Chapter 1 - Introduction of The Project

THESIS 2020
CHAPTER 1 – INTRODUCTION OF THE PROJECT
1.1. INTRODUCTION
1.1.1. DEFINATION OF ARTISAN
 An artisan is a person skilled in making a product by hand. He is someone who can

visualize and design from an idea or a vision.
 Handicrafts or craft is commonly understood as an occupational art, which requires
some skills and creativity to think, imagine, and visualize in order to produce an artistic
and cultural object.
 One also mixes the term artisan with a craftsperson, but it is not the same thing. The
difference between an artisan and a craftsperson is that an artisan is one who practices
art by hand but bring out the new ideas from his imagination and visualization, where as
a craftsperson is the one who makes objects which are commanded to them by the
artisan or the craft that is taught to them by their ancestor.
 The craft word is full of contrasts, a universe of utility products and sacred objects,
articles for ritual use and ephemeral festival crafts, representing many levels of
refinement – from the simplest to the most technically advanced.
 The craftsman’s goal is to create an object of beauty, or an object of quality, and
primarily to support itself. An artist creates an object to represent ideas and emotions as
a statement, with the purpose of affecting the souls of people and the community.
 Therefore it is concluded that a craftsman is not necessarily an artist, but we can say an
artist can also be called as craftsman because he has the ability to craft his ideas down
making them functional.
FIG.1.1- AN ARTISAN FIG.1.2- BLOCK PRINTING FIG.1.3- MAKING OF

DOING POTTERY LACQUER BANGLES
1.1.2. WHAT IS AN ARTISAN’S VILLAGE?
 As the term villagegives the feeling of traditions and culture. So, the term artisan’s village
refers to the village which consists of artists and craftsperson practicing their artwork and
for promotion of these arts, a platform is provided to exhibit their work. This platform and
the practices that have been practiced there will give a boost to the tourism industry and
will also generate revenue for the people practicing these traditional and culturally rich art
works.
 An artisan’s village consists of exhibition areas; workshops for practicing the art and
teaching the ones who are interested to take forward the tradition and culture of India. The
area would also consist of dormitories or places to house the artisan’s and the tourists.
LINGAYA’S VIDYAPEETH , FARIDABD 1

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1.1.3. HERITAGE AND CULTURAL VALUE
 Handicrafts are the livelihood of a vibrant country. Crafts are the link that holds together the
creative fabric of India.
 The Indian way of life is replete with products made with the help of simple, indigenous
tools by craftspeople that belong within a strong fabric of tradition, aesthetic and artistry.
The range of Indian handicrafts is as diverse as the country’s cultural diversity.
 The handicrafts of India has sustained generations of people in our country. As a highly
decentralized activity, the handicrafts industry is a shining example of using local resources
and local initiatives.
 Through the ages, the handicrafts of India have fascinated the world. The beauty of these
products, the skill and ingenuity they represent have few parallels anywhere in the world.
 As is evident, the handicrafts sector is multi-polar, with an enormous amount of diversity in
cultural manifestation, traditions, raw materials, techniques and applications that represent
various regions and districts of India.
 The craftsmen derive their inspiration, innate wisdom and skills not from books but from the
nature and their surroundings.
 The panorama of Indian crafts is a patchwork quilt of many hues and shades of meaning,
reflective of interactions with social, economic, cultural and religious forces.
1.1.4. HISTORY
 The history of Indian handicrafts goes back to almost 5000 years from now.
 The tradition of crafts in India has grown around religious values, needs of the common
people and also the needs of the ruling elites. In addition to this foreign and domestic trade
have also played an important role in the evolution of different craft forms in India.
 The craft traditions of India have withstood the depredation of time and several foreign
invasions and continue to flourish till date. It is mainly due to the open mindedness of the
Indian handicraftsmen to accept and assimilate new ideas.
 Indus valley civilization/ Harappan civilization
In Indus Valley Civilization one can find a rich craft tradition and a high degree of technical
excellence in the field of pottery, sculpture (metal, stone and terracotta), jewelry, weaving
etc. The Harappan craftsmen not only catered to all the local needs but traded with the
outside world via sea routes.
In the Vedic age, one can find numerous references in the Vedas of artisans involved in
pottery making, weaving, wood craft etc. The Rig Veda refers to a variety of pottery made
from clay, wood and metal. There is a reference to weavers and weaving.
FIG.1.4- INDUS FIG.1.5- INDUS FIG.1.6- INDUS FIG.1.7- MAURYAN

VALLEY VALLEY VALLEY AGE LION
CIVILIZATION CIVILIZATION CIVILIZATION CLAY SCULPTURE
ARTEFACTS DANCING GIRL POTTERY
 Mauryan Age
In the Mauryan age one can find great development in the field of sculpture. In this period
more than 84,000 stupas are said to be built in India, including the famous SanchiStupa,

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which has beautiful stone carving and relief work done on it. Numerous sculptures from
Bharhut, Mathura, Amravati, Vaishali, Sanchietc show female figures adorned with a
display of jewelry, which continues to inspire contemporary jewelry making. The period
between 1st century B.C. and 1st century A.D. was a period of political confusion as a result
of foreign invasions. The impact of this turmoil is visible in the amazing Buddhist sculptures
from Taxila, Begram, Bamiyan, Swat valley etc.
 Kushana period
During the Kushana period Jewelry, sculpture, textile making, leather products, metal
working etc. were the main handicrafts that assimilated foreign influences and used them in
accordance with the Indian setting.
 Gupta Age
The Gupta age saw rapid advancement in the field of handicrafts and art forms. The murals
at Ajanta and Ellora bear testimony to it.
FIG.1.8- COINS FROM FIG.1.9- PAINTING FIG.1.10- TERRACOTTA

KUSHANA AGE OF PADMAPANI AT RELIEF PANEL FROM
AJANTA GUPTA AGE
 Medieval Period
The Medieval period the handicraftsmen flourished in the field of pottery, weaving, wood
carving, metal working, jewelry etc. The contribution of the Cholas and the Vijaynagar
Empire in the field of bronze sculpture, silk weaving, jewelry, temple carving is simply
unparalleled.
 Mughal Period
The Mughal period was the golden period in the history of Indian art, craft and culture. The
Mughals brought with them a rich heritage. The Mughals introduced methods like inlay
work, glass engraving, carpet weaving, brocades, enameling etc.
FIG.1.11-MEDIEVAL FIG.1.12- MEENAKARI FIG.1.13- CARPET

ART WORK FROM MEDIEVAL WEAVING FROM
PERIOD MUGHAL AGE
1.1.5. TYPES OF CRAFTS
 CERAMICS AND GLASS CRAFTS

 FIBER AND TEXTILE CRAFTS
 LEATHERWORK
 NEEDLEWORK

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 PAPER CRAFTS
 WOOD AND FURNITURE CRAFTS
 STONE CRAFTS
 METAL CRAFTS
FIG.1.14- CERAMIC CRAFTS FIG.1.15- TEXTILE CRAFTS FIG.1.16- LEATHER WORK
FIG.1.17- NEEDLE WORK FIG.1.18- HANDMADE PAPER FIG.1.19- METAL INLAY WORK
FIG.1.20- WOOD CARVING FIG.1.21- STONE CARVING FIG.1.22- JEWELERY MAKING
1.1.6. DIVERSIFIED INDIA
 The multitude of hues and forms seen in the melas of India tell the stories of hundreds of
crafts that belong to a vast country with 18 major and 1600 minor languages and dialects, 6
major religions, 6 major ethnic groups, 52 major tribes, 6400 castes and sub castes, 29 major
festivals and over 1 billion people, 50 per cent of them in rural areas, spread over coast lines,
valleys, hills, mountains, deserts, back waters, forests and even inhospitable terrain.
 There are more than 23 million craftsmen engaged in different craft sectors and it is
estimated that there are over 360 craft clusters in India.
1.1.7. GOVERNMENT AND NON GOVERNMENT INITIATIVES
 The Ministry of Textiles and the Government of India are committed to provide the
necessary support and encouragement that is needed to develop the handicraft sector of our

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country, since it is the source of high quality livelihoods for many of our people, particularly
in the remote regions of our country.
 Our crafts infrastructure and the market network that has been built with the active
participation of the government, local bodies, NGOs and a vast network of our trade and
service providers has helped the Indian crafts sector reinvent itself to face the world of
tomorrow.
 The National Awards for Master craftsperson’s & Master weavers are given to outstanding
craftsperson’s of the country in recognition for their excellence and craftsmanship and
invaluable contribution to Indian Handicrafts & Handlooms.
 Aimed at giving recognition to the traditional craftsperson’s of the country and inspiring
them towards better artistic perfection, the National awards were instituted in the year 1965.
 Since 1965 to 1998 a total of 736 Master craftsperson’s and Weavers have received this
special honour. Out of which, 76 Master craftsperson’s and Weavers of Rajasthan received
this special honour.
1.2. PROBLEM STATEMENT
To preserve and protect our traditional culture and ancient practices of arts and crafts of our
culturally rich country, the government is setting various schemes such as artisan’s village or
craft village in every state of India which will promote the traditional art and crafts of
different states and communities, encourage and value the ideas of artisans and craftsmen,
and showcase their skill in order to attract users and craft lovers from all over the world to a
new partnership that will take Indian crafts to the rest of the world.
Therefore, this project will provide the artisans a platform to practice and sustain their arts
and crafts for future generations.
1.3. AIMS AND OBJECTIVES
1.3.1. AIM
The aim is to design an artisan’s village that provides a platform for skill inheritance and
marketing of crafts that will promote tourism and generate revenue.
1.3.2. OBJECTIVES
 To spread the awareness of cultural arts and crafts all over the country and beyond through
workshops, galleries and exhibitions.
 To provide a platform for recognition of craftsperson and artisans.
 To provide an interactive space for social gathering.
 To find a design solution that includes contemporary reinterpretation of the rich architectural
traditions of the regions.
 To promote tourism and encourage heritage.
1.4. VALIDITY OF THE PROJECT
 Hand skills and the handmade object have always had a special place in the minds of the
initiated but many more have been drawn away by the glamour and glitter of industrially

