A Thesis & Architectural Project ii On “MUSEUM FOR LIVING ASPECTS OF TRIBAL LIFE AND ARTS, SAPUTARA” DWAR-THE GATEWAY TO TRIBAL ARTS Submitted to D. ¥. Patil School Of Architecture, Ambi Pune Under Savitribai Phule Pune University In the fulfillment of the Partial Requirements for the Award of the Degree of Bachelor of Architecture By DHARMIK RAMESH BHATIA Under The Guidance Of AR.DHANASHRI MIRAJKAR D.Y. Patil Educational Academy's D. Y. Patil School Of Architecture, Ambi Sr. No. 124 & 126, MIDC Road, Talegaon Dhabade, Pune ~ 410506 ‘APRIL 2019CHAPTER FIGURE NO. FIGURE DESCRIPTION CHAPTER2 [2.2.1 Rathwas playing Holi 222 Figure describes a tent mela 22.3 Tribal_girls talking to each other on a brick pyramid. 22.4 Carts as playground 225 ‘Women performing traditional Bedan ‘garbo dance 22.6 ‘Traditonal Bhunga houses. 227 The tribal dancers 228 The holi makeover. 239 Each women holds the ends of thin ‘cords which she pills to make the rods turn briskly in the chum 2.3.10 The girls are busy chuming buttermilk in time - honored fashion 22.11 Vows of wellness 2.3.12 The jaggery donkey 2.2.13 ‘Omament wall of Harijan house 22.14 Elegant flautist 22.15 Musician and his music 2.2.16 ‘Apastoral scene 22.47 Dressed for celebration 2.2.18 Courtyard of a rebar tribe 2.2.19 The eternal garba 2.2.20 ‘The wedding scenes 22.21 Well dressed Dhebaria Rabari tribe. 2.2.22 Beauty adomed 2.2.23 Rathwa beauty 2.3.24 ‘Always in fashion 2.3.25 Bridal Bewitchment 2.2.26 ‘Ageless beauty 2.2.27 Kacchi elegance 2.3.30 Celebration with ashes. 22.31 Masks for harvest celebration 2.2.32 Faith and fire 2.2.33 Fiery vows 2.2.34 Pithora Paintings of Rathawas 2.2.35 The blessing of wall divinity 2.3.36 Beauty in motion 2.2.37 The colors of joy a aCHAPTER: FIGURE NO. FIGURE DESCRIPTION 2.3.38 Gifts of earth 23.1 The figure shows the entrance of museum. The entrance feels welcoming and harticrafts hung from the celing. 2.3.2 Decorative ineterconnection made between the galleries, Aclear feel of transaction is felt between these pockets 23.3 Bhuri bai making pithora artwork in the museum to be displayed in the galleries, 2.34 Madhya Pradesh highlighted in mao of india 235 Bhopal highlighted in Madhya pradesh state map 236 ‘Areial view of site. 2.3.7 Air temrature table 23.8 The figure shows sun path diagram fo the bhopal city 239 3-D view of interior passage 2.3.10 Conceptual sketch of concept 2.3.11 Air circulation diagram, 2.3.12 Public flow in Gallery spaces. 2.3.13 3-D view of outer envelope 2.3.44 Vertical Zoning 2.3.15 The figure shows the structural castellated beam element of the museum, 2.3.16 “Entrance to the museum with wooden carvings. 2.3.17 Truss made from steel rods 2.3.18 View of exhibit. 2.3.19 Column decoration with mirror work. 2.3.20 External view. 2.3.21 Entrance from library. 2.3.22 Map of india. 2.3.23 Map of Madya Pradesh. 2.3.24 Aerial view of site. 2.3.25 ‘Sun path diagram 2 AE ees asf peesCHAPTER FIGURE NO. FIGURE DESCRIPTION, 23.26 ‘Shell dome. 2.3.27 Inner exhibit display to actual scale. 23.28 North light dome shell 2.3.29 View of structure from Courtyard. 2.3.30 External view of the structure . 2.3.31 Bhil tribe playing Bagpiper. 2.3.32 ‘Map of India. 2.3.33 Figure shows highlighted Dang district of Gujarat. 2.3.34 Aerial view of site 2.3.35 View from Courtyard Looking gallery space. 2.3.36 View of courtyard to Staircase. 2.3.37 Chart showing Display and circulation. 23.38 Chart with individual gallery chart 2.3.39 ‘Sketch of Saputara museum 2.3.40 View of exhi 2341 Image showing view of gallery. 2.3.42 Ground view of Steinhardt museum. 2.3.43 Bird eye view of Steinhardt museum. 2.3.44 Map of Israel 2.3.45 Tel Aviv on Israel map. 2.3.46 Aerial view of Structure. 2.3.47 ‘Area distribution Chart. 23.48 (Open vs. Built chart. 2.3.49 Display and circulation chart in individual gallery. CHAPTERS [3.1.1 Viewing angles in exhibits. 342 Drop-off point 343) ‘Administration area. 344 Wall display angles 3.15 ‘Sun inviting techniques. 3.16 ‘Arrangement of Gallery. 347 Exhibition partition techniques. 3.48 ‘Size of ventilation shaft table. 3.19 ‘Side margins 3.1.10 ‘Space organization diagram 3.4.11 ‘Space and area requirement table. 3.4.12 ‘Map of india. 3.1.13 ‘Map of Gujarat 3.4.14 Climate data chart Ceolboring spc ott CHAPTER FIGURE NO. FIGURE DESCRIPTION 34.16 ‘Shell dome. 3.4.16 Inner exhibit display to actual scale. 3417 North light dome shell 34.18 View of structure from Courtyard. 3.1.19 External view of the structure . 3.1.20 Bhil tribe playing Bagpiper. 3.4.21 Map of India. 31.22 Figure shows highlighted Dang district of Gujarat. 2 AR aS 1ACKNOWLEDGMENT Lexpress my deep sense of gratitude and great regards to all the peo- ple who have helped and supported me during the execution of tis project and writing ofthe corresponding dissertation report. | thank my ‘mentor and guide Ac Dhanashyi Micajkar for her valuable guidance and support. Her profound experience and incomparable expertise com- bined with her kind supportive nature have been a substantial asset for me throughout the learning experience. She spared no efforts to provide me the needed impetus. Besides | also wholeheartedly thank r.Uma Jadhao,Principal 0.Y Patil colege,Pune , for allowing to use the facilties available in he Campus. A very special gratitude goes out to late Ar. Abhijeet De for actively {guiding and supporting me throughout the journey of understanding my thesis. | am grateful to my etemal life coach, my family for always providing ‘moral and emotional support throughout my journey. | would also ike to thank my juniors, Nikhil J., Divisha K., Guruprasad, Aditya A. and my fellow friend Nabaneeta Sharma for their enormous support and helping me with the details of the project and working to- wards its completion. Finally, | would like to thank my institution, my department and faculty ‘members without whom this project would have been a distant reality Cogs Teeseau or hing apes ABSTRACT Museums a place of leaning, Aplace where the leamingis visual( Spa- tial), Aural( Auditory- musical), Verbal ( Linguisc), & Physical (Kinesthet- ic), Social itreration between various kinds of communities plays a vital role in order to develop a cultural bond amongst people of various group. ‘A forum of exchange of ideas and knowledge is important in order ‘to understand various sections of society which are often classified {a8 backward class or tribes. Due to the modernizing era with ever Changing cities these tribals have not able to cope with the monoto- nous of a modem society. By the means of learning if the society develops an Inter-Relation and gets to know the other parts of soci- ely, It may have a different perception for looking things differently. Distinct tribes have diferent certainties that might have enrolled them iin a part that is other then their prestigious historic significance. Prof- fering an opportunity to these community for the revival of culture and ethos is considerably significant, Assigning a proper work environment is essential for the revival of the communities. Revealing identities of different iconic business in the form of learning and sharing becomes influential for both communities and the other section of the society. Expressing their arts in the form of teaching will abet the local com- ‘munities not just as a form of income but also conserve their cul- ture. India being a land of heritage has to have such arts in Consideration. Tribal art and craft teach alot of the significant his- tory. There should be a building conservation but also the con- servation of heritage in order to surge the development of nation CSRS TR eS 1)esau ar hig ap TABLE OF CONTENTS ACKNOWLEDGMENT ABSTRACT DESIGN INVESTIGATION 1.0 INTRODUCTION TO TRIBAL MUSEUM 4.4 Introduction. 1.2 Aim and Objective. 4.3 Scope and limitation 2.0 RESEARCH & CASE STUDIES 2.1 History 22 Theorization 2.3 Case study 2.4 Case study reports 3.0 PROGRAM ANALYSIS 3.1 Standards of designing 3.2 Area statement 4.0 SITE ANALYSIS DESIGN TRANSLATION 5.0 CONCEPT 5.4. Urban regeration. 5.2 Design Evolution. 6.0 DESIGN OUTCOME 6.1 General analysis 62 _Inferences 63 Conclusion 7.0 BIBLIOGRAPHY PARED Eee stele > Soca d Te ees aso 1.0 INTRODUCTION TO TRIBAL MUSEUM 1.1 Introduction 1.2 Aim and Objective 41.3 Scope and limitation PARED ae Riel CS AIS FA ences1.0.INTRODUCTION TO TRIBAL MUSEUM 1.1. INTRODUCTION ‘The museum brings together culture, lifestyle, customs and beliefs of the various tribes hailing from different districts of Gujarat especially Dang district. Some of the tribes repre- sented here are Bhil, Dubli, Dhodia. The tribes constitute 14.75 per cent of the population of Gujarat. The museum throws light on their heritage and a way of life which is simple yet vibrant. Stories are told through pic- tures, literature and the figurines that as displayed. The li- brary is well equipped. This project deals with providing various means of opportu- nities to a lesser known group of society by the encouraging their culture and skills in order to generate a financial and economical support. This will also allow the other commu- nities of the society to know the culture around them in a thoughtful and sensible manner and respect the lifestyle and livelihood of the people. The study will entirely focus on social structure , physiological and psychological setup, behavioral aspects and beliefs of those communities. It will be a useful platform for those communities to show- case their skills and articulate themselves to the public. This will lead to a motivation and self confidence to work as a team with various other communities of the nation in- creasing the overall development of the country. Portraying them in a habitual sense that will create lesser complexity and a better understanding of their beliefs and other socio-economical aspects that have made them de- prived to express them in a larger section of society. This requires an intense knowledge of their ancestors and the other communities surrounding them creating a visu- al or morale effect on these socially deprived group of the society. This also creates a challenge for these people to represent them in a wider section of society. This will allow the weaker section of the society to shatter their confines and to step outside of their prescient towards an impending future. Theres a notified count of 29 tribes in Gujarat. Each originat- ing from a different background and culture. These different tribal group has various I and cultural background possessing a difference in their clothing, food habits, Occu- pation, religious beliefs, psychological thoughts, myths and truths. {rersou hing epee ota and at Sept 1.2. AIMAND OBJECTIVE AIM: To provide a scope of economy and exposure to various tribal com- ‘munities in Dang district of Gujarat in order to bring out their cultural prosperity in the form of interactive means. OBJECTIVE: +Providing a platform to tribal community to showcase their skills and ‘works to the society. Developing teaching and learning environment. +Exposing various art forms that are not available in the society. «Introducing interactive spaces for better understanding of tribes. «Providing a better adaptive environment for visitors to understand the lifestyle and behavior of tribal communities. SCOPE: ‘The main focus of this project is to evolve a better learning experience {or the visitors and providing exposure to various art and skills per- formed by the tribes in Dang district and Gujarat state. PARE e aslo C2 Seas TR A oso1.3. SCOPE AND LIMITATION LIMITATION: + This design will focus on a particular area and various group of tribes in Dang district of Gujarat. METHODOLOGY: OBJECTIVE HOWTO, TOOLS ACHIEVE To study the Literature and Internet secondary architectural and | document study of | data and literature design aspects of the |the museum, about | study. museum their design aspects To study the visitors | Observation of Case study, experience and ‘movement pattern of | Questionnaires and circulation pattern in | vistors in museum. | Observations. museum To study the literature study of [Case study and ergonomics of the | the exhibits and Literature study exhibitions and, about dimension of the art gallery display units in art |, Placement and | and display units. gallery and museum, | management ‘To study the ‘Analysis ofdiflerent | Case study of techniques and techniques and their | artificial and natural Impacts of lighting in_ | impact of both natural | lighting museum, and artificial lighting Condition in museum. PARED Ee acted Co Side S SR A ences2.0 RESEARCH ASE STUDIES 2.1 History 2.2 Theorization 2.3 Case study 2.4 Case study reportsa 2.0.RESEARCH AND CASE STUDIES 2.1. HISTORY ‘The tribal belt in Gujarat consists of the districts of Dangs , Surat, Broach, Baroda, Panchmahals, Sabarkantha and Banaskantha. Vari- fous sects of adivasis, mainly of Bhil Tribe and Konkan origin reside in this region. There are over § million Adivasis or tribal communities in Gujarat. Tribes with Bhil features account for more than 50% of the Gujrat's Adivasi population. Most of the Adivasi sects claim descent from clans, such as, the Rathod, Solanki, Chauhan, Parmar and Makwana, The colourful ghagra, the jhulki, the sallo and the jewellery worn by the Bhil Garasia women reveal Rajput influence as well The tribal people of Gujarat are religious and are animistic in religion. ‘They worship animals, such as the tiger, crocodile and snake as Gods and also worship some plant Gods and a hill God (Thumbi Dev). They also have many Gods in common with the Hindus such as Chamunda, alka, Amba, Lord Hanuman and Lord Krishna. Their greatest festival Js Hol. It is said that this and other festivals such as Diwall, which itis said originally belonged to these aborigines, were in due course of time adopted by the Hindus. Scholars are also of the opinion that the con- ‘cept of the Mother Goddess, Parvati (daughter of the hill king) and that of the Lord Shiva has been borrowed by the Hindus from the Adivasis. The tribes also worship their dead ancestors. The tribes of Gujarat are engaged in different occupations. In olden days the Bhils depended on the slash-and-burn cultivation system un- der which they cleared thick forests by cutting trees or burning them and cultivated crops in this land for a few years until the natural fertility of the soil was exhausted. They then moved on to new forests, leaving the land fallow for it to recover its ferllty. They also lived by gathering forest produce and hunting wild beasts or fishing. Some tribes work {a8 casual labourers, cattle breeders and find employment in the ports. Even today the tribal groups, such as, the Koknas, Gamits, Dhodias, \Vasawas, Garasias and some other Bhils generally lived on agriculture, ‘Most of the Adivasis depend on agriculture either as landowners or a5 farm workers. EDS steel bo dea SA macessou hing epee ota and at Sept ‘The life style and tradition of each indigenous community is unique and is related to the utlization of particular natural resource and par- ticular type of work. They had been collecting resources from forest without causing any damage to it. The forest provides them with food and livelinood security. Since tribal communities live in close proximity with biodiversity rich landscapes, they have evolved local specific and novel lvelinood strategies based on their indigenous knowledge. This knowledge was passed on through generations and it played an im- portant role in the conservation and sustainable use of biodiversity. By and large, they were depending on nature for their survival. Thus, there aivays existed an organic unity between humans and their surrounding environments in the traditional societies. As a resull, there existed an intricate relationship between their cuiture and nature. Social and cul- tural diversity, coupled with the environmental complexity, have gener- ated diverse approaches and technologies in the management and use of different natural resources. Since the ages tribal communities live in the lap of the nature. Their economy and culture are closely associated with nature and the nature is ike the womb of the mother. The life style and tradition of each indig- enous community is unique and is related tothe ulization of particular 9 natural resource and particular type of work. The interaction between human being and nature has always been reciprocal. This evident in ‘ral communities where there always exist a symbiotic relationship between their livelihood pursuits and the surrounding natural resource base like the forest, land, water bodies, mineral resource and other flo- ra and fauna. For tribal people land is important source of livethoods. ‘Around 90% of tribe's populations in India were depending on land i rectly or indirectly or their survival Natural environment, surounding the people. provides several goods, services and amenities to them, but using the environmental resources, for one purpose always reduces its ablity to supply them with other ser- Vices. This limited natural resource base surroundings, the tribal societ- ies being scarce and many conficting demands placed on it rom other sectors and other areas of society reduces ther availabilty to the tribal communities and affects their livelihood, Sometimes, the outsiders use the tribals ofthe locality to destroy the resources especially forest re- sources by encouraging overexploitation of timber, grazing lands and crop lands. Sometimes, the people in the communities are aware of the dangers of tis sort of habitat destruction but they badly can influ- ence and arrest the exploitaions. They have ittle knowledge and litle Power to influence the direction of change taking place due to broader changes in society. Though their lvelinood were mostly depending on forest resources, the resource was not sufficient to meet the demands of growing population. Traditionally the options for livelihood were not much diversified. The tribal communities had no much opportunity to go out PARE ested Co Seed SRA ose2.2. THEORIZATION ‘Some of the early tribal traditions are till kept alive by the people in crafts such as mask making, tattooing, body painting, costumes and jewellery, The motifs used are invariably meaningful and usually ex- press some pleasure experience in an artistic and colourful manner. The old rituals of offering clay horses at a particular sacred place con- tinues even today. The VAGHARI and other tribes often present KA- LAMAR paintings on cloth to the Mother Goddess. The folk painting ‘tradition is also alive among the RATHVVAS who paint PITHORA BABA, their guardian deity, on the walls oftheir mud houses. The deity is then invoked in a complicated ritual which includes music, dance and feast- ing. Highlighted here are both the beauty of the colourful paintings as ‘well as the spirit ofthe rituals, Festivals and fairs retain their age-old charm. They are held on varied occasions and provide joyous in an otherwise drab existence. Members of diferent rural communities come together at these events. Many people travel long distance to attend them and these journeys serve as periods of happy relaxation from their daily chores, especially for the womenfolk. Once there, everyone participates with a sense of joyous enthusiasm. The Rabaris and the Bharwads of Saurashtra are ‘well known for their performance of the traditional dance, the ras. The Dressed in their colourful ethnic costumes, they present a memora- bie sight as they move with rhythmic coordination. All rural people are ‘taught the traditional group dances from an early age and hence every- ‘one is able to join in with skill and proficiency. Gujarat is an it's cultural best during the festivals of NAVARATRI and MAKAR SANKRANTI, NAVARATRI (9 NIGHTS), is celebrate by dano- ing the GARBA, a circular folk dance in praise of the mother goddess. ‘Men, women and children, all come together to dance til late into the right, for 9 consecutive nights. Traditionally, a group of musicians sit with their musical instruments in the centre of the dancers and beat ‘out a magnetic rhythm to which the dance the dancers move and beat their DANDIAS (stick). The importance of MAKAR SANKRANTI or UT- TARAYAN goes back to ancient times. It is the day when the some moves into the Northen Hemisphere bringing winter to an end and it always falls on 14th January. In a unique from of celebration, men, ‘women and children fly Kites of every hue and shapes throughout the {day and into the night. Thousands of Kites fil the sky in an unforgettable spectacle of glorious colour. ‘Social and community living is an essential feature of rural Gujarat, ‘The sense of family extends to the entire village or Biradari. Every indl- Vidual's honour is bound to that of his tribe and community. As a result Of this strong feelings of community, Gujaratis stil possess a distino- tive homogeneity. For instance, weddings are still emotionally involving community events and are enthusiastically celebrated. The bride and groom don traditional costumes and jewellery. Their homes are deco- rated with embroidered fabrics to create a festive atmosphere and the elephant-headed god Ganesh is installed to bestow his divine blessings Upon the newly weds. Likewise, every sacrament from birth to death is a collective experience. RARER estes Ce Side 3 SR easesFIGURE: 221 The scene is blaze with colour as there tribal people celebrate HOLI" The Rathwas sown here, belong to the tribal community of KAVANT, who live about 24 KM west of Chota Udaipur, VADODARA district. The red turbans wom by them identify the vilage from which thy com. The turbans are set off by the golden yellow shirts worn by the men. In the centre, a group of drummers keep up a rhythmic beat, while others play ‘small musical instruments to add variety to the sound effects. Some of the men hold sticks of sugarcane and bamboo in their hands. “HOLI this isin essence an ancient spring festival which combines rev- elry and ribaldry in gay celebration of new lif. < ‘Tents and temporary shelters in clusters right to the horizon and large umbers of men, women and children more about or sit together in ‘groups as they wait to participate in a series of events. These are some of the quintessential sights of a traditional Indian fair. The play of light ‘and shade on the cloth of the tents and on the ground, as well as around the carts which serves as temporary to the scene. This photograph of the VAUTHA fair held in AHMADABAD district was taken in 1963, FIGURE: 223 ‘Taibal girls, clad in their customary red skirts (Ghaghara-s), with veils (Ouhni-s) on their heads, are seated on a pyramid of red bricks. Their different expressions, the play of light and shade on their clothes and fon their faces, all combine to create an unforgettable picture. The red aaa of their costumes is enlivened by their silver jewelery. Tribals are an ‘Rattweas playing Hol important segments of Gujarat’s population, with their own distinct cul- Folpeies: ture, which they have been able to preserve in spite of their growing Fue desc a tert ela. contacts with urban lie. Their aris talent fnds expression in thie naar aon Colourful Handierats, Wal paintings and the Household Artfact whieh FouRe2 cinar ona vax embelish ther homes. Tals have contibuted signifcatly to the di- Dyramal nna 2 each oer on 2B Verse character of Gujarats culture. eR: PAGESFIGURE: 22.4 Carts play an important role in the villages of Gujarat as the main form of transportation. Variations in the size of the carts as well as their deo- Crative elements are seen in different locations, yet their functions re- rmain the same. Carts are sometimes elaborately carved and decorated with variously shaped pieces of Brass, Copper and Iron. The cart in the photograph is used by children as a happy source of entertainment, ‘while it stands parked in front of a village hut. <4 The Bedan Garbo, a colourful, circular folk dance, is extremely popu- lar amongst Garasia women, who don colourful pleated skirs (Ghaga- ras), and bright red veils (Gdhani-s). They balance a series of three brass vessels of decreasing size on their heads. Known as Deghado, Ghado and late these vessels remain oftheir vigorous movements, a8 ‘they jump clap and whirl round inthe steps of this dance. The sight is a fascinating one and never fails to win extravagant applause The worn- Eee ta en sing as they words are usually in praise of the bounty of the Mother E Goddess, wio is all-powerful and omnipresent. These circular traditional homes (Bhungas) are characteristic of the Jat community of the Banni area of Kachchh. They are constructed on a high plinth and are normally placed in clusters within a given areas. The ‘walls are thick and the roofs are thatched with thin sticks of Baru. AS a result the interiors are fairly cool, although the rooms are normally dark Nevertheless, the beauifuly decorated walls can be seen distinctly once a person enters the house. The small windows make it possible Renee for those inside to keep an eye on what is happening outside. FIGURE: 224 Rates paying Hot FIGURE: 225) Figure desartes tent mela. FIGURE: 226 ‘iba git taking fo each ober a bck Pram eR: PAGE10FIGURE: 22.8 FIGURE: 227 ‘The tidal dancers FIGURE: 228 ‘Theal makeover FIGURE 227 Elaborately made-up from head to foot, these tribal dancers move together in the traditional movements of the dance as they and their ancestors have done from time immemorial. Their costumes and en- tire appearance are unforgettable. The large cowbells hanging at their ‘waists, the improvised drums in their hands, and their colourful match- ing attire, topped by conical straw hats, combine to create a contagious atmosphere of gaiety and pure pleasure. Peacock feathers, garlands of beads, white-metal omaments and old silver coins strung together, add to the festive gaiety evoked by splendid and ancient rituals. The prac- tice of embellishing their bodies with a paste of rice powder and ash is also an ancient one in this community and has remained unchanged. < ‘The Hol festival heralds the arrival spring (Vasant), when flowers bloom and the forest virtually springs to life. AS they derive their liveinood from the forest, it seems appropriate for tribal people to celebrate this change of season with enthusiasm and even religious fervour. Prepa- rations for the Holi dance are elaborate. Here, two young tribal girs ‘are seen omamenting the body of a young male relative, with a paste ‘made from a mixture of ashes and rice powder. The patterns stand out clearly on their Bronzed Skins. The paste is applied with a fine piece of bamboo, Once it is completely painted and the paste dries up, the face assumes a mask-lke appearance PARED ae acted Co SAIS SR osoesFIGURE: 22.10 FIGURE:23.9 Each women holds the end of tin cords ch she pals to make the reds tun briskly inthe chum FIGURE: 23:10 The oils are busy churning butler in time = honored fashion a FIGURE: 22.9 CChuming Buttermilk to make butter is an important activity in most vil lages and one which is often referred to even in ancient literature. Butter is associated withthe story of Lord Krishna, who was said fo have been extremely fond of butter made in this manner. In this photograph taken in 1953, Rabari women from the forested Gir region are seen rotating the wooden rod placed in the metal churn. Each women holds the ends of thin cords which she pills to make the rods tum briskly in the churn Often, if other women are present, they enliven the task with singing This helps them to maintain the rhythm of the churning process, turning itinto a happy and even festive occasion. < This remarkable picture is a study in elegance. Two beautiful young girs of the Thakore community of Gujarat, are almost identically dressed in red skirts (Ghaghara-s) and matching tie-dyed veils (Odhani-s), draped over their heads and with the ends tucked in at the waist. The girls are ‘busy churning buttermilk in time - honored fashion. All the colourful ele- ‘ments of a vilage home can be seen. The auspicious welcoming frieze (Toran), decorated in different colours, is strung over the threshold. A traditional wooden cradle (Ghodiyum) can be seen in the background. A. basket is suspended on a wall and a calendar print of the infant KRISH- NAcan also be seen. | PAGE12FIGURE: 22-12 FIGURE: 23.11 ‘ows of wetness FIGURE: 23:12 ‘Thejaggery donkey FIGURE: 22.11 ‘Twenty-four KM from the town of Chatta Udaipur. in Vadodara district, is Rumadia, the site of a remarkable and colourful fai. The tribal of this area participate in it, aking vows (Badha), to keep all the members of their families safe, well and happy. The vows they take are considered tohave been observed when they participate in the indigenous platform (Deshi Manchi) ritual that then follows. A horizontal pole is held firmly by a small group on a raised platform and rotated rapidly, while the man ‘who has taken the vows is suspended at the other end. The pole, rotat- ing rapidly, certainly contains an element of danger. Yet ths is all a part of the firm religious faith which is an inextricable part oftheir lives. The huge audience seen in the picture, is obviously engrossed in the event. ‘Such festivals and supplicatory rituals serve to exemplify the continuity of their ancient tribal cultural < ‘Agaliant youngster is seen here as he climbs to reach the packet of Jaggery tied to the top. But prior to this, he was required to reach the base of the pole, passing through crowd of women armed with sticks. ‘who beat him and tried to stop him and blocked his path to the pole. On ‘successfully negotiating these hazards and reaching the pole, he siow- ly climbs to the top and triumphantly eats the Jaggery, known as Gur or Gol. This success no doubt makes him a hero in his own eyes but his fellow tribal label him a Donkey (Gadhedo) and hence a figure of fun This is one of the more lighthearted moments at a fair, yet the tradition, like so many others, is an ancient one. PARED Ee Sac slebel be 22 SAT osoessFIGURE: 22.14 FIGURE: 23.19, (Omament wal of Harian house FIGURE: 23.14 Bleganttautst baREare ciel bees FIGURE: 22.13 ‘This picture evokes the simple yet attractive atmosphere in a Harjans Homes in Kachch, Like their Rabari neighbours, Harijans work as car- peenters, supplying the needs of several nerby walls of their own homes ‘with designs in high relief executed carefully in a mixture of cow dung land clay. Amongst t the Muslim Maldharia such designs are always geometrical and flora, whereas the Hindus freely use Peacocks, Par- rots, Elephants, Camel and Human Figures in their design. The woman outside the door outside the door wears a lavishly embroidered blouse (Kanjaf), glittering with mirror work. 4 Unconsciously highlighting the fact that he belongs to pastoral com- ‘munity, then elegant young Rabari of Janagadh district takes time off to play his flute. This young man's flute is of simple bamboo and of the kind that can be purchased at any rural fair. His costume is set off by the finely woven shawis (Dhabalo), throw over his shoulders. His White turbans (PAGHADI), has beautiful embroidery at the end. Music is a part of Rabari daily life and they derive great pleasure from i. REELS STE excessrN FIGURE: 22.16, FIGURE: 2015 FIGURE: 23:16 ‘pastoral scene FIGURE:22.15 This Rathwa boy is absorbed in playing the flute. He has wound a red turban casually around his head and his shirt, in contrast is in shades of green. He ware silver earrings, and ties a smart handkerchief around his neck. His bamboo flute is embelished with bright cords from which tiny bells are seen dangling. These bells swing and twinkle jauntily as he walks. The overall impression of the flautist is one of total concen tration. This photograph is composed carefuly to highlight the feelings evoked by the musi. ‘Two imposing Rebaris of the Bhal area, stand leaning on their bamboo poles and conversing with each other while their cows wander on the banks of the lake in quest of fodder. This splendid scene calm em- phasises the calm and peaceful nature of rural life, far removed urban ‘noise and pollution. This is Chandola Lake, located on the outskirts of ‘Ahmedabad. Taken in 1948, this pictures shoes the lake and its envi- rons as it was then, green, clean and unpolluted. PARE Ee cated Ce 22 I RAT onceFIGURE:2218 FIGURE: 2.17 Dressed fr celebration FIGURE: 23.19 Courtyard ofa Rebar tbe, FIGURE: 22.17 A ‘This photograph of a group of Bhopal Rabaris was taken in group 1940, of during religious celebrations in the vilage of Beed, just 20 KM from Jamnagar. The costumes of these women - the skirts (Pehranu-s), and the veils (Odhani-s), are typical of the area. The fabric used in wool, «which is worn throughout the year as part of ancient traditions. The wall of the house show decorative work executed in high relief. No matter how poor they may be, the sense of the beauty among the Rabaris is inherent and they never lose an opportunity to dress themselves and decorate their homes in as tasteful a manner as possible. < ‘AVagadia Rabari family ofthe Vagad region of Rapar taluka, in Kachchh, is sees in the courtyard of their home. Women of all ages, as well as children, sit together or stand in groups to chat amicably, Even though the weather is hot, their clothes are of woollen fabrica, tie-dyed in red. Women drape woollen veils (Odhani-s) on their heads and wear blous- es and skirts (Peyanu-s). They have Kadalan-s on their ankles. The boys have earpieces (Ful-s) and the girls wear Vedla-s on their ears. ‘They also wear Hansdi with amulets (Madaliyun-s), around their necks, as well as Kallis and Sankalan-s on their ankles. The embroidered parts of their upper garments have the typical mirror work of the region.FIGURE: 23:19 ‘The etemal gaa, a FIGURE:22.19 ‘As this photograph taken in 1941 clearly shows, the traditional Garba, ‘the circular dance folk, has a charm that is ageless. Here, the partici pants join in the Garba to celebrate Janmashtami, the birthday of LORD KRISHNA, a festival celebrated all over the Nation. The Garba is Guja- rat's own falls dance, which continues to inspire the hearts and mind of people in both town and village.as is customary, a group of musicians is seated in the centre and, with their drums (Tabla-s) and cymbals (Manjira-s), beat out a steady and lively rhythm, to which the dancers responds by placing their steps and clapping. But music is not only the feature of Garba, The musicians sing a traditional Garba song, calling {or divine blessings. All Garba-s are sacred to the Mother Goddess and her blessings are essential for the success of any enterprise. Garba-s today have changed and a certain degree of modern urbanization has affected the costumes and styles of music. But its essentially joyous character remains unchanged, PARED Ere ac stelel bo 2S RAT onceFIGURE: 22.20 He is surrounded by friends and relatives; a retainer holds a ceremonial umbrella over his head as he sits astride his richly caparisoned white horse. An ommamental circular disc attached to a rod is held by a mem ber of the procession. < This elaborately dressed bridegroom belongs to the Dhebaria Rabati ‘community of Anjar, Kachchh. Handsome and confident in his glittering costume and enormous turban (Poghadi), he resembles a prince. The elaborate earrings (Fuls and Tholiyun-s), numerous necklaces, and the fine lace decorative piece (Modio) adorning his turban, all add to the splendour of his wedding attire. Its predominant colour is red, the colour {or all auspicious occasions, and is enlivened wath chain-stitch embroi- dery, the picture conveys a strong sense of the importance attached to ‘weddings in this community. FIGURE: 22.21 FIGURE:23:20 “The wedding scenes FIGURE: 2.321 ‘ies dressed Onebara Rabar ibe PARED Ee cs tekel Co 22 SRST acess “aFIGURE: 2229 FIGURE: 23.22, Beauty Adomed, FIGURE: 23.23, Ratha beauty, a FIGURE: 22.22, This portrait of a village woman of Jamnagar at a festive gathering highlight her simplicity and inner contentment. Dressed in a colourful ethnic costume, she is completely at ease in her surroundings. Her elaborate jewellery is an essential part of her costume, which would be incomplete without it. Bead necklaces emphasise the slimness of her neck while her bangles and ear omaments (Vedia-s and Dolanu-s) of gold, lend lustre to her looks. Her wrist is also adorned with a broad bangle (Chudo) in dark red, mounted with a golden strip. Each finger bears a sliver ring (Kardo), The Tie-Dyed Veil (Odhani) over her head is embellished with traditional designs. The radiant smile on her face completes the striking picture. This gil belongs to the community of Rathwa Tribals of Gujarat. These Tribals are known for their good looks. The Rathwa Tribals are simple and elegant in their dress and habits. Thelr womentolk are fond of jew- elery and often have their faces tattooed (as seen here) to enhance their looks. The tattoo marks on either side the nose and at the chin are auspicious according to tribal belief. She has a Hansdi round her neck from which are suspended several old silver coins. Her ensemble is ‘completed with bead necklaces, earrings and rings on her fingers. PAGEISFIGURE: 23.24 ‘Awaye in fashion oy: FIGURE: 22:24 This close-up of a young Vadhiyari Rabari gil of Radhanpur Taluka in the Banas Kantha district, shows the large number of omaments that are worn on festive occasions. They are of various designs and shapes. ‘She wears a traditional silk Saree (Hallo) and a Brocade Blouse (Kapa- dun). Her necklaces consist of gold beads, and silver, with rectangular, tubular and round amulets, Her fingers too are adomed with rings of different sizes and shapes and her hand with (Panphul-s). Also on her hands are Chuda-s and Hathvayodo-s of silver, a Vail adoms her nose. Taken in 1943, this is a grand picture of traditional jewelery, PAGE20FIGURE: 22.25, a This close-up of a young Vadhiyari Rabari gil of Radhanpur Taluka in the Banas Kantha district, shows the large number of ornaments that {are worn on festive occasions. They are of various designs and shapes. ‘She wears a traditional sik Saree (Hallo) and a Brocade Blouse (Kapa- dun). Her necklaces consist of gold beads, and silver, wth rectanguler, tubular and round amulets. Her fingers too are adomed with rings of different sizes and shapes and her hand with (Panphul-s). Also on her hands are Chuda-s and Hathvayodo-s of silver, a Vail adorns her nose. Taken in 1943, this is a grand picture of traditional jewelery, FIGURE: 23.25, ‘ial Bevetchment | PAGE?FIGURE: 2227 FIGURE: 23.26, ‘goles beauty FIGURE: 22.27 aoehh Elegance baREare ciel bees Ay E2228 ‘This picture dispels the notion that only the young can be dressed to look beautiful. This delightful old farm woman, continues to wear the clothes and jewelery of her youth. Age has given her wrinkles and robbed her of some teeth, but nature continues to be as friendly to her now as in her youth. Her ears are weighed down by the siver earrings, She also wears necktaces to which numerous amulets and pendants are affixed. Taken in 1937, the picture reminds us that beauty has no age. < This woman belongs to the Dhaneta Jat community of Nakhatrana, Kachchh. The community is renowned worldwide for its remarkable embroidery skils, an elaborate example of which is seen here. She is ‘wearing a garment known as a Gaga and itis typical of this area. An tunusual feature is her prominent nose-ring which is supported by a black woven thread affixed to her plait. Her face is lined and careworn but her cheerfulness is unimpaired. The shadow of a welcoming frieze (Toran), points to the strong similarity in the costumes and customs of all communities. PAGE22FIGURE:22.29) FIGURE: 23.26, ‘Ageless beauty FIGURE: 22.27 acer Elegance baREare ciel bees A FOURE 2228 ‘The tribal folk of Dharampur and Vatud in Valsad district, use elaborate painted masks made of wood, when they dance during the Holi festival Celebrations. In this photograph, the walls of the house near which a boy is seated, is sprinkled with white paint, conveying an added visual quality. The mask, which will fit over the face of a tribal dancer, is in- ‘tended to conceal his own personality, giving viewers the opportunity 10 Concentrate on the rhythm of the dance and the story being conveyed through it. Masks have been used in many ancient cultures < ‘South Gujarat is home to several tribal groups with distinet customs Of their own. Among these are the Kunknas, Gamits and Varl tribes of Dharampur, in the Valsad district. These tribal people don masks during Holi and at harvest festivals, as they move from place to place singing to collect contributions. During the harvest season, when the year's toil has bore frost there is an all- pervasive sense of joy and freedom ‘around the countryside. Such harvest dances, known as Bhavada often last the whole night. Alarge number of masks are used, each depicting a social or religious figure. The embellished masks help to bring the represented characters is life in the eyes of beholders. These masks Constitute only one of the elements in a folk tradition, PAGE23FIGURE: 22:31 FIGURE: 23:30 CCebraion vith Athos FIGURE: 22.31 Macks fe the Harvest celebrations A Eze ‘These colourful masks, made of wood Papier Mache and painted in Vivid colours, are fixed to the top of bamboo poles. They are donned by farmers for their celebratory dances after a successful harvest. The central maskis of the popular elephant-headed god, Ganesh. The other ‘mask seen here are of god and goddess, a leopard and a demon, The masks clearly demonstrate the artistic abilities of their oreators. Rural rmask-making is part of a deeply-rooted crafts tradition which is very old and forms an essential part of the lives of the villagers. <4 ‘At the commencement of the Holi festival, a log of wood representating the demoness Holika*, is burt to ashes, as people gather around it singing and shouting. Later, they smear their bodies with ash and also throw ash at one another. Rhythmic dancing and singing are the usual practice and the accompanying drums maintain a rapid rhythmic beat. Hollis one of the most joyous festivals of the year for everyone, *Holka Itwas said that Holika, sister of the demon king Hiranyakashyap, could ‘not be touched by fire. To punish his son Prahlad for his devotion to Lord Vishnu, the king asked Holika to sit in a fiery pyre with Prahiad in her lap-and so immolate him. However, the Lord came to his devotee's ad and it was Holika who was burnt to ashes | PAGE24FIGURE: 22.93 FIGURE: 23:22 FIGURE: 22.99, Fry Vows. FIGURE: 22.32 This ritual is practiced by some tribal people in different parts of In- dia. Those who participate in it are required to walk swifly over a lay- er of burning embers of wood, laid horizontally in a pit, as seen here. Fire-walkers believe that only those who lack sufficient faith will be harmed while all others will emerge unscathed. The young man here holds a sword firmly and purposefully (symbol of his warrior status), as he walks on the embers, He emerged unharmed and triumphant. Other ‘accessories used in preparing for the ritual are seen around the pit ~ Coconuts and brass pots of water amongst them. < This photograph, taken in one of the villages in Chhota Udaipur taluka of the Vadodara district, shows a young man walking on a glowing bed of fire made with the embers of wooden logs which were set ablaze earlier. He holds a sword as he walks barefoot. The ritual is usually performed by individuals in fulfilment of a vow and they believe that all the members of the fre-walker's family will prosper by receiving an abundance of wealth in some form or other, including food grains, mon- ey and physical health, The ritual points to the triumph of mind and spirit over matter. | PAGESFIGURE: 23.34 noa Paintings ofthe Rathawas baREare ciel bees A FIGURE: 22.94 Prior to the commencement of the act of painting a Pithora on a wall, certain ritual procedures are followed by the Rathwas. The priest (Bhu- vo), anoints all ritual objects with a finger dipped in vermiion paste (Sin- dur). Usually five dots are made in this manner in various places and these are called Tippana. The dots invoke the gods to come and occupy ‘their rightful places in the ritual. The invocation is usually through songs (Gayanu), and the uttering of the precise name of each deity in the Rathwa language by the Bhuvo. The ritual follows a certain sequence. Baba Ind, their most important deity, is regarded as the Master of the Earth, who provides everyone with food and water, and protects. hu- man beings. He is, therefore, the frst to be called and worshiped. The plough which tls the soll and therefore helps to grow the food grains. is also worshipped during the intial ceremonies. After these preliminaries, the ritual painting of Pithora Baba himself commences, usually on the seventh day. The entire ritual is reminiscent of a festival and guests are also entertained In this picture several painters (Lakharas), are seen at work on a sec- tion of the wall. When complete, Pithora Babe's entire entourage will be represented on the wall from where it will provide protection to the inmates of the house PAGE26FIGURE: 22.36 FIGURE: 23.35, ‘The Blessings ofa Wal Dinty FIGURE: 23.95, Beauty in Maton m4 se ne AABAEN a FIGURE: 2.25, This delightful photograph shows an enormous completed Pithora painting on the wall of a Rathwa home. Pithora paintings of this kind are considered among the larger murals of this type in the world. This particular painting is drawn in the home of a Rathwa tribal, in order to place himself and his family under the protection of the all-powerful god Pithora. The Rathwa community resides mainly in the Chhota Udaipur taluka of the Vadodara district of Gujarat. A typical Pithora painting in- cludes traditional elements such as animals, birds, horses and people engaged in various activities, When completed, the entire painting is considered to be Pithora himself. Today, the paintings are done with synthetic colours but earlier only vegetable colours were employed. (Once commissioned, the work on such paintings is undertaken by the presented to the deity and offered as (Prasad), as part of the entire fitual. The celebrations continue for five days to the accompaniment of songs sung by the priest (Bhuvo) and the incessant beating of several ‘A.composite picture of riders disporting themselves on a beach at Koli- yak, near Bhavnagar, creates a remarkable feeling of arrested motion. “The receding waters of the ocean have left the sands shiny and bright, land the images of the moving horses, their riders, and those on foot, are reflected in the water and on the sand. The picture captures a fee- ing of lightness and joy in a pleasurable activity. PARED Ee ec stekel bo 22 RAT osocnFIGURE: 22.38 FIGURE: 23:97 ‘The cols of Joy FIGURE: 23.98 Cis of Earth a FIGURE: 22.97 Five different colours are kept ready for use in thick leaf bows pinned together with small sticks to help them retain their shape. These bows are made from Khakhara leaves which do not tear easily and are thus suitable for this particular purpose. These bright colours will be used to Create a ritual wall painting in a tribal house. The colours are applied by the painters (Lakhara-s), with the help of a bamboo stick which is flattened to a brushiike shape at one end. This ritual is still widely prac- tised in tribal areas, particularly among the Rathwas, and the result is an elaborate mural < This picture demonstrates some useful articles made by the skilled vil lage potter including rows of earthenware lamps (Kodiyan), of the type Used during minor and major rituals and festivals, These are filed with oil and are provided with wicks which are it. The larger pots in the cen- {re are used for seediings before they are transplanted to a larger bed. The picture, with its interesting patterns of light and shade, pays tribute to man’s creative use of nature's bounty. PARED oe acs tolel Co 22S RST ceeovers o0o0o0°0 sou hing epee ota and at Sept TRIBAL SURVEY Expectedly, the ST population in Gujarat is predominantly rural with 91.8 per cent residing in rural and 8.2 per cent in urban areas. Of the {twelve major STs having more than one lakh population, Dubla has recorded the highest 15.7 per cent urban population. Significant urban population has also been recorded among Dhodia (12.4%), Patelia (12.4%), and Koli (10.2%). On the other hand Varli has recorded the lowest at 0.6 per cent urban population. ‘The Bhil with 3.4 lakh population represents majority of the total ST population of the state (45%). Dubla (8%), Dhodia (7.9%), Rathawa (7.2%) and Naikda (6.3%) are the other major STs each having a siz- able population. Along with Bhil they constitute about 74.3 per cent of the state's total ST population. Gamit, Kokna, Chaudhri, Varli, and Dhanka account for 3-4 per cent each of state's ST population. Expectedly, the ST population in Gujarat is predominantly rural with 91.8 per cent residing in rural and 8.2 per cent in urban areas. Of the twelve major STs having more than one lakh population, Dubla has recorded the highest 15.7 per cent urban population. Significant urban population has also been recorded among Dhodia (12.4%), Patelia (12.4%), and Kol (10.2%). On the other hand Varli has recorded the lowest at 0.6 per cent urban poputation, recotagetSstottalsopdationotte state Dutt sist wie pcnagct ta Spoputon CIR RPP PIPOIPOP EE LA? PARED Eee ac stelel bo 22 SR AT osccnFig:233 Ficure:231 “The figure shows the enrance of museum, ‘The entrance feels welcoming and has aac hung tom the ceting, FIGURE: 232 DDecoraive intrconnectone made between the galleies.A clear fal of wansactn is elt Detween hese pockes FIGURE: 23.3 hut bal making Pthora artwork in the ‘museum o be displayed in the galeries. Preece G: 2.3. CASE STUDY 01. MUSEUM FOR LIVING ASPECTS OF TRIBAL LIFE AND INDIGENOUS KNOWLEDGE , BHOPAL. INTRODUCTION ‘The Museum of Tribal Heritage at Bhopal was commissioned by the Government of Madhya Pradesh in 2004 since over 30% of the Population of the state is tribal. It was important to create an architecture ‘that was informed by their rich culture, evolved over millennial ‘The Museum is designed to create a built fabric which the tribal communities could identify with, extend, and evolve, to represent themselves and express their own ideas and way of life with ease and spontaneity. While the architecture of the Museum is inspired by ‘tribal rhythms, geometries, materials, forms, aesthetics and spatial consciousness, these very qualities are now acting as points of inspiration for the display materials being created by tribal artisans, supported by anthropologists, sociologists and social workers. Built fn a site of seven acres, the galleries are raised above the ground (on columns, forming a continuous, multileveled veranda, following the ‘contours of the sloping, rocky terrain. Courtyards puncture the built mass, bringing in light and air, while enabling the roof forms to establish modulated scales and compositions. ‘The Structure is buill of steel tubes, castellated girders, and steel rods fabricated into intricate trusses. ‘The walls use both local stone left exposed and brick plastered with crushed stone on the outside and mud plaster on the inside. The roofs are made of half-round tiles, galvalume sheets and concrete with a topping of grass and groundoover. The landscape is designed to collect and store rain water, to be used for bath cooling and irrigating the green roof, and gardens. The plant material is composed of largely local forest species. ‘The architecture of the museum, integrates seamlessly into continuum, the outside with the inside, the natural with the human construct, the tribal with the urban and the viewer withthe viewed. rede SEES ATS) cenFIG: 235 FIG:236 FIGURE: 23.4 ‘The foie shows the map of India with Mactya Pradesh highighted asthe locaton of state FIGURE: 235 Figure shows map of Madhya Pradesh state ‘and Bhopal highighted as the Cy FIGURE: 235 arial vew of te eau og apes a i and at Sept SITE: Located at the heart of Shymala hills this site has a connectivity of cther parts of city. COORDINATES 0 SITE: 23°14'3°N 77°235°E. CONNECTIVITY: This site belongs to the Madhya Pradesh culture department and its, just waking distance from Indira Gandhi Manav Sangralay. This site is a part of land allotted to the Manav sangralay. Previously this land ‘was just a barren and a deep valley which was filed up at the time of construction of museum. 5 5 e' 4 2 PAGESFIG:239 FIGURE 237, Airtemperatute table FIGURE: 23. “The gure shows sun pat diagram fr the Bhopal ci. FIGURE: 23.9 "3D view of interior passage. FIGURE: 23.10 (Conceptual skh of section maeninen Ee om i FiG:287 CLIMATE: Bhopal has a humid subtropical climate, with cool, dry winters, a hot ‘summer and a humid monsoon season. Summers startin late March and go on til mid-June, the average temperature being around 30 °C (86 °F), with the peak of summer in May, when the highs regularly exceed 40 °C (104 “F). The monsoon starts in late June and ends in late September. These months see about 40 inches (1020 mm) of precipitation, frequent thunderstorms and flooding. The average temperature is around 25 °C (77 °F) and the humidity is quite high. Temperatures rise again up to late October when winter starts, which lasts up to early March. Winters in Bhopal are cool, and not very much ‘comfortable like summers, with average daily temperatures around 16 °C (61 °F) . The winter peaks in January when temperatures may drop close to freezing on some nights. Lowest temperature ever recorded ‘was 0.3C. Total annual rainfall is about 1146 mm (46 inches). SCALE: The museum Is amongst the best designed museum in India. It is designed over a space of 28000 sq. meters. Visitors from all around the country come to visit this architectural masterpiece. The museum Consists of six main exhibition Galleries, an Auditorium, an Open Air Theatre and Other Amenities such as Library, Restaurant, Etc. The different galleries exhibit life style, art work, cultural diversity, sports, aesthetics, and beliefs of these tribes. Seven major tribes of Madhya Pradesh (MP) Gond, Bhil, Baiga, Kol, Korku, Sahariya, and Bhariya have recorded their fast disappearing traditions in the tribal museum in Bhopal, transforming the oral narratives into huge paintings and sculptures. Baiga artist Ladiibai insists, s. 0.5 kms. from \\ is the nearest station / g@ “\ Saputara bus stand | wich i 60 Ks fr eto] ‘and 3 Kms from nearby resorts, 17775, Neatestaiportis Surat 1 Reg domestic wich is 198 { ‘Vena. fat Mumbai NON aiportis 225Kms, Far. 3.0 Kms, from all nearby tourist places.0.5 kms from saputara lake.eau ing 4.1, LOCAL TREES SPECIES OF SAPUTARA. FIG 3.1.18 Haldu is a deciduous tree that can grow well over 20 meters high. Oppositely arranged leaves are broadly oval in shape, heart-shaped at the base and pointed at the tp. The flowers may be insignificant individually but are very pretty when they bloom together in balls with a circumference of 2 to 3 om. They are usually yellow in colour often tinged wit a shade of pink. Held at its blossoming best during winter. ‘The bark of the tree acts as an antiseptic. Flowering: June-August. Rees oace FIGURE: 21.16 Haisu ee Rare tel beseFiG:a147 Mango trees grow to 35-40 m (115-131 f) tall, with a crown radius of 10 m (33 f). The ees are long-lived, as some specimens still fruit after 300 years. In deep soil, the taproot descends to a depth of 6 m (20 f), with profuse, wide-spreading feeder roots and anchor Toots penetrating deeply into the soil. The leaves are evergreen, alternate, simple, 15~35 om (5.9~13.8 in) long, and 6-16 om (2.4-6.3 Couey in) broad; when the leaves are young they are orange-pink, rapidly meyeise changing to a dark, glossy red, then dark green as they mature. PARED Ee stele bo 22 SRT merFIG 9.1.18 Kusum is a beautiful tree with a broad, shady crown, found widespread in Tropical Himalayas (Punjab to Nepal), India, Ceylon, Burma Thailand, Indo-China, Malaysia. This tree is mostly noticed because of its bright red leaves when they are new. In India this happens around March. The leaves are pinnate, with each leaf having 2-4 pairs of leaflets. Flowers are tiny, occuring in short dense yellow clusters. The flowers are hardly noticeable. The fruit is about the size of a small plum. rede SRSA) esses FIGURE: 21.18 usu ee, Preece G:SITE IMAGES FIGs 140 FIGURE: 31.19 West part of ste FIGURE: 21.20 Parkom North pat of te. FIGURE: 21.21 View ofthe museum, Fig: 3124 PARE Ee ac atebel Ce 23 I RAT) esosTHE CONCEPT OF URBAN RE-GENERATION. ‘Saputara Tribal museum is 30 years old structure. This structure is a ‘major source of income for Gujarat tourism department. This museum is divided into 6 galleries out of which 4 are usable. The structure lacks basic facilities such as washrooms, Ramps or Escalators and recreational zones. With the idea of Urban regeneration the spaces already built can be Used for activities that are requires inside the campus to generate economy and push further activities inside the museum without harming the building with various ways of retrofitting and modifying the areas for further use, Figss1.22 1. ENTRANCE. 2. GALLERY. 3, ADMINISTRATION AREA. 4. COURTYARD OTS, FIGURE: 21.22, Exploded view of Of museum, Eee pete Ge eas TRAE) receesou hing aspect of Ba DESIGN TRANSLATION Providing and entrance just in front of the old museum making the two ‘museum continuous and complete. Also providing a courtyard on the entrance to in order to Increase the feel of spaces. Planning a curvilinear circulation in order to create ease of moments {rom the entry to the exit for the visitors. Segregaling spaces as per public and Administration areas. Breaking the axis- Orienting the structure on the East-West axis and taking in the North light for the Gallery area. Making use of the area available on site and create lesser footprint on site, Retaining the entrance of structure from the existing old museum, Locating the Library separate from the museum in order to make complete use of stricture for museum purpose. Providing library at entrance will cause a lot of noise. PARED Ere Sc stelel bo 22 I RAT osccnsou ing aspec of a i and, Sept LINKAGES AND OPENINGS. Il | Interconnection the spaces. Linking the gallery of old museum ~~, and new museum in order to show the evolution of time in order io show the life of tribal ite that has changes over time. | segregating the spaces as per public and visitors zone. Providing the Adminstration area apart from the paid ticket area or the visitors. Workshop area has been provided apart in order to involve a maximum pubic. Providing openings on the areas where there is location of trees. and These openings are open to sky courtyards that bring in the fresh air and sunlight. I | Merging the offset of Gujarat east profile where there are \ maximum number of trbal_communites. The offset futher Creates the excling spaces inthe museum with bufler zones \ between the gallery areas, I I ee7.0 BIBLOGRAPHY 1. Bhanu Shah, 2001 The inner landscape of Gujarat. 2. Ar, Revathi Kamath , The tribal museum Bhopal http://www kamathdesign.org/project/tribal-museum, ‘Accessed 11 February. 2018, 3.Bhopal Tribal museum 2015 http://mptribalmuseum.com/ ‘Accessed 16th February.2019, 4. Khare Rajenesh,2016 .Tribal museum Bhopal.com/info/Museums/Tribalmuseum. ‘Accessed 18th February,2019 5.About Museum steinhardt Museum. https:/smnh. tau. ac.iVven/ ‘Accessed 19th February. 6.1GRMS https:swww google.co in/search?q=manav+sangralayérlz= ‘Accessed 19th February 2019, 7.Museum for islamic arts Doha, Qatar. hitp:/www.ia.org.qaveni ‘Accessed 19th February, 2019 8. American museum of Architecture,2016 Case study in museum of world vol 1.5. PARED ore acs lelel Ce 23 SRT oscen