to create Bamboo Research and Training Center as a future Tourism destination
because of its Iconic Bamboo Buildings.
Fig 3.29 Bamboo research centre
The
entire project is constructed in two phases, where, the Exhibition, Admin and
Workshop areas were built in phase one and the academic,hostel, and residence blocks in
phase two. Overall site planning is done in the north-south axis with a hierarchy of private
to public zones with an area for future expansion to the south. BRTC stands globally by
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exhibiting the scope of bamboo
works in India, training rural artisans and generating
employment by taking workshops for the students. A research and academic block take up
the
work of
promoting scientific applications
and inventions in the field.
The
residential facilities for the students and the teaching staff allows a large capacity of
uninterrupted human productivity.
Fig 3.30 site layout
Fig 3.31 Zoning
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Fig 3.32 Components
Materials
Bamboo, Rammed Earth, Stone, RCC
Academic block floor plan
Fig 3.33 Floor plan
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Fig 3.34 Floor plan zoning
In the Academic block the classrooms for lecture classes are given as a mezzanine floor , for
easy access to the workshops areas. The classroom and workshops areas are is given in this
way because of the demonstrations that needed during the lecture classes.
Fig 3.35 Academic block section
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The locally available materials like bamboo, ,Rammed earth, stone are used effectively.
Training and research in converting indigenous and abundant bamboo into useful products
and working with technology The tribals can identify with as their own will upgrade their
traditionally acquired skills within a modern workshop-like setting.
The vertical circulation cores are given in equal intervals in the Academic block.
Private zones like Residential blocks and hostel blocks are zoned away from the entry.
Disaster resilient techniques are used.
Use of RCC footings for bamboo columns to protect them from direct exposure.
Manifestation of the idea of local availability and sustainability.
Future extensions are zoned at the rear.
Classrooms/ Lecture rooms are given as mezzanine floors which are accessible from the
workshop areas.
Bamboo arcade forming shaded corridors.
use of a double glazed corridor.
Bundling techniques for structural elements.
exhibition spaces with semi open structure allowing natural air and ventilation.
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3.5. ART AND CRAFT STUDIOS
Location - Seosan Si, South Korea
Architects - poly.m.ur
Design Team : Seok Yoon, Heekyung Moon, Wonil Kim, Suki Kwon
Completion Year - 2015
Built up Area - 3802 m²
Climate - Humid subtropical climate
Fig 3.36 Art and craft studios
The arts and craft studios located within the Korean National University of Cultural Heritage
consists of three main programs, gallery, workshop and student dormitory. It forms part of the
university campus in the rural area of Buyeo.
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Fig 3.37 Site location
The site is surrounded by three distinct environments: mountains, a campus, and densely
forested reeds. Massing is constructed by laminating three layers of linear volumes facing
distinct viewpoints, resulting in a tri-wing shape, which corresponds to three programming
zones with these settings. Three different façade designs were created using polycarbonate as
the main material to highlight programmatic and environmental links.
Fig 3.38 Massing , symmetry and geometry
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Zoning
Fig 3.39 Zoning
Floor plans
Fig 3.40 Floor plans
Circulation
Fig 3.41 Circulation
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Table 3.2 Area Statement
Interiors
The Art and Crafts Studio uses a minimal set of materials, most of which are white ceramic
flooring, as well as white paint on the walls and ceiling to make the space appear wider.
Neutral colors are used in studios and white in interior corridors, which emphasize the large
glass windows. The studios used concrete flooring due to the heavy machines, and the walls
were covered in two different types of brick and white paint. A simple black metal finish on
the ceiling covers the pendant lighting and the upper part of the ceiling, creating an industrial
feel. The ambient lighting consists mainly of natural light and track lights, and recessed flush
lighting is used along corridors.
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Fig 3.42 Interior of the studios
Fig 3.43 Interior of the studios
Exteriors
The building massing is formed by three layers of linear volumes facing different views,
resulting in a tri-wing formation. The exterior of the art and craft studio is made of
polycarbonate as the primary material, glass, and steel. As a result of the glass windows, the
building will have an open appearance, which will allow the interior lighting to be visible.