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produced goods in a rapidly changing world order. Therefore, the handicrafts of India have
been affected a lot due to the changing world and growing industrial sector.
 The various art forms of India having been nurtured for centuries, need to be encouraged and
preserved for posterity. Artisans in India have great potential but they need proper support
and a platform to showcase their art work.
Total
AJMER
NO. OF ARTISANS IN RAJASTHAN
District
BARAN
SNo
Artisans
BARMER
BIKANER
CHITORGARH
JAIPUR
1 AJMER 5200
JAISELMER
SAWAI
MADHOPUR 2 BARAN 9277
UDAIPUR
FIG.1.23- PIE CHART OF NO. OF ARTISANS IN DIFFERENT FIG.1.24- TABLE SHOWING NO. OF ARTISANS IN
REGIONS OF RAJASTHAN DIFFERENT REGIONS OF RAJASTHAN
The Jaipur Development Authority (JDA) has proposed an artisan’s village on the
Delhi-Jaipur highway near Hathi Gaon.
1.5. SCOPE OF THE PROJECT
1.5.1. SCOPE FOR STUDY
 To study the rural and vernacular setting along with the art and culture of the region.
 To study the contemporary interpretation of traditional architecture and implement the same
structure, symbolism, and simplicity in my design.
 Integrating Indian arts, crafts and heritage with architecture.
1.5.2. ARCHITECTURAL SCOPE
 Administration
 Workshops
 Exhibition Galleries
 Demonstration Area
 Recreational Area
 Dormitories

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1.6. PROPOSED METHODOLOGY FOR STUDY
TOPIC SELECTION
AIMS AND OBJECTIVES
STUDY & RESEARCH
SITE STUDY LITERATURE PROTOTYPE

STUDY STUDY
LOCATION, STANDARDS, LIVE CASE

CLIMATE, BYE-LAWS STUDIES, NET CASE
TOPOGRAPHY, SOIL, STUDIES, SURVEYS
VEGETATION
DATA COLLECTION
ANALYSIS
REQUIREMENTS
ZONING
DESIGN CONCEPT
FINAL DESIGN

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CHAPTER 2 – LITERATURE STUDY
2.1. CULTURE OF RAJASTHAN

 Rajasthan has artistic and cultural traditions which reflect the ancient Indian way of
life.
 There is a rich and varied folk culture from villages which is often depicted
symbolic of the state.
 Rajasthan has had a glorious history. It is known for many brave kings, their deeds
and their interest in art and architecture. Its name means “the land of the rajas”
 Rajasthan is famous for textiles, semi-precious stones and handicrafts, and for its
traditional and colorful art.
 Rajasthani furniture has intricate carvings and bright colors. Block prints, tie and
dye prints, Bagaru prints, Sanganer prints and Zari embroidery are major export
products from Rajasthan.
 The blue pottery of Jaipur is particularly noted.
2.2. HANDICRAFTS OF JAIPUR

2.2.1.BLUE POTTERY
The low temperature glazed pottery of Jaipur is accorded the name ‘blue pottery’
due to its predominantly blue patterns. Wheel turning and moulding techniques are
used in combinations-the necks and bases are wheel-turned, the body is shaped in a
plaster of paris mould and the separate elements are joined.
FIG.2.1- OBJECTS MADE IN BLUE POTTERY
2.2.2.KUNDAN JADAI-GEM SETTING

Kundan is a Mughal technique wherein hyper purified gold leaf foil, inverted
longitudinally in the space between the chapdi, pavilion wall and the stone, created a
flush closed setting for precious and semi-precious stones such as diamonds, rubies,
emeralds, sapphires and tourmantines. Since pure gold is completely self weldable
while cold, simply by compressions, no soldering is required to create the solid
wedge of gold that permanently holds the stone in place. A silver or gold colored
fold is placed below the stone to enable reflection of light through the stone, thus
increasing the intensity and brilliance of the stone`s color.
2.2.3.MEENAKARI-ENAMEL WORK
Meenakari, the fusion of colored materials such as cobalt oxide for blue and copper
oxide for green onto the metal`s surface to suggest precious stone inlay work, was

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brought to Jaipur on Raja Man Singh’s behest. Meenakari is often studded with
gems on one side while the reverse was lavishly enameled, the lustre of the
enameled reverse increasing over time due to contact with the wearers body and
clothes.
FIG.2.2- KUNDAN JEWELERY FIG.2.3- MEENAKARI WORK
2.2.4.LAC WARE
Lac, a resinous substance produced by the female Lac insect found in abundance in
the forests of Rajasthan, is formed into a variety of jewelry items, chief among them
the chudi or bangle. Lac jewelry is regarded as propitious and is worn especially on
auspicious occasions.
2.2.5.RAZAI – QUILT MAKING

The fame of the thin Jaipurirazai is based largely on the superior quality of the desi
rooi, cotton used. The fabrics used include voile, cotton, mulmul, paper silk, satin,
silk, andvelvet; these may be plain, block printed, screen printed or patch worked.
Block printed fabrics, by far the most popularly used fabrics, are creatively
combined in such a way that each side of the quilt possesses a distinct character.
FIG.2.4- LAC BANGLES FIG.2.5- JAIPURI RAZAI
2.2.6.BANDHEJ AND LEHERIYA – TIE-RESIST-DYEING

Tie-resist-dyeing is common to Rajasthan, Gujarat, Madhya Pradesh and Madurai;
in Bandhej, the Rajasthani variation, a configuration of dots is achieved by tying
small knots on a pre-traced or stamped design in order to protect these areas when
the fabric is dyed. The Rajasthanibandhej may be differentiated from its Gujarati
counterpart by its employment of large dots called dabbi and concentric rings in
different colors. Leheriya, a tie-resist technique used to create colorful diagonal or
zigzag stripes across the fabric that has been rolled, tied and dyed, is unique to
Rajasthan.
2.2.7.BLOCK MAKING
The traditional of making hand-printed textiles, widely practices in both Rajasthan
and Gujarat is characterized by the use of imprints of geometric as well as stylized
floral and animal forms. Both areas therefore have craft clusters that specialize in
making blocks for block printing.

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FIG.2.6- BANDHANI WORK FIG.2.7- BLOCKS FOR PRINTING
2.2.8.MOJARI – LEATHER FOOTWARE

The Mojari, or the traditional leather footwear of Rajasthan may be identified by
their soft upper of cow, goat or buffalo leather; thick buffalo leather sole and heel
are constructed of layers of leather that are glued together and then stitched with
cotton thread.
2.2.9.HANDMADE PAPER
The Local handmade paper is made from recycled cloth and waste paper, and
usually incorporates natural materials such as grass, flowers and petals as decorative
elements. It is acid free, does not contribute to the escalating deforestation and does
not consume as much energy and water as machine made paper, thus making it the
most eco-friendly option. It is also more durable than machine produced paper and
does not tear easily or facilitate erasure and forgery.
FIG.2.8- LEATHER CHAPPAL FIG.2.9- HAND MADE SHEET

AND BAG MADE OF IT
2.2.10. TERRACOTTA OF SAWAI MADHOPUR

The small community of kumbhars, traditional potters, at Sawai Madhopur create a
widerange of decorative figurines, paperweights and plaques of animals and deities
in addition to the usual array of pots.
2.2.11. STONE WORK

STONE RELIEF AND LATTICE WORK
Stone carving has a long history in Rajasthan, a land rich in a variety of granites,
marbles, quartzite, slates and other metamorphic rocks. Most of the local palaces
sport intricate jaali worked sandstones and marble screens and windows.
IDOL MAKING
Idols of various Hindu and Jain deities are carved out of marble sourced from
makrana, bhainslana and jhiri, a village in Alwar district.

