DESIGN THESIS 2019-2020

COMMUNITY DEVELOPMENT CENTER AT ELAGANDAL

G. HAMPI
16041AA041

SRI VENKATESHWARA COLLEGE OF ARCHITECTURE

86, Madhapur, Hi-Tech City Road, Hyderabad 500 033
 SYNOPSIS
INTRODUCTION:
Rural community development encompasses a range of approaches and activities that aim to improve the welfare and
livelihoods of people living in rural areas. Rural community development has always been an important issue in
economic development, especially of developing countries. Rural areas are sparsely settled places away from influence
of large cities and towns. Lifestyles in rural areas are different from those in urban areas, mainly because limited services
are available. Rural development is a process of change in their lifestyle and conditions. It is a process of bringing change
among rural community from the traditional way of living to progressive way of living.

NEED FOR THE STUDY :

The village lacks a rural community development center which brings people together and help them to share
knowledge. Centers as such meets the needs of people’s knowledge and wisdom while protecting and enhancing
opportunities for the future.
Elgandal is a large village located in Karimnagar Mandal of Karimnagar district, Telangana with total 997 families
residing. The Elgandal village has population of 3937 of which 1976 are males while 1961 are females as per Population

Census 2011. In Elgandal village population of children with age 0-6 is 346 which makes up 8.79 % of total population of
village. In Elgandal Male literacy stands at 77.18 % while female literacy rate was 52.64 %.

AIM:
• To design a space concentrating on different spaces like anganwadi school, community gathering space and arts
and crafts center to ensure good learning experience in ELGANDAL village.

STUDY OBJECTIVES:
• To reduce the unemployment and poverty through creating basic socio economic infrastructure, training to rural
unemployed youth, so as to discourage the seasonal and permanent migration to urban areas.
• To know and understand the anganwadi scheme and working of an anganwadi centre.
• To understand its impact on rural economic development.
• To analyse the socio economic status of the families of the region and its co relation with the scheme under
consideration.

DESIGN OBJECTIVES:
• At site level, to categorize and design the spaces where healthy interaction is possible.
• To design a space that promotes their arts and crafts
• To design a school which facilitates primary education with recreation.
• To provide a sophisticated clinic which serves the medical need .
• To provide enough play area for children to make them physically and mentally fit.

SCOPE:
• Understanding the requirements and providing suitable and affordable solution which matches their expectation to
the existing space.
• Community development leads members to become more responsible, develop healthy lifestyles, empower, reduce
poverty and economic opportunities. Community work takes place in particular geographical areas, focusing on
identifying their needs, issues and strategies.

LIMITATIONS:
• Area provided for community center will not exceed 5-6acres.
• The intake of children in anganwadi school is 75 – 100.
• Children and adults of any disabilities are not taken into consideration (anganwadi)

DESKTOP STUDY:
1. Mother and baby care center– France.
2. Naidi community hall - Fiji
3. Rehovot community center – Israel.
4. Redevelopment of Mao bang art center - China
CASE STUDY:
1. Charles correa anganwadi school – Panaji, Goa.
2. National craft museum – New Delhi.

METHODOLOGY:

PROJECT FEASIBILITY DESIGN BRIEF SITE ZONING

DATA COLLECTION INFERENCE CONCEPTUAL DESIGN

DESKTOP AND CASE SITE STUDY AND

STUDY ANALYSIS FINAL DESIGN

LITERATURE REVIEW
CONCEPT OF COMMUNITY DEVELOPMENT:
Community development practice has arisen from a variety of sources and settings. The concept of Community
Development (CD) originated in the late nineteenth century and can be traced to the social reform movement in
Britain and North America towards the end of eighteenth century. But on the other hand the community
development principle was formulated and applied in the third world development interventions and efforts during
1950’s and 60’s. but over the passage of time, CD has changed radically and it implied different ideas and practices in
different regional context. During 1950’ and 60’, poverty reduction was at the center of community development
approach at the community level but within the context of socioeconomic structure. It means that outsiders were
involved to define the basic needs and priorities of local community and consequently it involved no real
transformation of resource and power. But on the other hand the community development principle was formulated
and applied in the third world development interventions and efforts during 1950’s and 60’s.
As the thinking grew up, the emphasis on people’s participation, empowerment and participatory learning
approach increased. It rightly followed up the basic and standard theory of CD prescribed that “people have the right
to participate in decisions that which have an effect upon their well -being” .
Unlike the community development model in earlier stage, local people were put at the center of the
approach and the emphasis was on social transformation. In the process, it is the local people who define who will
be involved, what will be the main objective to collectively develop the confidence and skills to change the current
situation of their life for better in the future.
It is important to re-emphasize that community development is the process by which community members
as individuals, as representatives to group of people, join together to determine socio -economic, political and
environmental needs, plan ways of addressing them and mobilize different resources in order to transform their
communities. It is stressed that through this process community would be organized, meaningful relationship would
be built and strengthened, equal opportunities for all people including the poor, the rich, the leaders and religious
scholars, the shopkeepers, the teachers, the political figures and the public representatives, the young and the old,
the women and men, the educated, the uneducated, and so on would be provided .
ARTS AND CRAFTS CENTER:

A handicraft is any of a wide variety of types of work where useful and decorative objects are made completely by
hand or by using only simple tools. It is a traditional main sector of craft and applies to a wide range of creative and
design activities that are related to making things with one’s hands and skill, including work with textiles, paper, plant
fibres etc. Literature on the history of occupational therapy is rich with the use of arts and crafts as a form of
intervention. Occupational therapy was born just prior to the Arts and Crafts Movement of the early 20th century. The
Arts and Crafts Movement was a reaction to the mass production of goods brought about by the Industrial Revolution.
As mass manufacturing replaced craftsmanship, two leading Englishmen, John Ruskin, a philosopher, and William
Morris, a British designer, began a movement to bring back the quality and beauty of craftsmanship. These men
promoted creating and selling hand made objects for household use. As a result, there was a resurgence of interest in
handcrafted furniture, textiles, stained glass, and similar household items. Furthermore, individuals who promoted this
movement philosophized that the lifestyle of industrialization lacked the moral values and meaningfulness that could be
found in a simpler and more creative lifestyle.
Historical literature in occupational therapy indicates that the founders believed arts and crafts provided
opportunities for “creativity, independent decision-making, engagement of both mind and body, and personal
satisfaction” .

Modern day crafting continues to be an important meaningful occupation and a creative medium of personal
expression for people of all ages. Literature on creativity implies that arts and crafts may be distinguished from one
another, as well as being viewed as one and the same. Historically, the term craft implied that a craftsman had formed
an object for purely utilitarian purposes, requiring skills which are learned for that specific purpose. An artist, however,
was viewed as creating an item purely for its beauty or visual appreciation.

SILVER FILIGREE ART:

Karimnagar silver filigree derives its name from a town called Karimnagar, district in Telangana state. In local language,
filigree is referred to as, Vendi teega pani-silver wirework. Pure silver is melted and moulded into required shapes.
Since 19th Century AD, the craftsmen of Karimnagar produced rich intricate trellis made by twisting silver wire,
which referred as Jaali. It is believed that silver filigree craft was adopted from ELGANDAL village near Karimnagar
before it moved to Karimnagar town nearly 200 years ago. This craft was introduced by a widely travelled expert
goldsmith, kadarla ramayya - resident of yalagandala (elgandal) who learned and absorbed this new filigree jewel
technique and style.
The roots of filigree can also be traced back to the Italian and French metal work from 17 th and 19th century. Filigree,
called earlier as filigrene represents a delicate form of jewellery metalwork, and it is usually made of gold and silver. The
pieces of work are accompanied by ten beads or twisted threads or both in combination. These are soldered together to
the surface of a same metal object and arranged in the form of artistic motifs. The roots of filigree can also be traced
back to the Italian and French metal work from 17th to 19th century. The English word filigree is derived from the Latin
word “FILUM” which means thread and “GRANUM” means grain that signifies a small bead.