Lighting fixtures are installed under the ground floor ceiling as flush recessed lighting.
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Fig 3.44 Exterior analysis
The design has a distinctive style.
Simple symmetrical floor plan .
use of an interesting multilevel terrace.
Arrangement of spaces in Tri-wings allowing smooth circulation.
The Art and Crafts Studio uses a minimal set of materials.
Use of neutral and light colours in the interior giving a spacious feel.
Use of large glass windows allows great amounts of natural ventilation.
The building massing is formed by three layers of linear volumes facing different views,
resulting in a tri-wing formation.
Most Public and semi public areas are zoned in the ground floor.
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3.6. DAKSHINACHITRA HERITAGE VILLAGE
Location - Muthukad, Tamil Nadu
Site area - 10 acres
Area - 12,140 Sq.m
Architect - Laurie Baker, Benny Kuriakose
Year of completion - 1996
A living cross-cultural museum of South Indian art, architecture, crafts, and performing arts
is currently available and is called Dakshina Chitra. It is the South Indian Heritage Village
that unites the cultures of the four southern states—Karnataka, Tamil Nadu, Kerala, and
Andhra Pradesh—into a single campus and depicts them through the local architecture as
well as the way of life and customs of those people.
One can stroll through streets that have been faithfully reconstructed, examine exhibitions
that are relevant to the area, talk to local craftspeople, and take in folk performances in a
real-world setting while exploring 17 heritage homes.
Architectural features like courtyards and verandas, as well as jali and pitched roofs, speak a
language of the past and give buildings a rustic appearance.
Fig 3.45 Dakshinachitra heritage village
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Concept
The concept evolved from an understanding of historic aspects combined in a modern setting
while attentively addressing elements including climate, location, and material availability.
Each southern state's architecture was intended to be depicted as a town with narrow streets
and pathways.
Fig 3.46 Dakshinachitra
DakshinaChitra is mainly divided into four divisions, each symbolizing one of the four states
of South India – Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh. Every type of house
has a treasure trove of classic history. This living museum offers fascinating insights into art,
architecture, and lifestyles in South India.
Fig 3.47 Four divisions in Dakshinachitra
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Fig 3.48 Site plan
Zoning
Horizontal zoning of spaces.Waterbody and transition spaces separate public, semipublic, and
private areas. The public circulation goes past the craftsmen' quarters, compromising privacy.
Fig 3.49 Zoning
Water body
The artificial pond runs from the oat along the Tamil Nadu section, Kerala complex and
artisans complex. The flow of water bodies are bounded with stones. These water bodies help
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in creating a micro climate because of the wind directionWooden bridges run above the water
bodies connecting the children’s play area and the Tamil Nadu section.
Fig 3.50 Waterbody
Relationship between built and open areas
Layout patterns include centralised, linear, and clustered.Because it is not based on a hard
geometrical concept, the clustered pattern is dependent on physical proximity.The clustered
pattern's form is adaptable and can easily accommodate growth and change without losing its
individuality.
Fig 3.51 Built spaces and open areas
Form & Function
The building's shape reflects the ancient traditional forms. Each form defines the inner
spaces.The form does not blend in with the surroundings, yet it is appropriate for the climatic
circumstances (stack effect).The function of the building is capable of the structure's form.
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Fig 3.52 Form and function
Circulation
No fixed route. Main spine roads branches out into small roads which leads to each
sections.On the intersection of roads craft shops can be seen.
Fig 3.53 Circulation
Pedestrian flow
All pedestrian paths were paved by stone with trees on either sides.
The pedetrain flows clearly demarcated from the paths used for commercial purposes.
The pedestrian flows get branched out from the entrance to the various sections.
Vehicular flow
The vehicular flow is restricted at the entry plaza itself.
The parking shed is also provided in the traditional style.
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Fig 3.54 Pedestrian path
Craft centre
Craft bazaars are present for various artist coming from different parts of India to showcase
their products.This is a permanent structure for temporary artists.
Craft corner was present for the artisans to merchandise their products and it is a permanent
market.
Artisans Complex
This area was restricted for artisans with guest houses for artisans coming to the village
during special occasions
Artisans quarters was present for the workers employed in various activities going on in the
heritage village. Activity hut was present for artisans from various parts to exchange their
ideas
Fig 3.55 Craft centre & Artisans complex
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Exhibition & Museum spaces
Varied professions existed in ancient periods, and the tools used by them are displayed in this
museum, which displays various religious buildings.
Museums for the textile industry and folk arts were present in numerous settlements around
the country.
Vegetation
Trees can be seen in great concentrations around the parking area, guest rooms, Kerala part,
and Karnataka section. They can also be found in various areas of the site and along the
pathway.Palm trees, coconut trees, and neem trees were the most common.The trees play a
very important role in blending all the four states together, there is so much greenery,
specially along the pathway connecting the four of them together. It helps in the serene
transition of built up and open spaces.
Fig 3.56 Vegetation in Dakshinachitra
- Cluster design
- Buildings orientation in site is - SW to NE, Buildings following south indian architectural
style,(vernacular style) rectangular in shape.
- Floors are ground spread, User have to travel through open spaces to reach closed spaces.
- Use of Courtyards, Feel of habitat is created. User can experience live work of people here.
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- Roof material changes on the basis of state of architectural style.
- Slate stone pavements for pedestrian pathways
Layout - Linear , Linear organisation of privacy
Pathways - Organic with alleyways , No choice to the user
Activity zone - Concentrated at the centre, Might not ensure utility of spaces far from core.
Spatial config. - Interaction spaces that spred out, The level of interaction is medium
Level of interaction - All the performance spaces are lined at the centre, Less direct
interaction with artists
water as an element- cooling element, Tactile
Craft shop - Bazaar , Visual auditory
Wall material changes on the basis of state of architectural style.
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4. COMPARATIVE ANALYSIS
Table 4.1 Comparative analysis
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5. DESIGN BRIEF
Table 5.1 Design brief
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6. SITE ANALYSIS
Location
Channapatana is a city and taluk headquarters in Ramanagara District, Karnataka, India.
Channapatna is approximately 60 kms from Bangalore and 80 kms from Mysore.
Site Area - 32.6 acres
The site is accessed through Mysore Road SH - 17.
Ownership - Vacant site under private ownership
Fig 6.1 Site in the map
Climate
Tropical wet and dry or savanna climate
Highest Average temperature - 30.91ºC
Lowest Average temperature - 20.41ºC
Annual average rainfall- 140.1mm (5.52in)
Warmest month
- April (36.34ºC / 97.41ºF)
Coldest Month -
January (17.19ºC / 62.94ºF)
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Wettest Month - October (314.92mm / 12.4in)
Driest Month -
January (10.65mm / 0.42in)
Humidity - 64.7%
Wind direction - Major wind flows from SW to NE . Local wind flow from the Kunnir katte
pond side.
Fig 6.2 Key plan
Fig 6.3 Site plan
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Kunnir Katte Pond
The pond also known as "Kudineerina Katte" which means a pond made to provide pure
drinking water.This pond was the source for pure drinking water for most of the town before
1960. The whole pond was protected by barbed wire fence.2 Police personnel were appointed
to look after this lake & were present all the time at the entry gate to the pond. Only ladies
with cleaned utensils were allowed inside the gate to fetch drinking water. Swimming,
bathing, washing clothes were strictly prohibited in the pond.The pond was originally very
huge, The original pond had occupied a large area specially towards the left side as seen in
the maps today. only 20% of the pond exists at the present.
Fig 6.4 Kunnir katte pond
Fig 6.5 site Views
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Fig 6.6 Roads near the site
Topography - Flat land
Services
Drainage - Towards East.
Electrical services - OH electrical cables are passing along the periphery of the site.
Sensory
Views - Views mainly from West side ( SH-17)
Noise - Noise mainly from High way SH-17.
Entry to the site can be given from the Mysore road SH-17.
Trees mainly concentrated on the south side of the site.
Landscape should be given respect to the site conditions.
North - East side has a good view to the Kunnir katte Pond. Design considering good view
points.
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7. DESIGN
7.1. ZONING
Main entry from the SH - 17 road.
Separate entry to the toy production units for artisans to avoid conflict in circulation.
Fig 7.1 zoning
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7.2.CONCEPT
Connecting to their roots
Fig 7.2 Concept
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7.3. LAYOUT
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7.4. FLOOR PLANS
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8. SPECIAL TOPIC
8.1. INTRODUCTION
wood facades
Wood is utilised not just in the traditional sense, but there are also countless wood industry
goods in the market. Wood and wood products as a façade cladding element in modern
architecture with the goal of expanding understanding of the possibilities and constraints of
their usage, and making the best use of the wood used in toy manufacture.
Except for humidity protection (especially from heavy rain), the impact of temperature
(summer and winter thermal fluctuations), solar radiation, and wind, wood and wood-based
products used as external, facade, and wooden wall coverings have a particular impact on the
architectural appearance of a building. They reflect what primarily determines an
architectural structure's look, its outside, and have an influence on the whole experience of
the building.
Wood and wood-based products are ideal for exterior cladding because they not only have a
lovely and distinct aesthetic look, but they can also be made to last with appropriate care.
Minimising the wastage of the ivory wood used for making the toys. To incorporate the
remaining wood pieces in to design effectively.Facades providing adequate sunlight to the
space, shade creating patterns.
8.2.CASE STUDY
Lumber Curtain in Minami Azabu
Architects: Tsukagoshi Miyashita Sekkei
Area : 51 m²
Year : 2020
Fig 8.1 Lumber Curtain
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Named Lumber Curtain in Minami Azabu, the façade wraps the 2-storey level and contains
two openings along the street. The studio explained that the façade was created to protect the
space from heavy traffic and strong southern sunlight.
The screen consists of cypress lumber and M6 stainless rods. A cypress lumber is often used
in old temples and has deodorant effect for the car exhaust. Vertically, two lines of rods
penetrate the lumbers and the horizontal rods connect each column. The composition gives it
no hierarchal appearance, without front and back, and enough strength to resist wind pressure
and transmits adequate sunlight to the space.
Fig 8.2 Lumber Curtain
The folded shape and delicate atmosphere make it like a curtain made of lumber. The lumber
of 100mm depth and less represented rods appear different according to the eye direction and
the distance to the screen.
Fig 8.3 Facade connections
Fig 8.4 Facade views
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Fig 8.5 Sectional view
8.3.CASE STUDY - Aspen Art Museum
Architects: Shigeru Ban Architects
Area : 33000 ft²
Year : 2014
Fig 8.6 Aspen art museum
In designing the Aspen Art Museum, Shigeru Ban Architects emphasized opacity as a feature
that allows visitors to experience the indoor and outdoor spaces simultaneously.
The exterior Woven Wood Screen is made of the composite material Prodema—an amalgam
of paper and resin encased within a dual-sided wood veneer.
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Fig 8.7 Structure
The exterior Woven Wood Screen is made of the composite material Prodema—an amalgam
of paper and resin encased within a dual-sided wood veneer.
Fig 8.8 Wood facade
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exterior facade and timber support frame for the roof which diffuses the light that enters
through the glass walls and skylight. This creative solution maximizes the distribution of
natural light inside while minimizing exposure to direct sunlight on artworks.
Fig 8.9 Connections
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8.4.APPLICATION
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BIBLIOGRAPHY
Channapatna by laws
PAPERS
Traditional toy making in Channapatna - Research gate
Channapatna toys of Karnataka - D source
A Study of Traditional Toy Making in Channapatna - IJRTE
WEBSITES
https://www.dsource.in/resource/channapatna-toys-karnataka/environment
https://artsandculture.google.com/story/how-to-make-a-channapatna-toy-dastkari-haat-samiti/
dgWhsovsWjHlLQ?hl=en
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