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FIG.2.10- POTTERY FIG.2.11- STONE WORK
2.2.12. KATPUTLI – PUPPETS

The craft of making puppets, or katputli, was practiced by the PutlisBhats, a
community of performing artists who travelled from village to village with their
portable theatres entertaining gatherings with depictions of the exploits of local
heroes in exchange for remuneration in cash, livestock or a portion of the patron’s
harvest.
2.2.13. GOTA WORK

Traditionally gota ribbons were woven with a wrap of flattened gold and silver wire
and a weft of silk/cotton thread and used as functional and decorative trims for a
variety of garments and textiles used by the royalty, members of the court, temple
idols and priests, as well as for altar cloths at shrines and prayer offerings.
FIG.2.12- KATPUTLI FIG.213- GOTA WORK
2.2.14. TARKASHI – METAL INLAY IN WOOD

Tarkashi, a technique of inlaying fine flattened wire of brass, copper or silver in
wood, is practiced by the Jangid community who migrated from Manipuri in Uttar
Pradesh to Jaipur about 45 years ago. Dark colored and seasoned sheesham wood is
used as its high oil content allows the inlaid metal to be held securely.
FIG.2.14- TARKASHI WORK DONE ON BOX, BANGLES AND SHOW PIECE
2.3. STANDARDS FOR VARIOUS FUNCTIONS AND PLACES

 FOOD COURT / RESTUARANT
 EXHIBITION / GALLERIES / MUSEUM
 WORKSHOPS/ DEMONSTRATION AREA

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 TOILETS
 DORMITORIES
 PARKING
2.3.1.FOOD COURT
 The food court is an essential part of a public project.
 Every space needs a food joint to serve the visitors in that area. This makes the
project more interactive and functional.
FIG.2.15- LAYOUT OF A FOOD COURT
2.3.2.RESTAURANT
FIG.2.16- SPACE REQUIRED FOR SITTING AND CIRCULATION BETWEEN TABLES
FIG.2.17- HEIGHTS OF TABLES AND CHAIRS

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FIG.2.18 SITTING ARRANGEMENT OF CIRCULAR TABLES
FIG.2.19- FUNCTIONAL LAYOUT OF SMALL RESTUARANTS
FIG.2.20- WALKWAY WIDTHS FIG.2.21- TOILET FACILITIES
FIG.2.22- SNACK OUTLETS
 The minimum width of the escape routes is 1.0m per 150 people. General walkways
should be at least 1.10m with clearance heights greater than or equal to 2.10m.
 The window area should be greater than or equal to 0.1 of the room area of the
restaurant.

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2.3.3.TOILETS
FIG.2.23- TOILET ARRANGEMENT FOR SINGLE UNIT
FIG.2.24- TOILET ARRANGEMENT FOR MULTIPLE UNITS
2.3.4.EXHIBITION AREA
FIG.2.25 -CIRCULATION LAYOUT OF EXHIBITION AREAS

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FIG.2.26- HEIGHT STANDARDS FOR EXHIBITION AREAS
2.3.5. WORKSHOPS/ DEMONSTRATION AREA
POTTERY
PROCESS
 Mixing of clay to required consistency
 Shaping on Chaka
 Drying in shade
 Painting
 Baking (temperature 600-650 degree Celsius)
 Store furnished pot
MATERIALS AND EQUIPMENTS

 Clay
 Chaka
 Bhatti or kiln
 Planer made of wood
 Thin sharp pieces for removing clay
 Wire for cutting product
AREA REQUIREMENTS
 No. of artisans – 4
 Working area per person – 9sqm
 Working area for 4 persons – 36sqm
 Open area for drying – 20sqm
 Storage for furnished and semi-furnished area – 10sqm
 Baking area – 30sqm

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FIG. 2.27-WORKING AREA OF POTTER
LAC WARE
PROCESS
 Heating of lac on coal
 Shaping the melted lac with the help of wooden mallet
 Cooling it down by putting the product in cold water.

 Wooden mallet
 Lac for shaping
 Mathana (beating tool)
 Tongs
 Knives
 Punches
AREA REQUIREMENTS
 Drying and painting area – 30sqm
FIG.2.28 -WORKING AREA FOR

MAKING LAC BANGLES
BLOCK MAKING
PROCESS
 Take a wooden block
 Draw the design to be made
 Engrave it with the help of chisel and hammer
 Finish it with sand paper

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 Wooden block
 Compass, hammer
 Drawing tool
 Impression tool
 Drilling tool
 Chisels, files, sand paper
AREA REQUIREMENTS
FIG.2.29 -WORKING AREA FOR BLOCK

MAKING
BLOCK PRINTING
PROCESS
 Set the cloth to be printed
 Print designs using the blocks one after other

 Wooden blocks
 Color tray - tari
 Color pad - parat
AREA REQUIREMENTS
FIG. 2.30-WORKING AREA FOR BLOCK PRINTING

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STONE WORK
PROCESS
 Mark points on the stone
 Shape the stone with the help of chisel and hammer
 Finish the stone with water and chapti

 Hammer
 Chisel for rough blocking
 Chapti - tool used for smoothening
 Guniya – right angle
 Drill, files
AREA REQUIREMENTS
FIG. 2.31-WORKING AREA FOR STONE

FINISHING
PUPPET MAKING

 Thread, needle
 Axe, scissors
 File, paintbrush
AREA REQUIREMENTS

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FIG.2.32 -WORKING AREA FOR PUPPET

MAKING
METAL INLAY IN WOOD
PROCESS
 Cut metal wire from sheet
 Set the wire in the wood by hammering it
 Smoothen it by the planner

 Metal cutting scissors
 Chisels, files
 Compass
 Chimti
 Randha - planner
AREA REQUIREMENTS
2.3.6.DORMITORIES
 Density standards are expressed either in term of minimal volume per resident or of
minimal floor space. Usual standards range from 10 to 12.5 cubic meters (volume)
or 4 to 5.5 square meters (surface).
 A minimum ceiling height of 2.10 meters should be provided.
 Only a reasonable number of workers are allowed to share the same room. Standards
range from 2 to 8 workers.
 Double deck bunks must have enough clear space between the lower and upper bunk
of the bed. Standards range from to 0.7 to 1.10 meters.
 An adequate number of hand wash facilities, shower/bathroom facilities, toilet
facilities are provided to workers. Standards range from 1 unit to each 15 persons to
1 unit per 6 workers.For urinals, usual standards are 1 unit to 15 persons.
 Toilet facilities are conveniently located and easily accessible. Standards range from
30 to 60 meters from rooms/dormitories.

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FIG. 2.33-ARRANGEMENTS OF BEDS IN DORMITORIES
2.3.7.PARKING
 Two wheeler parking – 1.2m X 2.1m
 Car parking – 2.5m X 5m, Turning radius – 5m
 Bus parking – 3.5m X 7.5m, Turning radius – 12.2 m
FIG. 2.34-PARALLEL PARKING FIG. 2.35-30 DEGREE PARKING
FIG.2.36 -45 DEGREE PARKING FIG.2.37 -60 DEGREE PARKING
FIG.2.38- 90 DEGREE PARKING

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FIG. 2.39-CHART FOR HANDICAPT PARKING
CHAPTER 3 – SITE DATA AND CONTEXT
3.1. SITE AREA

The total area of site is approximately 12.8 acres i.e. 52115 square meters.
3.2. ABOUT THE REGION

Jaipur is the capital and largest city of the Indian state of Rajasthan in Northern India. Jaipur
is known as the Pink City of India. The city of Jaipur consists of various tourist attractions
such as Hawa Mahal, Jal Mahal, Nahargarh Fort, Jaigarh Fort, Amer fort, City Palace, Jantar
Mantar etc.
3.3. SITE LOCATION

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 The site is located on the Delhi-Jaipur highway near Hathi Gaon.

 The site lies on the outskirts of Jaipur and is approximately 23 kilometres from the
Jaipur international airport.
 The site is well connected to the Jaipur city with NH-11C highway.
The land use pattern is shown below. The bluish green area is marked for tourist activities.
FIG.3.1- LAND USE PLAN OF FIG.3.2- LAND USE PLAN OF SITE

JAIPUR MASTER PLAN 2025
FIG.3.3- MAP OF RAJASTHAN FIG.3.4- MAP OF JAIPUR

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FIG.3.5- LOCATION OF SITE
3.4. ACCESSIBILITY OF SITE

 The site is well connected to the Jaipur city with NH-11C highway.
 Width of National Highway 11C = 15 mtr.
 Width of road connecting the highway to the site = 9 mtr, 6 mtr.
3.5. VISUAL SURVEY AND SITE SURROUNDINGS
FIG.3.6- VISUAL OF SITE FIG.3.7- VISUAL OF SITE FIG.3.8- PETROL PUMP
FIG.3.9- STONE CARVING WORKSHOPS FIG.3.10- DHABA FIG.3.11- PUNCTURE REPAIR

THESIS 2020
FIG.3.12- ELECTRIC SUB STATION FIG.3.13- HAVELI FIG.3.14- WOODEN WORKSHOP
FIG.3.15- STEEL WORKSHOP FIG.3.16- JAIPUR MAIN CITY FIG.3.17- TEMPLE
3.6. DEVELOPMENT RULES

 Site area = 12.8 acres
 Ground Coverage – 33% = 17197 square meters
 F.A.R. – 1.5
 Set Backs – Front (18mtr), Sides (9mtr), Back (9mtr)
3.7. SITE FEATURES
3.7.1.CLIMATE
Jaipur has a semi-arid climate. Temperatures remain comparatively on the higher end all
around the year.
FIG.3.18-SUMMER SOLSTICE AND WINTER

SOLSTICE SUN PATH DIAGRAM

THESIS 2020
FIG.3.19-CHART REPRESENTING
CLIMATIC DATA OF JAIPUR
Average temperature: -summer months of April to early July having average daily
temperatures of around 30 °C
During the monsoon there are frequent, heavy rains and thunderstorms, but flooding is not
common.
The winter months of November to February are mild and pleasant, with average
temperatures ranging from 15–18 °C and with little or no humidity though occasional cold
waves lead to temperatures near freezing.
Average rainfall: -Jaipur receives over 650 millimeters (26 in) of rainfall annually but most
rains occur in the monsoon months between June and September.
Humidity: - Lowest humidity is observed in the month of April and highest in the month of
August.
Wind direction: -The wind direction is East to North West in winters and North West to
South East in summers.
3.7.2.TOPOGRAPHY
The proposed site for artisan’s village is a flat land with no major changes in topography.
3.7.3.VEGETATION
There are few trees present on the site. Neem and keeker plantation is observed.
3.7.4.SOIL
Loamy soil- it has low moisture content with normal fertility.

