ART AND CULTURE HUB

A THESIS REPORT

Submitted by

AKHILA L
REG.NO : 724216251003

In partial fulfillment for the award of the degree of

BACHELOR OF ARCHITECTURE

CAPITAL COLLEGE OF ARCHITECTURE,

COIMBATORE.

ANNA UNIVERSITY: CHENNAI -600 025.

JULY 2021
 BONAFIDE CERTIFICATE

Certified that this project report titled “ART AND CULTURE HUB ”, is the
bonafide work of "AKHILA L.", REG.NO : 724216251003 who carried out the
work under my supervision.

SIGNATURE OF DIRECTOR SIGNATURE OF GUIDE

DIRECTOR ASSISTANT PROFESSOR

CAPITAL CAPITAL

COLLEGE OF ARCHITECTURE, COLLEGE OF ARCHITECTURE,

Coimbatore - 642 032. Coimbatore - 642032

Internal Examiner External Examiner

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 DECLARATION

I, AKHILA L, Reg. No: 724216251003 a bonafide student of the Capital

College of Architecture, Coimbatore , hereby declare that this report entitled
“ART AND CULTURE HUB” for the award of the degree of Bachelor of
Architecture ,is my original work and has not been submitted to any other
University or Institution for the award of the degree.

Date: AKHILA L

Place: Coimbatore.

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 ACKNOWLEDGEMENT

First and foremost, I would like to thank the Almighty for giving me strength
,confidence, and support for satisfactory completion of this dissertation .

Learning is a search, a quest, both for academic purpose as well as a means of

realization. Besides whatever professional achievements came our way in this
process some of them are those, which are totally beyond the realms of
thanksgiving.

I express my heartfelt thanks to our Director sir , who has always motivated us
to pursue excellence in our academic activities.

Earnestly express my sincere thanks to dissertation coordinator and guide , for

him/her inputs and valid criticism during the topic selection and course of study.

I would like to thank my Friends and my Parents and all other college staff who
have supported me throughout my long and tedious educational career. Without
you my path to success might have been a much difficult route. I owe a great
deal of thanks to those who strongly believed in me pushing my abilities to the
next level, allowing me to accomplish all that I desire in life.

Above all, I bow to that spirit of study, search, exploration, which brings or
renders education.

JUNE 2021 AKHILA L

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 TABLE OF CONTENTS

1) Introduction
i) Aim
ii) Program
iii) Need of Project
iv) Scope and Objective
v) Site
vi) Basic Requirements
2) Site analysis
i) Location
ii) Bench terraces
iii) Contour terraces
iv) Slope drainage
v) Retaining walls
vi) Site contour
vii) Disaster management
3) Data collection
i) Small museum
ii) Exhibition rooms
iii) Organization of spaces
iv) Planning of Small Museum
v) Essential Library Elements
vi) Anthropometry
4) Case study
a) Sargalaya Art and Craft village
b) Kalamandalam , Thrissur
c) Kalakshetra Foundation, Chennai
d) Nirtyagram, Bangalore

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5) Concept Sheet
6) Master plan
7) Design Detailing
a) Craft Village 1
b) Craft Village 2
c) Museum
d) Koothambalam ( Traditional Auditorium)
e) Cultural institution
f) Auditorium
 For 800
 For1000
g) Hostel
h) Outdoor Cultural Performing Studios
 Theyyam and padayani
 Panchavadhyam
 Tribal Performing Arts
 kalari

8) Café

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 INTRODUCTION

The culture of Kerala has developed over the past millennia, influences from
other parts of India and abroad. It is defined by its antiquity and the organic
continuity sustained by the Malayali people. Modern Kerala society took shape
owing to migrations from different parts of India and abroad throughout
Classical Antiquity.

Kerala traces its non-prehistoric cultural genesis to its membership (around the
AD 3rd century) in a vaguely defined historical region known as Thamizhagom
— a land defined by a common Tamil culture and encompassing the Chera,
Chola, and Pandya kingdoms. At that time, the music, dance, language (first
Dravida Bhasha — "Dravidian language"— then Tamil), and Sangam (a vast
corpus of Tamil literature composed between 1,500–2,000 years ago) found in
Kerala were all similar to that found in the rest of Thamizhagom (today's Tamil
Nadu). The culture of Kerala evolved through the Sanskritization of Dravidian
ethos, revivalism of religious movements and reform movements against caste
discrimination.Kerala showcases a culture unique to itself developed through
accommodation, acculturation and assimilation of various faculties of civilized
lifestyle. Kerala city has lot of art and cultural activities happening all over
through schools and other programs. There is a requirement of art and cultural
centre in the city to deplict the mythology and rich cultural heritage of the city
ehich it is famous for.

Tourist or even local people who visit the city, do not get a centre where
they could get the information about the art and cultural, its heritage, mythology
etc.. and also providing education sector to learn which promotes them to help
in practicing.

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 More and more people would get aware about its richness in culture, its
historicalas how did city emerged
To develop a effective space in centre like heritage museum, so that people
can easily relate them to the city , its cultural heritage.
To develop the facilities & the aminities at the centre, s people can get
more functional and aesthetical way. It create the visitors mood, which could
help them to know more about the city.
Yearly there will be Kalotsavam program will conduct and this platform
will help them to practice as well as the sapce to open for the competition.
This could help generate more & more revenue from the visitors creating
a landmark to know about the city as well as helping others to increase their
talents.

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 SITE ANALYSIS

The site is located in Ottapalam of Palakkad district in Kerala.

Location - Mayanur bridge, Ottapalam , Palakkad, Kerala
Site Area - 15 acre

Ottapalam was once part of the Valluvanad Swaroopam dynasty.

Valluvanad was a late medieval feudal state in what is now the state of Kerala
in South India. The state extended from the Bharathapuzha River in the south to
the town of Pandalur in the north during its height in the early Middle Ages.
Ottapalam is a Taluk headquarters situated on the bank of Bharathapuzha in
Palakkad district. It has a rich cultural heritage and played host to many historic
events.

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10
 Physical Methods for Slope Stabilization and Erosion Control

Bench terraces

Bench terraces are particularly suitable where marked seasonal variations exist
in the availability of water. The approach consists of converting relatively steep
land into a series of horizontal steps running across the slope. These steps can
be constructed by simply digging out the clayey soil, or they can be reinforced
with locally available mud, stone, or brick. The terraces help conserve moisture
during the long dry season, which is especially important where there are sandy
and loam types of soil, and they help to slow and drain away runoff during the
heavy rainfall monsoon season, which also helps counteract the tendency for
sliding. There are three main types
ƒ outward sloping terraces, which are used to reduce a steep slope to a gentle
slope;
ƒ level terraces, which are used to impound water for paddy cultivation; and

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ƒ inward sloping terraces, which are the most suitable for steep slopes because
the guide the surface runoff towards the hillside rather than down the slope.

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Contour terraces

The main aim of contour terraces is to retain water and sediment. Contour
terraces are similar to bench terraces, with the major difference that the terrace
is formed along the contour, so that runoff flows across but not along the
terrace. In addition, the terrace edge is planted with trees, small plants, and
grass to stabilize it and trap sediment. The terraces can be constructed by
excavating soil from the upper half and using it to fill in the lower half as for
bench terraces, or can be allowed to form naturally using a technique called
sloping agricultural land technology (SALT), or contour hedgerow
intercropping (agroforestry) technology (CHIAT).

Slope drainage
The simplest way to safely drain off springs and surface water is to use an open
ditch (drain) or a system of open ditches. The main ditch is located in the
direction of the slope gradient (downhill); secondary or lateral ditches are
located in a fishbone pattern. Water should be collected as close as possible to
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its origin and channelled to a side drain, culvert, or any other nearby water
course. Ditch excavation should start at the lowest point and work up in order
that the accumulating water may drain off immediately. The most common
types of drain are stone or gravel-filled drains with or without pipes.
Pipe drains are the most efficient and effective, but they are more expensive and
often not locally available. Normal stone drains may silt up over time and it is
advisable to form a drainage channel of stones, or place a bundle of brushwood,
at the bottom of the drain. The top of the drain should be covered with a layer of
grass to prevent siltation.

Simple drainage ditches

Drainage ditches can be constructed with different shapes and sizes . The
appropriate size and shape for a particular site depends upon such factors as the
expected runoff, site condition, and availability of resources and construction
materials.

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Grassed Waterways

Grassed waterways are natural or artificially constructed water courses shaped

or graded to the required dimensions and planted with suitable vegetation.
Grassed waterways are used as
* outlets for diversions and emergency spillways; * to safely convey runoff
from contour and graded bunds and bench terraces; * as outlets for surface and
sub-surface drainage systems on sloping land; *to carry runoff from natural
drains and prevent formation of gullies; and * to dispose of water collected in
road ditches or discharged through culverts.

Retaining Walls

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Retaining walls are artificial structures that hold back soil, rock, or water from
a building, structure, or area. Retaining walls prevent down slope movement
and soil erosion, and provide support for vertical or near-vertical changes in
gradient. The walls are generally made from timber, masonry, stone, brick,
concrete, vinyl, steel, or a combination of these. Retaining walls act to support
the lateral pressure exerted by a soil mass which may cause slope failure.
Retaining walls are strongly recommended where the toe of slope has collapsed
and the slope failure is likely to progress upward along the slope. Retaining
walls should be constructed on a stable foundation.

Factors affecting the stability of slope

1.Topography and its surrounding physical conditions. Detail analysis can be
done by appropriate site investigation process.
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2.Geological conditions such as the nature and depth of its subsoil, degree of
decomposition, or location of fracture etc. This data can be obtained by soil
investigation.
3.Shear strength of the slope-forming materials. Data can be obtained using
appropriate laboratory tests.
4.Surface and ground water condition
5.External loading and surcharges, such as from traffic, nearby structures,
possible vibration etc.
Stability of slope can be effectively improved by the provision of an
appropriately design drainage system, this cab be achieved by:
1.A surface drain system that is capable to discharge all the storm water within
the rain water catchmentarea affecting the slope in a designated period of time
(say, 200mm rainfall/hour).
A surface drain system usually consists of:
-surface channel
-stepped or trapezoidal channel
-catchpitor sand trap

2.A subsoil drain system that is laid below surface for the discharging of ground
water and to maintain the water pressure be kept in a safe level
-filter layer behind the slope leading water to outlets
-weepholes
-cut-off drain
-subsoil drain pipe

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Site Contour

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Disaster Management

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 Data Collection
For the present purpose it may be assumed that the "small museum" will not
consist of more than 10 to 12 medium-sized exhibition rooms (16 X24 sq ft) in
addition to its other services.

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Natural Lighting :

Daylight may coma from above orfrom the side. In the former case suitable
skylights will be provided in the ceilings of the exhibition rooms. In the letter
case, one or more walls will be pierced by windows, the height and width of
which must be decided accordingto individualrequirements.

Lighting from Above

This type of lighting, sometimes called overhead lighting , has long been
favored by the designers of museums, for it presents certain obvious
advantages.
The possibility of regulating the amount of light cast on the pictures or other
exhibits and ofsecuring fullanduniform lighting, giving good visibilitywith a
minimum of reflection or distortion.

Lateral Lighting

This is provided either by ordinary windows of various shapes and sizes, placed
at suitable intervals in the walls, or by continuous openings; both windows and
openings may be placed either at a level at which people can see out of them or
in the upper part of the wall. The solution adopted will be determined by the
type of museum and thenature of its exhibits, an the advantages end

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disadvantages vary from one to another.

High-placed windows, especially if they occupy more than one wall, provide
more light, more closely resembling that supplied by skylights,and leaveall four
wallsfree for exhibits: but as they must be placed at a considerable height, if
visitors are not to be dazzled, the rooms must be comparatively large and the
ceilings lofty.

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Utilization and Division of Space
The traditional system is the contrary one of dividing the space, by means of
permanent walls, into rooms of various sizes, which may be either
communicating or independent (connected, in the letter case, by passages or
side galleries)

(a) to (d) Floor plans for the location of doors in relation to the use of space. (e)
1-Traditional locationof doors. 2 to 8-Secondary doors. 9 to 15-Polygonal
enclosures.

Exhibition Rooms-Shape and Requirements

A museum in which all the rooms are the same size becomes very monotonous .

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By varying their dimensions and the relation between height and width-and also
by using different colors for the walls and different kinds of flooring-we provide
a spontaneous and unconscious stimulus to attention

Organization Of Space

The display area is only about 40 percentof the area of the building.
If a man, is about 5 ft 91/4 in tall, and his eye level is 5 ft 43/4 in; the average
woman is about 5 ft 31/4 in tall, and her eye level is 4 ft 11 3/4 in. Thus, the

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meanadult eye-level height is about 5 ft 21/4 in. With little eye movement,
people usually see and recognize with ease things that are within an
approximately elliptical cone ofvision, with the apex of the cone at the eye-level
height.if a man, is about 5 ft 91/4 in tall, and his eye level is 5 ft 43/4 in; the
average woman is about 5 ft 31/4 in tall, and her eye level is 4 ft 11 3/4 in.
Thus, the meanadult eye-level height is about 5 ft 21/4 in. With little eye
movement, people usually see and recognize with ease things that are within an
approximately elliptical cone ofvision, with the apex of the cone at the eye-level
height.

The adult museum visitor observes an area only a little over 1 ft above his own
eye level to 3 ft below it at an average viewing distance of 2448

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Difficulties encountered in viewing details morethan 3ft below or 1 ft above
one's eyelevel.
Average viewing distance of 24-48. Arranging objects and labels above and
below these limits places a strain on seldom-used muscles and produces
achingbacks, tired feet, burning eyes, and stiff necks.
The visitor must be permitted space to back far enough away from the objectto
comprehend itwithout becominga case for an orthopedic specialist

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Viewing distance should increase with greater size ofobject.

Possible gallery arrangements.

The flow of visitors is like the flow of water in a stream. If the cases are
arranged with gently curving lines to take advantage of this pattern of
movement (Fig. 76), visitors will find the room more attractive and can progress
easily with the line of the case. Often the arrangements can be staggered (Fig.
7c) which produces a certain mystery and a desire on the part of the visitor to

29
peek around corners to see what is next. It is not always necessary to have a
wide opening into a hall. Cases that are arranged to narrow the entrance a bit
(Fig. 7d), so that the hall inside then opens out, provide a certain amount of
interest.

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 Case Study
Sargalaya Art & Craft Village
Location

Sargalaya is a 20 acre land in the midst of kuttiyadi river which gives a pleasant
and a breezy experience for the tourist and a waterbody makes the total area a
aesthetic view and maintains a cool temperature all around the environment.It is
located in iringal village near vadakara which is in kozhikode district. Sargalaya
has variety of stalls including food stalls from all over the india.

ENTRANCE

The entry and exits to the village are on same side.The loading and unloading
process are also through this entry.One emergency exit is provided near the

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waterbody which directly lead to the road.Ticket counter is provided near the
main entry and security cabin is also given.

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Built and Open Space
The total built up area is 30% and the openspaces are 40% excluding the
waterbody.Built up areas are found in the midscape of the waterbody and the
total environment is ecofriendly and well landscaped.

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PARKING
The parking space is situated near the main entrance gate.They had gone with
open parking and shelters are provided with steel skeleton structures with the
climbers for the shades.

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AUDITORIUM AND HALLS

Sargalaya has Open Air theartre that performs light and sound shows and
remaining they have 3 halls where they allow
outsiders to use.The 3 halls are:

Hall Capacity
Swathi thirunal hall-1000 persons Ravivarma hall-300 persons Perumthachan
hall-500 person.

OFFICE/CONFERENCE ROOM

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Office and conference hall are seperate where only the meetings based on crafts
and their organisation based occurs.
These are totally a semi public space where publics cant access
easily.Conference hall is situated near the parking and seperate parking space is
provided for the people who attend the conference meetings.

Office room is little away from the conference hall and they are attached to the
crafts shop.It is easy for the sellers in the craft shop to go take files and can
meet their head office easily.

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The same plans gets repeated for the remaining halls only the size of the hall
differs.The Ravivarma hall is situated near the river and the other two halls are
attached to the training centre.These are used for the functions happening
inside the campus or it is also allowed for the outsider to make the usage of
halls for their use.

Craft Shops

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Square shaped room.A small portion is provided as a space.Shops are
interconnected to crafts hut.Corridor is constructed
along the river and it provides coll breeze to the total.
To the adjacent side they have the same repeated shops of crafts and the middle
courtyard is also used as a temporary
stalls when on exhibition time.

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Craft Museum

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Multi Sales Emporium

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Training Centre

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42
Analysis Service

Water supply is from the river which is near to the village. For drinking purpose
the water is treated and used. Split air conditioning system is provided inside the
office room.

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The analysis is based on the study on site. Built forms are 40% including the
roads and the pedestrian movement.

CLIMATIC FACTORS

Open Spaces
Open spaces are not well landscaped. Open air theater is provided for almost
600 persons which faces the waterbody. Coutyard are provided. The crafts
shops gets a good lightning and a very good air circulation.

Waterbody
Water body makes the total environment a cool breeze and it reduces the
temperature inside the environment.

SPATIAL ANALYSIS

Lobby Spaces
All the lobbby spaces are wel interconnected to verandahs and they have
enough spaces.
Separate ticket counter is provided near the entrance.

Office Spaces
3 Offices are connected with administrative block. Sufficient area provided.
Office space is not accessible to the visitors.

Ground character
Green ground surfaces are provided in prder to minimise the heat

Material used
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Sloped roofs are widely used with the Manglore tiles and truss are used for the
framing. External walls are glazed with Laterite stone with earthy colours.

Library Spaces
Since this village has a plenty of crafts inside there is not even a single library
planned inside the campus for the tourist as well the officers who are working
there.

Landscape
The sight is actually well landscaped but not maintained properly by the
people.

Transition Spaces
Large wide verandah areas are provided and pedestrians pathways and
coutyards are also provided.

Landform
The site is slightly contoured but there are no levels created around the built
forms

The corridor width is almost 3m wide and total corridor is built along the river
with the asthetic view. There are seatings along corridors to sit and admire the

45
view of the total breezy wind and the water body around.
There are mostly single storied buildings so the circulation pattern moves
horizontaly throughout the environment. Appropriate signages are provided.
Pedestrian vehicular segregation provided.
The signages are provided only at the entry. Pedestrians who walks around will
get distracted by the ways inside as there is no appropriate sign board properly
given.Pedestrians are not properly donr. There is no continuity in the pedestrian
walkways.

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Activities

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KALAKSHTRA FOUNDATION, CHENNAI

INTRODUCTION

- Kalakshetra literally means a holy place of Kala Kshetra

Field Arts, arts or Holy place).

- Deriving inspiration from this noble ideal, Kalakshetra was

established, in the words of Rukmini Devi, "with the sole purpose of
resuscitating in modern India recognition of the priceless artistic
traditions of our country and of imparting to the young the true spirit
of Art, devoid of vulgarity and commercialism." The training of
young and talented people by masters of art, with the background of a
religious spirit, has been its main aim.

SITE AREA: 40 ha

LOCATION: Tiruvanmiyur village on

outskirts of Chennai

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COMPLETION: 1962, Koothambalam auditorium in 1985

VICINITY:

Besant Nagar, South Chennai, the complex is only a few metres away
from the Theosophical Society and Besant sea Theosophical High
School nearby

FUNCTIONS:

Kalakshetra cultural is academy dedicated to the preservation of

traditional values in Indian art, especially in of the field
Bharatanatyam dance and Gandharvaveda music.

Kalakshetra focuses on Bharatanatyam,carnatic vocal and

instrumental music, the visual arts, traditional crafts and textile
design, textual heritage, aesthetics, history and philosophy.

COMPONENTS:

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Kalakshetra Foundation The comprises of Kalakshetra, Besant
Theosophical High School, The Besant Arundale Senior Secondary
School, A Craft Education and Research Centre including the the
Weaving Kalamkari Department, Natural-Dye Printing & Painting
unit, the Visual Arts Center, The Bharata

Kalakshetra Auditorium, the Rukmini Arangam, four libraries, the

Rukmini Devi Museum, hostels staff quarters and guest houses

- With a huge banyan tree in the center of the Kalakshetra campus, the
classes are held in cottages and in the open sometimes.

- The institution follows a gurukula system and is associated with the

cultivation and promotion of the ancient
cultural traditions of India.
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- The theater within the Kalakshetra is built according to the Natya
Shastra.

- The institute conducts research into works of several renowned

Sanskrit scholars to stage dance productions, not only for an Indian
audience but also for major world theaters

- The Craft Education and Research Center of Kalakshetra

is famous for reviving traditional South Indian sari
patterns and colors in silk and cotton.

- The Hand Block Printing Unit works with hand-carved wooden

blocks to create attractive saris, dress materials and home linen.

- These units are also a good source of livelihood for

destitute women from poorer sections of the community.

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The Auditorium

Designed by Appukuttan Nair, the Bharata built Kalakshetra

Auditorium like was traditional Koothambalam in Kerala style
Measuring 40'x40', the auditorium can seat 750 50 can be
accommodated on the floor directly in front of the stage.

There are 428 chairs in the octagonal well of the theatre, 168 chairs on
the peripheral veranda, and 104 in galleries
in the balcony. The stage itself is raised only a foot-and a-half from
the rest of the floor, allowing the audience to clearly observe the
footwork of the dancers.

The building has walls of wooden slats, which allows the breeze to

52
blow through, along

with sounds from the outside. Dressing rooms are available for artists,
on the ground floor.that the dance, now.

.”.my intention was abolished in the temple should create the temple
atmosphere on the stage..."- Rukmini Devi

The stage area is 45% of the audience seating the emphasis reflecting
that the area, auditorium's designers laid on the art and the artists. The
Dressing rooms are generously sized.
- The stage is equipped with advanced lighting and sound system

01 - Entry and Security

02 - School building
03 - Office
04 - Kalakshethra Auditorium
05 - Central Office
06 - Research library + Museum
07 - Rukmani Agraharam
08 - Shankara menon library
09 - Office of colege of fine arts
10 - Shanthi (guest house)
The Auditorium 11 - Prayer hall
12 - Vasanth kunj
13 - Manasavini

Designed by Appukuttan Nair, the Bharata 14 - Dining hall

15 - Golden gate
built Kalakshetra Auditorium like was 16 - Class roms (cottages)
17 - Hostel
traditional Koothambalam in Kerala style

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Measuring 40'x40', the auditorium can seat 750 50 can be
accommodated on the floor directly in front of the stage.

There are 428 chairs in the octagonal well of the theatre, 168 chairs on
the peripheral veranda, and 104 in galleries
in the balcony. The stage itself is raised only a foot-and a-half from
the rest of the floor, allowing the audience to clearly observe the
footwork of the dancers.

The building has walls of wooden slats, which allows the breeze to
blow through, along

54