Karimnagar region in Telangana is home to many high skilled artists who practice the delicate craftsmanship
called filigree. They are skilled in creating many articles through silver filigree such as spoons, cigarette cases, button
boxes, jewellery, perfume containers etc. they create special designs involving peacock, parrots and fish which are
clearly depicted in the perfume containers. The artisans of Karimnagar display fine mastery wherein they twist the
delicate silver wire into delicate loops. These are knitted in a form of zigzag pattern which results in an intricate lace like
appearance. The versatility of the art is not restricted or limited by tradition. This is considered an ancient metal work
which is practiced in traditional way.
These Arti crafts are made of alloy containing more than 90 percent silver and for several decades, the artisans
have maintained the craft by updating themselves with the market requirement. They also use Platinum polish which
gives a brilliant glare on the items. Karimnagar silver filigree also received the intellectual property rights protection or
geographical indication status in 2007.
 ELAGANDAL VILLAGE:
Elgandal village is situated on the bank of the Manair tributary of the Godavari River, on the outskirts of the town of
Karimnagar.
Location and Administration:
Elgandal Village Gram Panchayath name is Elgandal. Elgandal is 15 km distance from Sub District Headquarter
Karimnagar and it is 15 km distance from District Headquarter Karimnagar. Nearest Statutory Town is Karimnagar in
15 km Distance . Elgandal Total area is 404 hectares, Non-Agricultural area is 531.27 hectares and Total irrigated
area is 230 hectares.
Education:
Govt Primary, Private Primary, Govt Middle, Private Middle and Govt Secondary Schools are available in this Village.
Nearest Govt Disabled School, Govt Senior Secondary School, Govt Arts and Science Degree College, Private
Engineering College, Private Medical College, Private MBA college, Govt Polytechnic College and Govt ITA College
are in Karimnagar. Nearest Private Pre Primary School is in Asif nagar.
Health:
1 Primary Health Sub-Centre , 1 Veterinary Hospital , 3 RMP doctors are available in this village.
Agriculture:
Paddy and Cotton are agriculture commodities grow in this village.

Transportation:
Public Bus service available in this village. There is no Railway Station in less than 10 km. Autos, Tractors and Animal
Driven Carts are there in this Village.
Other Amenities:
Anganwadi center, Birth & Death registration office, Daily News Paper and Polling station are the other amenities in the
village.

ANGANWADI SCHEME IN INDIA:

India’s only national program for combating widespread child malnutrition is integrated child development
scheme. ICDS is one of the major programs for the development of children, women and adolescent girls. Various
interventions aimed at addressing the developmental demand of the adolescent girls are in progress in many part of
the country. ICDS with its unique services delivery program to the adolescent has immense potential to serve the
under privileged youth in the country. Anganwadi workers gave awareness to the importance of ICDS to the
adolescent girls that helps to increase the utilization of ICDS services. This helps to reduce the malnutrition, health
problems and also awareness about the family life. The girls 0 to 2 receiving supplementary feeding intensely are at
least 1cm taller than those not receiving it in rural India. The estimates are similar for boys aged 0 to 2.
In practice, the scheme help adolescents to become healthy citizen of India in some extent. Today, ICDS
Scheme represents one of the world’s largest and unique programs for early childhood development to improve the
condition of expectant and nursing mothers. ICDS symbolizes India’s commitment to her children –towards meeting
the challenge of providing pre-school education and breaking the vicious cycle of malnutrition, morbidity, reduced
learning capacity and mortality .It attempts to provide a package of wholesome integrated service, supported by
related services like Mid-day Meal, Bal wadi, and Special Nutrition.
Despite growth in literacy and economy, the understanding of holistic development of children remains less
understood, absorbed, assimilated, and more importantly underinvested .The prevalence of underweight children in
India is among the highest in the world, and is nearly double that of Sub-Saharan Africa. Certainly, there is a need for
higher investment, greater commitment at all levels besides application in terms of design, delivery and deployment
of resources, both human and financial to restore the overall growth and development of children. Anganwadi’s are
India's primary tool against the scourge of child malnourishment, infant mortality and curbing preventable diseases
such as polio . Their services can also be important tool to fight mental and physical disability in children . India has
the world's largest population of malnourished or under-nourished children.
COMMUNITY GATHERING SPACE:

Many forms of interaction, from simply seeing, to intimate conversation can increase our familiarity and acceptance of
cultural differences. In addition, a greater understanding of these differences can lead to communities with a strong
sense of togetherness and a vibrancy of local place. It becomes increasingly important to promote interaction between
people of different backgrounds. As a means of achieving this outcome , we promote social interaction between
different cultural groups and how these methods can then be used to develop a community gathering place that is
welcoming to all. They are three distinct social space types including territories (personal space for independent use),
polychromic or collective space (space for multiple and collective activities), and social anchors (activities or amenities of
value that encourage community gathering). The relation between these social space types, contextual influences and
community based cultural group preferences is essential in creating an inclusive social gathering place.

TERRITORIES - The importance of territories as crucial to the development of multi -cultural gathering spaces not only
from the perspective of park activation, but also the perspective of minimizing conflict between groups. Territories
support cultural expression, creating a comfortable, personal space for independent use. This personalization of space
fosters the creation of a sense of place “where people’s identities are affirmed and where people feel they can use the
space without feeling conspicuous or looked down upon by people of different cultural groups” .

POLYCHROMIC SPACE - Polychromic space develops familiarity between residents by providing collective space that is
accommodating to activities, groups size, and social distancing preferences as valued by multiple community groups. It is
a space where the community can gather and multiple activities can play out simultaneously. Polychromic space
provides the primary community gathering space.

SOCIAL ANCHOR - The social anchor is an activity or amenity that is highly valued by multiple groups
that prompts community gathering and social interaction. Polychromic space also functions as a
“transitional space” for people and providing “intimate and flexible outdoor settings with a variety
of seating and ‘anchor’ spaces” that foster “casual contact and multiple activities among users”.
 DATA COLLECTION
ANGANWADI CENTER:
As per ICDS guidelines basic infrastructure requirements are as follows:
• Multipurpose hall for study or sleep area.
• Children friendly toilets
• Examination room or nursing area for mothers.
• Outdoor play area with the importance of a compound wall.
• Basic amenities like perineal water supply for drinking and utility
• Interactive learning tools in built as well as everyday items.

COMMUNITY HALL:

Space requirements:

Accommodation Each location has individual requirements

but ‘core’ accommodation for the smallest hall or community
center will include:
1. main activity and assembly space
2. entrance foyer
3. equipment and furniture store kitchen
4. toilets
5. changing provision
6. cleaner’s store

This core accommodation can be expanded to include:

1. an office
2. changing or dressing rooms and showers
3. more or larger activity spaces
4. licensed bar
5. permanent stage
6. meeting or club rooms.

And, in certain situations:

1. grass pitch
2. changing rooms
3. fitness training room
4. billiards and snooker room
5. community health facilities
6. daytime center for the elderly
7. information technology room
8. village shop

CRAFT CENTRE:

Space requirements:
• Craft cluster – workshop area, raw material storage area, exhibition space
• Amphitheatre
• Cafeteria
• Shops – selling products.
ARTS AND CRAFTS CENTER : FUNCTION

• A typical Arts and Crafts Center may be divided into four

basic functional areas; a shop for woodworking; an area
for photography; a multi-purpose studio for arts and
crafts; and utility and service areas. Variations may be
made in the allocation of space for specific arts and crafts
activities, as long as the total authorized space
allowances are not exceeded.