THESIS 2020
CHAPTER 4 – PROTOTYPE STUDIES
4.1. SHILPGRAM
LOCATION: Udaipur
SITE AREA: 70 Acres
ARCHITECT:
FACILITY: Artists Commune
4.1.1. WZCC (West Zone Cultural Center)

The Zonal Cultural Centers were conceived and set up as cultural distribution networks in
198 - 1987 in order to promote, develop and link the various art forms with people living in
urban, rural and tribal areas of India. West Zone Cultural Centre (WZCC) was the first
center to set up the Shilpgram – a Craft Village, in Udaipur.
4.1.2. ABOUT SHILPGRAM

Shilpgram meaning a "Craftsmen's Village" is a living ethnographic museum depicting the
enormous diversities in craft, art & culture between various Indian states, but the exquisite
terracotta work mainly in dark red and dark brown sand material along with the wooden
carvings are the forte of this ethnic village .
There are 26 huts and 5 museums representing architecture, traditional arts and culture
depicting the enormous diversity and aesthetic sense of the state of Rajasthan, Gujarat,
Maharashtra and Goa which comprise the Western Zone of India.
The festival time for the Shilpgram is around November and December.
4.1.3. LOCATION
Situated 3 kms west of Udaipur near the Havala village is the Centre's Shilpgram - the Rural
Arts and Crafts Complex.
FIG.4.1- LOCATION PLAN

THESIS 2020
4.1.4. SITE
The site area is 120 bigha i.e. 70 acres. The site has 2 entries i.e. one is always open for
outsiders but the other one is only used at the time of festival season.
The total covered area is around 12 bigha i.e. 7 acres approximately.
FIG.4.2- SITE
PLAN
4.1.5. SERIVICES
WATER SUPPLY – 2 bore wells (50ft deep) are there on the site.
ELECTRICITY – solar panels are provided and rest is taken from the government.
SANITATION – 60 bathrooms and 60 toilets are provided.
4.1.6. MUSEUM
The Chaupal Museum
The collection is wide ranging, essential everyday items such as tools, kitchen utensils and
an assortment of other kitchenware represent the prosaic side of tribal life, whilst various
musical instruments, decorative articles, wooden toys and ornaments give one an idea of the
things a typical tribal household would be likely to use in the course of leisure, celebration
or worship.
The Kothi Collection

The Kothi Collection almost entirely devoted to kothi, the containers commonly used to
store food grains in the rural areas. They may be made of mud, dung, bamboo, grass or
whatever other local materials are available and suitable.

THESIS 2020
FIG.4.3- CHAUPAL FIG.4.4- KOTHI

MUSEUM COLLECTION
The Tribal Museum
The museum, run by the Tribal Research Institute, occupies a small, circular building. There,
one can see a sample of the general items that would be used by an average Rajasthani tribal
family; from clothing to tools and even weapons.
The TRI has been set up to maintain records of all aspects of tribal life, form health to diet -
from beliefs to customs. They have their own small but excellent museum in Ashok Nagar,
Udaipur, as well as a superb library.
The Gol Museum

The Gol Museum displays the pooled artifacts of the Anthropological Survey of India and
the WZCC. Both bodies own items relating to the daily lives of the tribal peoples, so the
combined resources amount to a sizeable, varied and interesting collection. The exhibits
include ladies' traditional costumes, wooden boxes, utensils and decorations, masks,
weapons and musical instruments.
The museum is an elegant in its simplicity. The light, airy exhibition gallery spirals into the
center of this large, circular building, and then spirals out again towards the exit.
FIG.4.5- TRIBAL MUSEUM FIG.4.6- GOL MUSEUM
4.1.7. RAJASTHAN HUT

Sehariyas, Rajasthan
 The Sehariya tribals are located in the hilly forested areas of kota, the south eastern
district of Rajasthan.
 The main occupation of the Sehariyas is farming and collecting forest produce.
 The Sehariyas construct their houses in clusters and call them ‘thok’. The walls are
made of stones plaster with mud, the roofs are covered with tiles, thick grass or
waste stone slabs.
Dhol Hut, Mewar (Rajasthan)

 The village of Dhol, near Gogunda is home to this potter's hut.
 Two-storeyed dwelling is constructed of stone, plastered with mud.
 To the front of the building is a verandah, which serves the purpose of the potter's
work area.

THESIS 2020
FIG.4.7- SEHARIYAS HUT FIG.4.8- DHOL HUT
Garasia Hut, Rajasthan

 The Garasia constitute the third largest tribal group in Rajasthan.
 It is located in the southwest quarter of the state, particularly between Udaipur and
Mount Abu.
 The Garasia hut, which is stone walled and mud rendered.
MeenaWaas, Rajasthan
 The Meenas, concentrated in the rural areas around Jaipur, Alwar, Bharatpur, Tonk
and Bundi, are the largest scheduled tribe in Rajasthan.
 The MeenaWaas (hut) is a stone-built structure, rendered with mud and roofed with
tiles.
FIG.4.9- GARASIYAS HUT FIG.4.10- MEENA WAAS
Sam Hut, Thar Desert (Rajasthan)

 This large, single-storied dwelling is of the type used by middle class families living
in the desert village of Sam, near Jaisalmer.
 A noteworthy feature of the house is the yellow Jaisalmer stone of which the carved
pillars are made. The flat roof of the hut is designed so that it can be walked upon,
and a flight of steps provides access. It is supported by timbers, which are then
crossed with sticks of with Kair wood (Kair is a local shrub), and then plastered on
the upper side with meti, a type of clay.
 The kair wood doors of the Sam hut are exceptionally small; mostly to minimize the
problem of sand being blown in during dust storms, and also because the walls
provide better insulation from the extreme desert climate than do doors.
Rama’s Hut, Jaisalmer (Rajasthan)

 This is one of the most interesting and complex hut compounds within Shilpgram.
 A plain, high stone and mud wall encompasses the main, inner compound, and a
somewhat lower, decorated wall runs around it on three' sides, but enclosed on the
fourth side, leaving a passage of variable width.
 One of the buildings incorporates a workshop, in which members of the family,
using camel and goat hair, make carpets.

THESIS 2020
FIG.4.11- SAM HUT FIG.4.12- RAMA’S HUT
Bheel Hut, Rajasthan
4.1.8. GUJRAT HUT

MaldhariBanni, Gujrat
 The Maldharis are a Muslim community of the Banni region of Kutch.
 The walls are constructed of sun dried mud bricks with roofs consisting of fans of
sticks tied to one central pillar supported by crossbeams.
 The raised platform of mud outside the hut is used for ‘namaz’.
MeghwalBanni, Gujarat
 The Meghwal Banni Hut belongs to the Meghwal Community of Kutch, in Western
Gujarat.
 Constructed on a raised platform, this circular house with its conical roof is known
as a bhungo. Banni huts are shaped in such a way that they can withstand the
whirlwinds and stiff breezes that affect the unsheltered plains of this area.
 The ceiling is painted with colourful wavy lines.
Bhujodi, Gujarat
 Bhujodi is located in Bhuj district in western Gujarat, is the homeland of the
Kutchhi Rebaries.
 The huts are constructed on a raised platform with mud and mud plastered stone
walls with a wooden roof covered with tiles.
FIG.4.13- MALDHARI HUT FIG.4.14- MEGHWAL FIG.4.15- BHUJODI

HUT HUT
Pethapur Haveli, Gujarat
 Pethapur is a small town famous for print block making near Gandhinagar Gujarat.
 This double storeyed Haveli is an exact reconstruction of the traditional architecture
of Pethapur and is over 100 years old.
 It is constructed with solid wooden floors, ceilings and doors, this house is a fine
example of the traditional woodcarving.
BunkarJhopri, Gujarat
 A weaver of the Chhota Udaipur area in Vadodara District of Gujarat would live and
work in this type of hut.
 The weaver's loom and spinning wheel are fixed in the verandah.
 The walls are of bamboo, plastered with a binding mixture of dung and mud, and the
hut is roofed with handmade terra cotta tiles.

THESIS 2020
Rathwa Hut, Gujarat

 This Rathwa Tribal hut is from Rangpur Sadli Village of the Chotta Udaipur area,
located in the district of Vadodara, which borders Madhya Pradesh.
 Agriculture is the main work of the Rathwa people, but their personal and social
lives are full of artistic simplicity in dancing, music and painting.
 In addition they are adept at basket weaving and beadwork.The paintings, executed
in bright, bold colours, .depict a strange variety of subject matter.
FIG.4.16- PETHAPUR FIG.4.17- BUNKAR FIG.4.18- RATHWA HUT

HAVELI JHOPDI
Dang Hut, Gujarat
 Dang, located in the Sahyadri hills of South Gujarat, is an area of dense forest and
the home of several tribal communities, one of which is the Kundi tribe.
 The Kundi make their living as traditional farmers using ancient agricultural
methods.
 Their dwellings are typically small, and are constructed of wooden poles and
bamboo. Strips of these materials are woven in a crisscross fashion, then a mixture
of clay and dung is, applied to bind together and consolidate the structure as well as
to insulate the house. Handmade tiles are used for roofing.
Lambdia Hut, Gujarat

 One of the main rural industries of Lamdia, a village near Palimpur, north Gujarat, is
pottery production.
 The walls of the rectangular building are stone-built, and rendered with mud plaster.
The roof, which is covered with handmade tiles, projects well beyond the front wall
of the building to form a verandah.
FIG.4.19- DANG HUT FIG.4.20- LAMBODIA HUT
4.1.9. MAHARASHTRA HUT

Madia, Maharashtra
 The design of this hut is taken from village HemalKasa of district Chandrapur in
Maharashtra. It belongs to a Madia tribal family.
 This hut is made of bamboo matting plastered with mud, with a thatched roof.
Warli, Maharashtra
 The northern part of Konkan region in Maharashtra is the home of the Warli tribe.
 This house is always square in shape.
 The walls are built of bamboo and reed sticks and plastered over with cow dung and
moreover they are roofed either with straw or dried leaves.

THESIS 2020
 Warli wall paintings are today nationally acclaimed, being generally of a motive
character.
Kumbi Tural, Maharashtra

 Kumbi turals are predominantly primitive agriculturists.
 The design of this double storied hut is taken from Bhandara district situated in
north eastern Maharashtra.
 The walls are made of stones plastered with mud the roof of one portion being
covered with tiles while the other is covered with local grass.
FIG.4.21- MADIA HUT FIG.4.22- WARLI HUT FIG.4.23- KUMBI TURAL
Koli Hut, Maharashtra

 The design of this Koli hut is taken from Alibagh located on the Arabian Sea in
Raigarh district of Maharashtra.
 The Koli’s are generally fishers.
 Mats of coconut leaves are used to make the walls and coconut stem works as a
supporting pillar for the roof. The roof is covered with bamboo and coconut leaves.
Kolhapur Hut, Maharashtra

 Kolhapur is famous for its leather work. This is a shoemaker’s hut from Kolhapur.
 The walls of this rectangular hut are made by pounding mud and pebble into large
square moulds which are then used unbaked.
FIG.4.24- KOLI HUT FIG.4.25- KOLHAPUR HUT
Gond Hut, Maharashtra

 The remote and wild borderlands that lie between Maharashtra and Madhya Pradesh
are home to the Gond tribe, a farming community that was originally a warrior
caste.
 The walls of the hut are made using a bamboo frame as the base. Other bamboo
poles, split cane, twigs and grasses are intertwined, and finally, mud is slapped on to
add insulation and protection from the elements.
Vardha Hut, Maharashtra

THESIS 2020
 This flimsy-looking hut is of the type used by bamboo workers, and it is therefore
not surprising that they build their huts of the material they are familiar with;
bamboo.
 The bamboo walls are plastered with mud for additional weather proofing and
privacy. The roof is covered with bamboo and tiles.
FIG.4.26- GOND HUT FIG.4.27- VARDHA HUT
4.1.10. GOA HUT

Brahmin Hut, Goa
 The main architectural feature of this Hindu mainstream house from vasco is the
lavish use of iron rich, red laterite stones its intricately carved lintel projections and
its interior courtyard around which domestic life revolves.
 A tulsi ‘math or stamb’ is a common feature, as is the wall decoration around the
cooking area.
Christian Hut, Goa

 The Christian's hut is characterized by a large, stone cross that stands on a pillar in
front of the hut.
 Due to the severity of rainstorms that can affect Goa during the monsoon, the
common practice is to tie a protective layer of palm leaf mats lo the exterior walls.
FIG.4.28- BRAHMIN HUT FIG.4.29- CHRISTIAN HUT
Fisherman’s Hut, Goa

 The fishermen's accommodation is pretty basic, as theirs is very much an outdoor
life, and the mud-walled and thatched hut consists of merely one room.
 In common with some of the other Goan communities, the fishermen will often affix
coconut leaf matting known as jodmallayo to cove the outside walls, in order to
provide protection from heavy downpours.
Kulumbi, Goa
 This hut is typical of that which would be used by a Kulumbi family, hailing from
the Goan hinterland. The Kulumbi people are an agricultural community.
 The huts of the Kulumbi are mud walled and roofed with terracotta tiles.

THESIS 2020
Potter’s Hut, Goa

 Bicholim is the famous centre of Goan pottery; pottery that is noted for the
decorative animal forms, as well as household articles and votive terracotta pieces.
 A covered verandah served the dual purpose of providing workshop and storage.
Behind the hut, an arc-shaped kiln was employed the firing of small quantities of
pottery.
FIG.4.30- FISHERMAN’S FIG.4.31- POTTER’S HUT

HUT
4.1.11. AMPHITHEATRE
An attraction no less of the Rural Arts and Crafts Complex is the open air Amphitheatre with
a seating capacity of approximately 8000.
FIG.4.32- AMPITHEATRE
VIEWS
4.1.12. SCULPTURE PARK
The sunset point has the masterpieces of international sculptors strewn around.
FIG.4.33- VISUALS OF SCULPTURE

PARK
4.1.13. STALLS
There are total 450 stalls, out of which 200 are permanent with thatched or tiled roofs and
the other 250 are temporary, only the slabs are permanent.

THESIS 2020
FIG.4.34- STALLS FOR DISPLAY
4.1.14. KALA NIWAS/ KALA KUNJ/ KALA VIHAR

These are homes for the artisans.
FIG.4.35- ARTISAN DORMITORIES
4.1.15. INFORMATION CENTER

This information center is open only at the time of festival in November and December.
4.1.16. DHABA
The seating capacity of the Dhaba in Shilpgram is approximately 75 persons. This is
expanded in the front at the time of the festival.
FIG.4.36- INFORMATION CENTER FIG.4.37- DHABA
4.1.17. AUDITORIUM
FIG.4.38- AUDITORIUM

THESIS 2020
4.1.18. PARKING
The parking space is provided for approximately 1000 cars.
4.1.19. PURPOSE
The purpose for studying this project was to understand the special requirements for an
artisan’s village and to gain knowledge about the materials which are locally used in
Rajasthan.
4.1.20. INFERENCES
 The culture and architecture of Western India is very well exhibited through huts of
different areas.
 There are sufficient toilets and drinking water facilities available in the complex.
 Around 90% of the area is landscaped.
 There are temporary and permanent stalls as per the demand throughout the year, at
the time of the festival the temporary stalls are also used for display.
 There is only one Dhaba in the complex which serves food, which is not sufficient for
such a large area.

THESIS 2020
4.2. SANSKRITI KENDRA

LOCATION: Mehrauli – Gurgaon Road
SITE AREA: 7.5 Acres
ARCHITECT: Upal Ghosh
FACILITY: Artists Commune & Museums
4.2.1. SANSKRITI FOUNDATION

Sanskriti Pratishthan, founded in 1979 as a Public Charitable Trust, has been working
towards cultivating an environment for both preservation and development of artistic and
cultural resources.
4.2.2. SANSKRITI KENDRA

The Sanskriti Kendra was established in 1993, by the Sanskriti Foundation. It is intended to
provide temporary residential and working space to both traditional and contemporary artists
and crafts persons.
The unique environment houses three specialized museums namely Museum of Everyday
Art, Museum of Indian Terracotta and Museum of Indian Textiles.
The centre has also been conceived as a space where creative persons devoted to diverse
disciples can stay, study and interact by participating in its residency programme for artists
and writers.
4.2.3. LOCATION
The Sanskriti Kendra is located on the Mehrauli- Gurgaon road which is approximately
12kms from the IGI airport, Delhi.
FIG.4.39- LOCATION MAP OF SANSKRITI KENDRA
4.2.4. SITE PLAN

Site area =28340 sq. mt.
Covered area = 1900 sq. mt.
Semi covered area = 1000 sq. mt.

THESIS 2020
FIG.4.40- SITE PLAN AND CIRCULATION PLAN
FIG.4.41- 3D VIEW OF SITE

PLAN

THESIS 2020
4.2.5. SERVICES
Drainage pipeline is spread along the periphery and water tank is in the north-west corner of
the complex.
4.2.6. MUSEUM OF EVERYDAY ART

Museum of Everyday Art exhibits excellent objects of use in daily life pertaining to
children; the art of writing; the culture of hookahs; chillums, betel-leaf, and areca nut;
weights and measures; kitchen utensils and implements; women’s toiletries; lamps and
incense burners; ritual accessories and cultic images for temple and domestic worship.
FIG.4.42- MUSEUM OF EVERYDAY

ART
This Museum houses about 2000 objects of exquisite quality, labelled and displayed in a
separate building dedicated to it.
Area of museum = 375 sq. mt.
4.2.7. MUSEUM OF INDIAN TERRACOTTA

The first two sections of this Museum serve as a photographic introduction to the historical
traditions of the Indian art of terracotta. It starts with the images of pro-historic objects from
the Indus Valley Civilization, ends with the late medieval brick temples of Bengal, covering
the entire range of the genre through ancient and medieval periods.
FIG.4.43- MUSEUM OF INDIAN

TERRACOTTA
The second section pertaining to living traditions of the art displaying nearly 1500 selected
examples of cultic, votive, and everyday terracotta objects used in different regions of India
over the centuries.
Area of museum =350 sq. mt.

THESIS 2020
4.2.8. MUSEUM OF INDIAN TEXTILES

This Museum houses old specimens of some of the best of Indian textile traditions of resist-
dyed fabrics such as resist prints and dot/wrap-resist-textiles; ikats such as double-ikat of
Gujarat and single-ikat from Andhra Pradesh and Orissa; brocade variants from Banaras,
Ahmedabad, Surat, Lucknow, Kanchipuram, Paithan, Baluchar and Dhaka; embroideries
from Gujarat, Rajasthan, Himachal Pradesh, Punjab and West Bengal; and pigment-painted
temple hangings from western India.
FIG.4.44- MUSEUM OF INDIAN

TEXTILES
Area of museum = 350 sq. mt.
4.2.9. LIBRARY
Sanskriti Kendra has modest but growing reference library housing around 1000 books,
catalogues, and magazines
4.2.10. CERAMIC CENTRE

The Sanskriti Foundation and Delhi Blue Pottery Trust establishes a fully integrated ceramic
centre at the Sanskriti Kendra in the year 2003. The programmes offered include residencies,
classes, talks, slide shows, demonstrations and interactive workshops for ceramicists.
4.2.11. ENAMEL CENTRE

An Enamel Centre at Sanskriti Kendra was set up in 2013 in collaboration with The
Enamellist Society. It offers regular and special workshops on Enamel Art, a traditional art
form of India using different noble metals and vitreous enamels. The centre is well equipped
with the kilns and latest equipment.
4.2.12. ART GALLERY

Space has been allotted for the exhibition of art works by visual artists. This gallery opens
only at the time of exhibition.
4.2.13. AMPHITHEATRE
The seating capacity of the amphitheatre is around 100 people.
FIG.4.45-CERAMIC WORKSHOP FIG.4.46-AMPHITHEATRE

THESIS 2020
4.2.14. RESIDENCES
There are 8 studios in 2 blocks one for the writers and one for visual artists. The units are
small, but sufficient with privately enclosed courtyards. The living, dining, workspace is on
the lower level while the sleeping area is located on the upper level.
4.2.15. OFFICE
It is an office cum information centre.
FIG.4.47-RESIDENCES FIG.4.48-OFFICE
4.2.16. GAON
The Gaon is a cluster of six of the traditional artists from rural area. These are placed around
a central courtyard which is used by craftsmen as outdoor work space. Each unit is provided
with an individual kitchen and the toilets are at the corner of the cluster layout.
4.2.17. PARKING
Parking is provided outside the premises for around 5-10 cars.
4.2.18. MATERIALS USED

 The construction materials used are reinforced concrete, bricks, and stone.
 The sloping roofs are made by steel angles and section as supporting members
which is topped by a network of bamboos and covered with roof made of Mangalore
tiles over the thatch.
FIG.4.49-PARKING AREA FIG.4.50-MANGALORE TILES
4.2.19. INFERENCE
 The museum area is segregated from the workshop area so as to avoid disturbances.
 The museums are well lit and well ventilated.
 The landscaping in the complex is well planned and maintained.
 It is difficult to locate the site due to lack of signage.

THESIS 2020
4.3. DAKSHINA CHITRA

LOCATION: Muttukadu, Chennai
SITE AREA: 10 Acres
ARCHITECT: Laurie Baker
FACILITY: Artists Commune
4.3.1. DAKSHINA CHITRA

Dakshina Chitra is an exciting cross cultural living museum of art, architecture, lifestyles,
crafts and performing arts of South India. The main mission is to exhibit, promote and
preserve aspects of the broader, more inclusive cultures of the states and to bring these arts
to the public in a participative, enjoyable and engaging way. Dakshina Chitra Heritage
Museum, a project of Madras Craft Foundation an NGO was opened to the public on
December 14th 1996.
Dakshina Chitra has a collection of 18 authentic historical structures with contextual

exhibitions in each house. All the houses bought and reconstructed at Dakshina Chitra had
been given for demolition by their owners. The authentic homes in a regional vernacular
style are purchased, taken down, transported and reconstructed by artisans (Stapathis) of the
regions from where the houses came.
4.3.2. LOCATION
The Museum is located overlooking the Bay of Bengal, at Muttukadu, twenty five
kilometers south of Central Chennai, on the East Coast Road to Mamallapuram, Tamil
Nadu, India.
FIG.4.51- LOCATION MAP OF DAKSHINA CHITRA

THESIS 2020
4.3.3. SITE PLAN
1. Reception lobby
2. Craft shop A. Children’s picnic and play area
3. Merchants house (TN) B. Pavilion and kalyanamandap
4. Hindu house (Kerala) C. Padipura gate
5. Hindu house (Kerala) D. Activity hall
6. The granary (Kerala) E. Artisan quarter 1
7. Syrian Christian hut (Kerala) F. Artisan quarter 2 and 3
8. Brahmin house (TN) G. Craft corner
9. Exhibition of religious art (TN) H. Amphitheatre
10. Ambur art gallery (TN) I. Craft bazar
11. Temple chariot (TN) J. Stone carving workshop
12. Agriculturist house (TN) K. Canteen
13. Textile exhibition hall (TN) L. Activity hut
14. Weavers house (TN) M. Open air folk performances
15. Potters house (TN) N. Mandapam
16. Basket weavers mud house (TN) O. Ceramic centre
17. Village ayyanar shrine (TN) P. Arts and education building
18. Muslim traders house P1. Library
(Karnataka) P2. Varija art gallery
19. Weavers house (Karnataka) Q. Restaurant
20. Ikkat weavers house (AP) R. Education section
S. Kadambari art gallery
21. Chuttilu house (AP) T. Drivers rest area
FIG.4.52- SITE PLAN AND CIRCULATION PLAN
4.3.4. SERVICES
WATER SUPPLY - Water tank
ELECTRICITY- Government
SEWEAGE – Complex has its own STP
4.3.5. MUSEUM COLLECTIONS

The collection consists of items of everyday life used in the Southern States.
4220 artefacts, of which 3200 are objects, 950 are textiles and 70 contemporary works.
The textile collection consists of mainly cotton and silk attires of male (dhoti, lungi, kurta,
turban, cap, ceremonial attire), female (saree, blouse, half saree, full skirt, set mundu, veil,
scarf), furnishings, yardage (Real Madras Handkerchief, Ikat, Kalamkari etc. ), TeliaRumal,
decorative wall hangings and ritual textiles.

THESIS 2020
4.3.6. DAKSHINACHITRA ARTS LAB

The lab conducts residential camps for the communities that Nalandaway works with, and
involves hands on activities, workshops and classes with our in house folk performers. This
is an effort to work with under privileged communities, who face economical and societal
challenges.
4.3.7. LIBRARY
It is a destination for books and journals of over 14,000 on South Indian arts, crafts,
performance, anthropology and folklore. The Library includes the National Folklore Support
Centre’s collections. The Library also houses more than 1, 00,000 photographs and a vast
collection of DVD's, CD’s and tapes.
FIG.4.53-MUSEUM AREA FIG.4.54-LIBRARY
4.3.8. TAMIL NADU HOUSES

MERCHANT HOUSE (Kandanur Village, Ramnad District)
This house is representative of the ancestral homes of the NattukottaiChettiars, a merchant
community.
The outside columned veranda (Burmese teak) and the central courtyard have been
authentically relocated and reconstructed from a house in Aryakudi village dated to 1895.
The door and inner veranda, dating back to c.1900, are from a house in Kandanur village.
FIG.4.55-MERCHANT HOUSE
BRAHMIN HOUSE (Ambur village, Tirunelveli district)

This Brahmin house has been relocated from Ambur village, an agricultural village in the
South of Tamil Nadu.
It is connected by a common wall and tends to be narrow in width and very long. They are
often without an interior courtyard, but have open spaces in the back. A clear storey on the
roof provides light and fresh air for many agra haram homes with flat roofs.
SILK WEAVERS (Kanchipuram Reddy Pettai Street, ChinnaKanchipuram)

The style and form of this house is common to many communities throughout Chengelpet
District. The colours used are the same as those in the original house.
The traditional craftsmen, including the weavers, do not separate their workspace from their
home. The reeling and twisting of the thread as well as the preparation of the loom and
weaving are all done in the main space of the house.

THESIS 2020
FIG.4.56-BRAHMIN HOUSE FIG.4.57-SILK WEAVERS

HOUSE
AGRICULTURAL HOUSE (Sathanur village, Mayavaram district)
This house was built circa 1850 A.D. in Sattanur village by a Hindu Naidu family of
agriculturalists. The house is typical of many in the towns and villages of Mayavaram and
Tanjavur districts.
POTTERS HOUSE (Chengleput District)

The house in front is made of mud. The thatch is a reed found near the banks of ponds and
rivers. The structural supports are from Palmyra trees.
The house in the rear was originally mud. It has been made here with compressed mud
blocks, more durable than plain mud and a technique now being introduced to villages to
upgrade their mud construction. The blocks are stabilized with 5% cement.
Mud and thatch houses are the most prevalent form of housing in Tamil Nadu.
FIG.4.58-AGRICULTURAL HOUSE FIG.4.59-POTTERS HOUSE
BASKET WEAVERS MUD HOUSES (Chengalpattu District)

It consists of two simple mud houses of ordinary working class people. Fibre products of
Tamil Nadu are on display.
TEXTILE EXHIBITION HALL

This hall displays textiles of Tamil Nadu prevalent throughout the state, including regional
saris, men’s wear, textiles of trade and textiles of rituals.
4.3.9. KERELA
SYRIAN CHRISTIAN HOUSE (Puthupally, Kottayam District)
The basic features of this house are the wood craft and joinery, the underground storage and
general emphasis on storage of food items, the well in the kitchen, the steeped roof and the
long veranda.
HINDU HOUSE (Mankavu, Calicut)

This two storey house built of laterite and timber is representative of many early 20th
century middle class homes throughout the central and northern part of Kerala. This house
belonged to a Menon family, one of the many traditionally matrilineal Hindu communities
of Kerala.
Laterite is the chief building material in this area and, along with wood, is used for two
storey homes.

THESIS 2020
FIG.4.60-SYRIAN CHRISTIAN HOUSE FIG.4.61-HINDU CALICUT HOUSE
HINDU HOUSE (Trivandrum)

This small middle class house from South Kerala belonged to an agricultural Hindu family
of Nairs, a popular matrilineal Hindu caste. The house is representative of houses in
southern Kerala, where the building material was primarily timber. The manner of joinery
and wood used (jackfruit wood and Palmyra) was standard in southern Kerala for both the
rich and middle class. The carved detailing on the cross boards of this house is of the highest
quality.
GRANARY (Kuttattukulam, Kottayam)

The granary and cowshed at DakshinaChitra from Kuttattukulam, near Kottayam was part of
a larger compound which included a cowshed, gate house and a Syrian Christian house very
similar to our Pudupally house. The British influence is noticeable in the arched verandah
which came to replace the graceful curved slated wooden screens and inside seating which
were characteristic of earlier verandahs.
FIG.4.62-HINDU TRIVANDRUM HOUSE FIG.4.63-GRANARY HOUSE
4.3.10. KARNATAKA
THE CHIKMAGALUR HOUSE (Chikmagalur district)
The house represents one part of the history of the Chikmagalur district, in Karnataka, as
well as the Muslim heritage of Karnataka.
From his decorative stucco work recreated here in lime exactly as it was in his house we
know that he was widely travelled.This work combines inspiration from the colonial period
and from the grand Muslim manor houses of the time.
ILKAL WEAVERS HOUSE (Ilkal, Bagalkote District)

This cluster of weavers' houses from northern Karnataka represents an urban settlement
pattern and is typical of weavers' houses in the larger northern region of Karnataka.
The wooden gateway, stone and wooden window at the entrance were taken from Ilkal, the
last remaining standing remnants of a house which was considered to be the oldest known
house in the town.
FIG.4.64-CHIKMAGALUR HOUSE FIG.4.65-ILKAL HOUSE

THESIS 2020
4.3.11. ANDHRA PRADESH

COASTAL ANDHRA HOUSE (Yellamanchilli Mandal, Visakhapatnam District)
In Andhra, this house form is locally referred to as chuttillu which means a round house (illu
stands for house). In a cyclone prone area, fisherman and agricultural farmers build circular
houses which nestle closely to form clusters.
The walls of the house are built in mud using the cob wall technique i.e. earth is mixed with
water thoroughly to form the right consistency. Then, balls of mud are placed closely in a
row and the wall is built up from there. In one day, only 2 feet of wall may be erected.
IKAT HOUSE (Nalgonda District)

The weaver’s house at DakshinaChitra from NalgondaDt, Telengana follows an age old
traditional style locally known as bhawanti.
Building materials are the following – reapers are bamboo, beams are Palmyra, roof tiles are
semicircular in shape. The plinth is made of stone blocks with mud mortars and the walls are
either mud of sundried bricks. The weavers’ house plan is an adaptation of an agriculturist
house.
FIG.4.66-COASTAL ANDHRA HOUSE FIG.4.67-IKAT HOUSE
4.3.12. CONSERVATION LAB

DakshinaChitra’s conservation lab works to restore and preserve objects, artifacts and
textiles. Major restoration work is also done periodically.
4.3.13. CERAMIC CENTER

Ceramic center is a space where modern and traditional clay craft can co-exist and inspire
each other in this Centre. The Ceramic center holds regular workshops and classes in wheel
thrown pottery, as well as in hand built forms. It is a community studio that can be rented by
any artists who want to work in clay, glaze and stoneware. The Centre has a gas kiln and a
wood kiln suitable for glazes.
FIG.4.68-CONSERVATION LAB FIG.4.69-CERAMIC CENTER
4.3.14. CRAFT SHOP

The Craft shop features folk paintings, traditional toys, jewellery, home furnishings and
décor, books, stoles, CDs, saris, duppattas and garments.
4.3.15. CRAFTS BAZAAR

The craft bazaar is a major direct marketing opportunity for craftspeople and NGOs. Over 50
NGOs have participated in marketing opportunities at Dakshina Chitra.

THESIS 2020
FIG.4.70-CRAFT DISPLAY AREA
4.3.16. SEMINAR HALL

Dakshina Chitra is an ideal location to hold conferences, seminars, workshops and training
programs away from the hustle and bustle of city life. A unique venue for rejuvenating and
unwinding and also this quiet enchanting setting is excellent for team building and bonding.
The proposed meet can be arranged for a minimum group of 10 persons to a maximum
group of 80 persons (80-100) in theatre style in the Seminar hall.
4.3.17. ACTIVITY HALL

The activity hall at Dakshina Chitra is an ideal place for social events, workshops and small
get together.
4.3.18. AMPITHEATRE
FIG.4.71-SEMINAR HALL FIG.4.72-AMPITHEATRE
4.3.19. GUEST HOUSE

A/c rooms, Non-A/c rooms
Dormitory
4.3.20. RESTAURANT
There is one restaurant and one canteen in the campus.
FIG.4.73-GUEST HOUSE FIG.4.74-RESTUARANT

THESIS 2020
4.3.21. PARKING
Parking area is provided at the entrance of the campus. It accommodates around 20 cars, 5
buses and 50 two-wheelers.
4.3.22. INFERENCE
 The culture and architecture of South India is very well exhibited through huts of
different areas.
 There are sufficient toilets and drinking water facilities available in the complex.
 Around 80% of the area is landscaped and there is a pond (moat) present on the site
for collection of the monsoon overflow.
 There is a service gate at the back side which connects to the service road that runs at the
periphery.
4.4. COMPARITIVE ANALYSIS
PROJECT SHILPGRAM, SANSKRITI DAKSHINA

UDAIPUR KENDRA, CHITRA,
DELHI CHENNAI
LOCATION Near Havala Mehrauli - East Coast road,

village, Udaipur Gurgaon road, Chennai
New Delhi
NEIGHBOURHO Resorts Farmhouses Resorts

OD BUILDINGS
SITE AREA 70 Acres 7.5 Acres 10 Acres
BUILT UP AREA 10% 19% 21%
ENTRIES Two entries Single entry Single entry

1)General entry
2)Festival entry
FUNCTION Educational + Educational Educational +

Commercial Commercial
SITE PLANNING Segregated Arranged around Arranged along a

planning courtyard space/ single spine that
according to the garden later bifurcates
area provided for circumscribed by
huts of different the buildings
states
GREEN SPACES Sculpture park and Well organized Well organized

folk medicine and well and well
garden is well maintained maintained
maintained, but
the other green
spaces are not

THESIS 2020
maintained
CLIMATE None Vernacular None

CONSIDERATIO architecture
NS (planned as per
climate)
MOVEMENT Two entries Defined and Singular entry and

A)VISITORS 1)General entry meditative exit point, the
2)Festival entry circulation is
defined
B)ARTISANS Singular entry i.e. Follow the same Service entry/

general entry path as the visitors back entry
C)MATERIAL Singular entry i.e. New entrance at Service entry/

general entry the rear of the back entry
complex
EXHIBITION 4 museums, 3 museums, art Traditional