USERS

• Many factors influence the number of participants in an

arts and crafts program, but the most important is
probably the effectiveness and enthusiasm of the
director and staff. The climate and cultural attitudes all
effect participation in arts and crafts.

ARCHITECTURAL CHARACTERISTICS

• In Arts and Crafts Centers, emphasis is placed on the

creation of objects of beauty and function. Therefore, it
Character stands to reason that the centers themselves
should reflect similar concerns with good design and
functional planning.

FLEXIBILITY
• Arts and Crafts Centers will continually change as new
trends and interests develop. Flexibility can prolong the
usefulness of a facility to serve these ever changing
demands. Physical flexibility is a function of and can be
symbolized by five terms: Spatial variety, adaptability,
changeability, multiple function and structural
appropriateness.
REHOVOT COMMUNITY CENTER - ISRAEL

• The community development center is located in Rehovot, Israel.

• This center is constructed in the year 2017.
• It spreads over an area of 2500 sq.m.

The community center includes a variety of spaces, such as:

• an arts and crafts workshop,
• music rooms,
• dance studios,
• martial-arts studios,
• a multi-purpose hall and a ‘youth wing’.
Next to the main building is a library, which operates as a multi-media center, attracting visitors of all ages
for a variety of activities. The two buildings are designed to operate together and separately.

The project is built in a new neighborhood in the city of Rehovot, called New Rehovot, which is an area in
development stages. The site is located in the center of the neighborhood which is designated for public
buildings; some of which have already been built, such as an elementary school and a sports -center.

DESIGN:

The building designed to introduce an urban-friendly scale, meaning that not only the users will enjoy the
inner piazza within the project, but also pedestrians would take the short-cut and stroll through the project
while going somewhere else. This idea was one of the generators of the design, and led to planning of the
two buildings around a protected courtyard, which also connects between the school on its east side and
the sports-center to its north.
The main building has two floors, where the upper floor is hovering over the ground floor providing
shading from the hot summer sun. It is also designed in a way that exposes the activities, such as the
dance studios, in order to attract people to come and participate.

The library is designed around a wall of books, which also projects to the facades. Its roof serves as a
terrace which provides a separate access to the youth wing through a small bridge. The stairs climbing to
the roof include seating areas, creating an intimate amphitheater space for small outdoor performances.
Sustainability is of major importance in the project. The facades are treated with shading elements of
bamboo profiles, and the courtyard is partly shaded throughout the year, while also being protected from
street noise. The building is fully accessible to people with disabilities.

The brise soleil are covering the long façades of the hovering volume, creating a continuous appearance,
while shading over large windows against the intensive Israeli sun. Indoors, the brise soleil creates a varying
pattern of light and shadow over the white walls and dark floors.
For those who cross the piazza, outdoor stairs, bridge and roof terrace, the brise soleil alternately expose
the activity inside. The BPC is built as a profile which enables hiding the construction within its width. The
material of bamboo polymer composite is designed for outdoors conditions, while bringing a sense of
warmth to the environment of light plaster and grey stone
PLANS AND SECTIONS:
 REDEVELOPMENT OF MAO GONG BARN ART CENTER:

• The cultural center is located in china.

• It was renovated in the year 2016.
• It spreads over an area of 3000 sq.m.

Mao gong government and Dimen Eco-Museum decided to convert an old vacant barn into an Art
Center for local communities as a new culture carrier. Similar to most of the remote villages and
towns, Mao gong forms with a county highway crossing as a main spacial structure. On both sides of
the highway, there are small rural retail and wholesale buildings that have evolved over decades,
serving farmers in surrounding villages. A few abandoned storage space and supply marketing
agencies are legacies of the planned economy era, neighboring with post offices, banks, hardware
tools, materials, telecommunications, restaurants and so on. Some are traditional local post-and-
beam wood structures and more are recent concrete structures
The design strategy is to seek the courtyard utilization of the open space between the existing
buildings and the road, and to treat the space between the corridor and the courtyard as the
buffer zone.
The old barn houses and its surrounding old buildings are arranged as a cultural space with local
handcraft and agricultural product showrooms, together with artists’ workshops, studios,
catering gifts, and other ancillary facilities

Applying with local traditional techniques and materials, the exterior consists of corridors between
the noisy highway and the quiet exhibition hall, and it divides the existing outdoor space into three
courtyards of different sizes, shapes and purposes.