Traditional gallery housing at display
housing at display showing the
showing the culture of south
culture of western Indian states
states of India
FOOD FACILITY Dhaba mainly A small restaurant Traditional south

consisting of which is Indian restaurant
Rajasthani food operational only
during the time of
seminars or
workshops
WORKSHOPS Workshops for Workshops for Workshops for all

terracotta, shawl pottery, ceramics, the vernacular art
making, puppet terracotta and craft forms
making, pottery,
ceramics
ACCOMODATIO Quarters to Quarters to Quarters to

N accommodate 20 accommodate 8 accommodate 12
families of families of artisans families of artisans
artisans. and 8 studios for and 12 rooms for
artists guests.
PARKING Ground area Ground areas (5- Ground areas (20

( 1000 cars) 10 cars) cars, 5 buses, 50
bikes)

THESIS 2020
AMPHITHEATRE Seating capacity of Seating capacity Seating capacity

approximately of approximately of approximately
8000 100 250
MATERIALS RCC, Brick, RCC, Brick, Exposed brick,

USED Stone, Bhoosa Stone, Bhoosa Mangalore roof
reinforced plaster reinforced plaster tiles, Wooden
in earthy brown in earthy brown beams and
shades, Mangalore shades, Mangalore columns
roof tiles, roof tiles
Bamboo, Dried
mud bricks, Wood,
Handmade tiles,
Clay, Cow dung,
Thatched roof,
Straw, Dried
leaves, Red laterite
stones (iron rich)
SERVICES 2 bore wells are Drainage pipeline Water tank,

there on the site, runs along the Complex has its
electricity -solar periphery, water own STP,
panels are tank is in the electricity is taken
provided and rest north-west corner from the
is taken from the of the complex, government
government, 60 electricity is taken
bathrooms and 60 from the
toilets are government
provided
4.5. REQUIREMENTS
FUNCTION NO. OF USERS STANDARD TOTAL AREA

AREAS ( meter (meter square)
square/ person)
ADMIN BLOCK
RECEPTION 2 5 10
LOBBY 15 1.8-2 30
TOILETS 2 2.5 5
STALLS 30 10-15 300-450
MUSEUMS

THESIS 2020
STAFF 3 5 15
GALLERY 30 100
STORE 2 25
SEMINAR HALL 150 2.5 375
AMPHITHEATR 100 1 100

E
GREEN ROOMS 15 2.5 37.5
STORE 2 25
WORKSHOPS
POTTERY 4 100
LAC WARE 4 75
BLOCK MAKING 4 40
BLOCK 4 70
PRINTING
STONE WORK 4 120
PUPPET 4 75
MAKING
METAL INLAY 4 40
RESTAURANT 60 80-90 (including

kitchen area)
CANTEENS 20
ACCOMODATI
ON
DORITORIES 18 6 120
TOILETS 4+2 urinals 12
BATH 10

THESIS 2020
CHAPTER 5 - SOURCES AND COLLECTION OF BASIC

DATA
5.1. PRIMARY DATA COLLECTION
• NEHA KHANDELWAL – Assistant Town Planner (Jaipur Development
Authority)
• AMIT VYAS – Assistant Town Planner (Jaipur Development Authority)
• BHAGIRATH SINGH – Artisan at Kalagram Jaipur
• Artisans at RTDC ( Rajasthan Textile Development corporation)
5.2. WEBSITES
• DC(Handicrafts), Government of India, http://handicrafts.nic.in/.
• “Jaipur.” Wikipedia, Last modified April 25, 2015,
http://en.wikipedia.org/wiki/Jaipur.
• “Dakshinachitra Museum.” Dakshinachitra, http://dakshinachitra.net/.
• “Sanskriti Kendra Cultural center.” Sanskriti Kendra - Sanskriti Foundation,
http://www.sanskritifoundation.org/kendra.htm.
• “The Craft Village (The artisan's village).” Shilpgram Udaipur, Udaipur Fair &
Festivals, http://www.shilpgram.in/Shilpgram-Udaipur.htm.
• “Master plan 2025.”Official Website of Jaipur Development Authority. Last
modified April 25,2015, https://www.jaipurjda.org/.
5.3. BOOKS
• Ranjan, Aditi and M P Ranjan. Handmade In India. India: Mapin Publishing
House, 1 January 2009

THESIS 2020
• Jaitly, Jaya and Siddhartha Das. Incredible India: Crafting Nature. India:
Wisdom Tree, October 15, 2007.
CHAPTER 6 - DESIGN REPORT
6.1. CONCEPT
•Entry should be different for different types of users. i.e. the main entrance should
only be used by the public, and there should be a different entry for artian’s,
material, and officials.
•Seperate parking area should be provided for officials.
•The placement of stalls should be in such a manner that the recreational area serves
as a part of the stalls.
•Segregation of public areas and private areas should be done so as to avoid
interference.
•The museum in the complex should be an iconic building.
•The design should be in such a manner that it does not disturb the natural
environment rather moulds itself into it.
•The dormitories should be placed away from the public area as it is the living area
of the artisan’s.

THESIS 2020

THESIS 2020

THESIS 2020

Chapter 1 - Introduction of The Project

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THESIS 2020

CHAPTER 1 – INTRODUCTION OF THE PROJECT

1.1.1. DEFINATION OF ARTISAN

 An artisan is a person skilled in making a product by hand. He is someone who can

FIG.1.1- AN ARTISAN FIG.1.2- BLOCK PRINTING FIG.1.3- MAKING OF

1.1.2. WHAT IS AN ARTISAN’S VILLAGE?

LINGAYA’S VIDYAPEETH , FARIDABD 1

1.1.3. HERITAGE AND CULTURAL VALUE

FIG.1.4- INDUS FIG.1.5- INDUS FIG.1.6- INDUS FIG.1.7- MAURYAN

LINGAYA’S VIDYAPEETH , FARIDABD 2

FIG.1.8- COINS FROM FIG.1.9- PAINTING FIG.1.10- TERRACOTTA

FIG.1.11-MEDIEVAL FIG.1.12- MEENAKARI FIG.1.13- CARPET

1.1.5. TYPES OF CRAFTS

 CERAMICS AND GLASS CRAFTS

LINGAYA’S VIDYAPEETH , FARIDABD 3

FIG.1.14- CERAMIC CRAFTS FIG.1.15- TEXTILE CRAFTS FIG.1.16- LEATHER WORK

FIG.1.20- WOOD CARVING FIG.1.21- STONE CARVING FIG.1.22- JEWELERY MAKING

1.1.6. DIVERSIFIED INDIA

1.1.7. GOVERNMENT AND NON GOVERNMENT INITIATIVES

LINGAYA’S VIDYAPEETH , FARIDABD 4

1.2. PROBLEM STATEMENT

1.3. AIMS AND OBJECTIVES

1.4. VALIDITY OF THE PROJECT

LINGAYA’S VIDYAPEETH , FARIDABD 5

1.5. SCOPE OF THE PROJECT

1.5.1. SCOPE FOR STUDY

1.5.2. ARCHITECTURAL SCOPE

LINGAYA’S VIDYAPEETH , FARIDABD 6

1.6. PROPOSED METHODOLOGY FOR STUDY

AIMS AND OBJECTIVES

STUDY & RESEARCH

SITE STUDY LITERATURE PROTOTYPE

LOCATION, STANDARDS, LIVE CASE

LINGAYA’S VIDYAPEETH , FARIDABD 7

CHAPTER 2 – LITERATURE STUDY

2.1. CULTURE OF RAJASTHAN

2.2. HANDICRAFTS OF JAIPUR

FIG.2.1- OBJECTS MADE IN BLUE POTTERY

2.2.2.KUNDAN JADAI-GEM SETTING

LINGAYA’S VIDYAPEETH , FARIDABD 8

FIG.2.2- KUNDAN JEWELERY FIG.2.3- MEENAKARI WORK

2.2.5.RAZAI – QUILT MAKING

FIG.2.4- LAC BANGLES FIG.2.5- JAIPURI RAZAI

2.2.6.BANDHEJ AND LEHERIYA – TIE-RESIST-DYEING

LINGAYA’S VIDYAPEETH , FARIDABD 9

FIG.2.6- BANDHANI WORK FIG.2.7- BLOCKS FOR PRINTING

2.2.8.MOJARI – LEATHER FOOTWARE

FIG.2.8- LEATHER CHAPPAL FIG.2.9- HAND MADE SHEET

2.2.10. TERRACOTTA OF SAWAI MADHOPUR

2.2.11. STONE WORK

LINGAYA’S VIDYAPEETH , FARIDABD 10

FIG.2.10- POTTERY FIG.2.11- STONE WORK

2.2.12. KATPUTLI – PUPPETS

2.2.13. GOTA WORK

FIG.2.12- KATPUTLI FIG.213- GOTA WORK

2.2.14. TARKASHI – METAL INLAY IN WOOD

FIG.2.14- TARKASHI WORK DONE ON BOX, BANGLES AND SHOW PIECE

2.3. STANDARDS FOR VARIOUS FUNCTIONS AND PLACES

LINGAYA’S VIDYAPEETH , FARIDABD 11

FIG.2.15- LAYOUT OF A FOOD COURT

FIG.2.16- SPACE REQUIRED FOR SITTING AND CIRCULATION BETWEEN TABLES

FIG.2.17- HEIGHTS OF TABLES AND CHAIRS

LINGAYA’S VIDYAPEETH , FARIDABD 12