Unlike most of the contemporary architectural practicing in urban China, the new additional
buildings are designed with local wood construction techniques and materials, with several
improvements and revisions. While the old barn house has retained most of the old walls, the entire
redevelopment project was built by local carpenters and farmers, using 100% local renewable
building materials and supplies
 DESKTOP STUDY
NAIDI COMMUNITY HALL - FIJI

• The community hall is located in Naidi, Fiji.

• It is constructed in the year 2018
• It spreads over an area of 130 sq.m.
• Naidi, located on Vanua Levu in Fiji, Serving a village of 400 people and 75 households.

FUNCTION:
• The hall’s main function was to provide a space for the community to come together for meetings, celebrations,
funerals and weddings.
• In Fijian culture, the community hall is the cultural and operational heart of a village.
• With the collaborative influence of the community, it quickly became clear that the building must provide a space
to sing, create local handmade crafts and perform their famous ‘Meke’ - a traditional Fijian dance.
• CAUKIN Studio believes that having a safe, functioning and beautiful space to express oneself creatively is vital to
personal and community growth.

DESIGN:

• The design takes its form from theatre staging, crescendoing at its front facade, facing towards the Centre of
the village green.
• Three large counter-weighted, top hung doors, open to create a stage playing host to performances of the
village ‘Meke’.
• Through the extended ceiling height, a natural flow of air throughout the building is increased, being released
through hit-and-miss timber cladding under the roof eaves.
• This results in a space that can remain cool on the hottest days. The opening shutters, louvre blades and large
panes of glass create a naturally lit space internally, enhancing performances and events taking place within.
• The structure demonstrates innovative design and cyclone resistance whilst still using only locally sourced
materials, thus allowing the project to be replicable by local communities in Fiji. The building’s structural
design was carried out by Center space design.
• The Jazmin Fund, run by Jazmin Grace Grimaldi, helped encourage a performing arts theme to the hall and its
design. The brief was to create a space which enabled the Naidi Community to express themselves creatively

whilst providing a structure strong enough to take shelter in - in the event of any future natural disasters. Since
completion, the hall has hosted a local concerts, arts and crafts workshops every Wednesday, a reading hour
every evening for the children as well as weddings and funerals.
• The handicraft salesmen and women have also recorded greater sales of their handmade souvenirs due to the
new hall attracting more customers. In recent months the hall has become a registered kindergarten with 17
children in attendance everyday
PLAN AND SECTION:
MOTHER AND BABY CARE CENTER – FRANCE

• It is located in Brumath, France.

• This was constructed in the year 2007.
• It spreads over an area of 1230 sq.m.
• It is a psychiatric establishment located near the entrance to the community of Brumath organized, behind an
enclosure wall, like a little city made up of a number of pavilion buildings, connected by an orthogonal network of
roads.
AREAS INCLUDED: The project included the completion, within the upper middle block, of
• a Day Hospital,
• a Full Time department,
• communal areas and consultation offices, with each of these sections requiring their own entrance.
• In existing pavilions, in the south of the grounds, the upper middle block was completed in the shape of an open
“U”, enclosing a garden.

INTERIORS AND EXTERIORS:

• The ambience, in the image of traditional Japanese pavilions, centers around a piece of nature, thereby
creating a contemplative setting.
• The continuous, covered walkway linking the three entities, providing a smooth transition between interior
and exterior, is an element that reflects this specific spatial relationship.
• The garden extends to the interior via two courtyards that stand next to the main entrances. Thus, the first
sight upon arriving at one of the entrance halls is a view through to the garden.
PLANS AND SECTION: