DESIGN THESIS 2019-2020 TRIBAL INTERPRETATION CENTRE AT SAPUTARA HILL STATION, GUJARAT D. SHALINI 16041AA023 SRI VENKATESHWARA COLLEGE OF ARCHITECTURE 86, Madhapur, Hi-Tech City Road, Hyderabad 500 081DESIGN THESIS on TRIBAL INTERPRETATION CENTRE AT SAPUTARA HILL STATION, GUJARAT D. SHALINI 16041AA023 under the guidance of PROF. KRUPA WAGHRAY is submitted for the award of the Degree of BACHELOR OF ARCHITECTURE by Jawaharlal Nehru Architecture and Fine Arts University for the year 2019-2020 SRI VENKATESHWARA COLLEGE OF ARCHITECTURE 86, Madhapur, Hi-Tech City Road, Hyderabad 500 081JAWAHARLAL NEHRU ARCHITECTURE AND FINE ARTS UNIVERSITY gor cogce SRI VENKATESHWARA COLLEGE OF ARCHITECTURE 86, Madhapur, Hi-Tech City Road, Hyderabad 500 081 CERTIFICATE This is to certify that this Design Thesis, Tribal Interpretation Centre at Saputara Hill Station, Gujarat carried out by Miss D. Shalini, Roll No.16041AA023 currently in Fourth Year B.Arch., in the academic year 2019-2020, in partial fulfillment for the award of the Bachelor’s Degree in Architecture from Jawaharlal Nehru Architecture and Fine Arts. University, is her bona fide work to the best of our knowledge, and may be placed before the Examination Board for its consideration. THESIS GUIDE THESIS CO-ORDINATOR Prof. Krupa Waghray Prof. Chandana EXTERNAL EXAMINER PRINCIPAL Prof. Kamini SinghDedicated to all the tribes. “What tiibes are, is a very simple concept It's about leading and connecting people and ideas, and it's something that people daue wanted forever”ACKNOWLEDGEMENT | would like to sincerely thank my Thesis Guide Prof._Krupa Waghray for the immeasurable guidance and support she has rendered upon me throughout the thesis program. | am very grateful to her for having confidence in my vision and constantly pushing me towards it. | would also like to thank Prof. Bhaskar Chatterjee for patiently reviewing my whole thesis design. | would also like to express my gratitude to our Thesis Co-ordinator, Prof. Chandana for organizing the entire thesis program. | would also like to thank Ar. Samar Ramachandra for having helped me navigate through my thesis. | would also like to express my great appreciation to the faculty at Sri Venkateshwara College of Architecture for guiding me through the last four years, allowing me to present a work such as this. | cannot begin to express my gratitude and appreciation for my friends for the constructive criticism and support they have shown for my work. Last but not the least, | would like to thank my family particularly my parents for supporting me throughout the projectABSTRACT Design is something which betters the people's life than before. The whole design process considers the livelihood of local people. The way the tribes lived is the absolute lesson for us to learn the sustainability and resource management. This book intends to show how we can learn from past and create our future accordingly. Architecture has always been a part of our livelihood, it gets molded according to our habits and lifestyle but that doesn’t mean it should effect the other non human creatures and environment. The wise architecture always has a harmony with nature .TABLE OF CONTENTS Part | : Exploring the Topic Why did | choose this topic ?..... eeenwenicewcee Introduction. cece 2 Synopsis ..... Part Il : Design Investigation CHAPTER 1 Literature study-hill architecture... wee Literature study — Tribal Interpretation Centre... 16 CHAPTER 2 Desktop Study - Mapungubwe interpretation... Desktop study — Dakshina Chitra Case study — IGRMS, Bhopal.. Case study — MP Tribal museum. CHAPTER 3. Comparative Analysis and Inferences......... CHAPTER 4 Site study - Macro . Site study - Micro . Documentation of Saputara local architecture CHAPTER 5 Concept — Recreation .. 78 CHAPTER 6 Design brief... d Design program. Ae i EC ..79 Design matri CHAPTER 7 Feasibility report. cose 83WHY DID | CHOOSE THIS TOPIC 7 Tribal Interpretation Centre at Saputara Hill station, Gujarat Some tribes cannot describe themselves because they are still homeless, literacy less. Think about their voice. The people far from democracy, far from literacy and luxury cannot afford to make their lives better as they aren't even recognised. But as designers we have alot to learn from them and give them . This exchange can happen when we are ready to travel to their places and understand their livelihood. Architecture is something which is common among us as. we need to leam architecture from them and also give ours so that it creates a bridge for different people's lifestyle. In such a way we respect each others existence. Creating a space for this exchange drove me to choose this topic. cael jp TRIBAL INTERPRETATION CENTRE (Gi, Teamameusonces (4) 160418023TRIBAL INTERPRETATION CENTRE AT SAPUTARA HILL STATION, GUJARAT Introduction Tribal interpretation centers + Interpretation is the action of explaining the meaning of something. + Interpretation centre is a building or group of buildings that provides interpretation of the place of interest through a variety of media + Tribal interpretation centers are a kind of new-style museum, often associated with visitor centers or ecomuseums, and located in connection to culture and history of local tribes. Saputara hills + Saputara is situated on the sahyadri ranges at the gujarat-maharashtra border in the dang district in south gujarat region. + Saputara is the only hill station in Gujarat, located at a height of 1000 meters Tribe in saputara + Saputara inhabited by the Dangs, a tribal community known for its impressive acrobatic dances. + The name ‘Saputara’ (the abode of snakes) is derived from the serpent deity worshipped by local tribes. Tribal arts Bamboo lamps Handloom weaving Toys Warli painting Dance Unique musical instruments Need for an interpretation centre in saputara hills + Because these centres are the ones which document the history of the place and people . + tis important for an tourist to have a knowledge about the place. + To highlight the local skills and crafts, such that tourist know the essence of place not only through the physical factors but through people livelihood + Assists in understanding the unique rights, roles, and responsibilities inherent to native people and communities TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT INTRODUCTION (2) 1604144023GOVERNMENT PROPOSAL Gujarat Infrastructure Development Board THE INFRASTRUCTURE FACILITATOR fis Governmental & Military GIDB Gujarat Infrastructure Development Board Saputara Area Development Authority (SADA) proposals Development of saputara hill station Key Components: Development of Saputara as a major hill station shall involve: Offering services for adventure sports facilities like mountaineering, rock climbing, hand gliding at Saputara and a Gliding School. +Resorts and hotels. sHigh-end restaurants -Organization of the tribal festival. Tribal Heritage Walk (Development of tribal destinations, setting up of tribal and artisan village & museum, education interpretation and research centre) -Development of tribal museum, interpretation and research centre and tribal village resort would be developed. -Development of Vansada palace. +A Snake and Reptile Park (with a small z00) and a cactus house would to be developed in association with the forest department +Nature Park with jungle resort sHot air balloon ride over Vansada national park and Puma sanctuary. «Development of Botanical garden. sLuxury Buses connecting from Surat, Vadodara and Ahmedabad. “World class Health (Ayurvedic Herbal) Resort *Convocation & conference Halls +Entertainment centre like Multiplex/ Amusement Park -Nature camps in Purna Sanctuary and Trekking facility +Forest Lodge & trekking in Vansda Sanctuary «Permanent tribal handicraft showroom in Ahwa. Up gradation of the lake and development of major scenic spots like sunset point, echo point etc. «Development of waterfall sites of Gira and Giramal. Cost of project: Estimated cost of the project is Rs. 190 crore TRIBAL INTERPRETATION CENTRE ae IN SAPUTARA HILL STATION -GUJARAT 3) 16041AA023 INTRODUCTIONSYNOPSISSYNOPSIS Aim: + To design a tribal interpretation centre for dangi tribe in saputara hills. Objectives: Study objectives To study about the local tribes , their traditional professions and their activities. To study the climate and topography of that hill station. To study about the local architecture and available materials. Design objectives Integrating the design with topography + To design considering local architecture and materials. To design considering the view points. Eco-methods are preferred to maintain the fragile ecosystem there. Scope: Providing a interaction space for tourists and local people which enhances the experience of the tourist and also builds the economy for local people. Tribal interpretation center would house a small museum, kitchen, replica houses, amphitheater, market zone and working spaces for local crafts. Limitations: + Design limited to dangi tribe and their professions TRIBAL INTERPRETATION CENTRE vo INSAPUTARAHILL STATION GUJARAT ( ——( 4) 16041AA023 SYNOPSIS,Methodology Identification of | | Research about hill issue in hill >>| area programs areas J J HADP GIDB Hill area development Gujarat infrastructure program development board ¥ Proposals in Saputara hill station ¥ + Resort, + hotel, * park, pe tribal interpretation center ete. Tribal interpretation center >| 1-Literature study | [ Tribal interpretation center Hill architecture Saputara hill station Dangi tribe [>| 2-Desktop study Mapungubwe interpretation centre Dakshin chitra museum, Chennai +>| 3-Case study indira gandhi rashtriya manav sangrahalaya (igrms) Madhya Pradesh tribal museum, Bhopal 4-Site study- Site understanding Saputara Area analysis concept DESIGN TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT 5 \ SYNOPSIS, 16041AA023LITERATURE STUDY — HILL ARCHITECTURELITERATURE STUDY — HILL ARCHITECTURE + Planning and design of buildings in a hill settlement are tedious and challenging task due to difficult terrain, steep gradient, adverse climatic conditions, rich flora and proneness to natural hazards + Inresponse to these harsh development conditions, numerous vernacular practices and styles have evolved with local materials and indigenous techniques to fulfil the needs of people, which cause minimal damage to environment and are sustainable. + As vernacular practices are proven to be sustainable, therefore it is essential to take lessons from sustainable vernacular practices for new development and formulation of building regulations for achieving contextually appropriate and sustainable development in hill settlements. + These vernacular practices are developed by the people, for the people, without any technical/professional training; with the help of locally available, natural and environmentally friendly construction materials and indigenous construction techniques which people have leaned, developed, and refined over centuries. + These vernacular practices and styles are developed with the objective to have sufficient protection against harsh climatic conditions and natural calamities. + These traditional practices offer best suitable solutions for functional utility and livability. + Vernacular practices have minimal impact on environment in and around hill settlements and different salient features of vernacular practices evolved in hilly areas like the use of local materials, thermal comfort, environmentally friendly design, smaller foot print, contextual appropriate development are also considered as the essential requisites of sustainable development + Ritual beliefs, customs, social structure, profession, economic status and culture are often reflected in vernacular buildings through their form, scale, size, colour, materials and facades IN SAPUTARA HILL STATION -GUJARAT ae TRIBAL INTERPRETATION CENTRE LITERATURE STUDY- HILL ARCHITECTURE 6 16041AA023+ Along with various benefits of vernacular practices and styles, vernacular buildings have some crucial issues and concerns like, need for regular maintenance, low strength of materials and/or building components, unavailability of skilled craftsmen who can work with traditional materials, shortage of traditional materials and reluctance of residents to develop their buildings with vernacular practices lead to reduced use of these sustainable vernacular practices for construction of new buildings in hilly areas. + Moreover, increased urbanisation, need and construction of multi-storeyed buildings; improved transportation to promote the use of contemporary materials in hill settlements. + Improvement in living and economic conditions, improvement and increase in building services; better, fast and easily understandable and workable construction techniques and equipments further affect the use of vernacular practices for planning and design ‘of new buildings in hill settlements. CONCERNS AFFECTING BUILDING + Geological factors- slope gradient, slope stability, water logging. + Climatological factors-rainfall, snowfall. > + Natural hazard factors-earthquake, landslides, avalanche building features depending on climate- fenestrations, roofing. + Socio-cultural factors Salient characteristics of traditional settlement in hill regions Various salient characteristics of traditional settlements which are crucial for planning and design of new buildings in hill regions are: + Traditional hill settlements in India are usually developed on relatively flatter terrain than surrounding areas , which are often considered more stable and less prone to natural hazards like landslides and cloudburst. + Traditional settlements in hill regions of India are mostly located on southern slopes to have sufficient solar exposure throughout the day and protection from northern cold winds, so that comfortable living conditions can be achieved with minimal consumption of energy cael jp TRIBAL INTERPRETATION CENTRE ~ ae IN SAPUTARA HILL STATION GUJARAT (7) 16041A023 LITERATURE STUDY- HILL ARCHITECTURE+ Proximity to surface water source is one of the main | criteria for selecting site for settlement in hill regions, as ground water table is usually low, especially near ridges and mid land areas and it is difficult construct different water structures (like well or step well) to fetch water from higher depth. + Settlements in hill regions are classified into three categories as ridge, mid land and valley settlements. Each type of settlement has its own peculiar issues for development which are unique and not present in other types of settlements. Planning and design of buildings vary in these settlements. For example, in ridge settlement important buildings like temples, shops, public buildings like post offices and schools, open grounds and other public areas/spaces are often located on or near to the ridge and general houses are located on relatively lower areas. Whereas, in valley settlement main public spaces, temples and other public and community areas and open grounds are generally located in valley (lower areas) and houses are located in | upper regions on sloping terrain. + Traditional settlements become integral part of the Mid land settlements natural environment of hill settlements, as different vernacular buildings merge well with surroundings and have minimal impact on environment of hilly areas. + Developmental activities in traditional settlements are generally carried out with due consideration to the context and buildings are generally constructed along the contours to reduce site development work (ie., cutting and filing of slopes). + Vernacular buildings are generally clustered along the open space (Saini, 1991) which is used by residents for different activities, social and religious Valley settlements gathering, celebrating functions and ceremonies. The placement of buildings around the open space cur is such that every building gets sufficient direct solar exposure and no building cast its shadow on other buildings. While clustering different buildings along open space, buildings are judicially oriented to achieve maximum solar exposure and minimum wind exposure. Cutting and Filling of slopes aly TRIBAL INTERPRETATION CENTRE r—~ ae IN SAPUTARA HILL STATION GUJARAT (8) t6041AA023 LITERATURE STUDY- HILL ARCHITECTUREMud houses with flat thatch and mud roof a, Dhajji Diwari and kath — kuni style Stone construction Mud house with slate roof TRIBAL INTERPRETATION CENTRE Gi, VSAMAmIeNR Vernacular buildings in hilly areas are mostly rectangular in shape and constructed with locally available materials, which are having good climatic response. floor to ceiling height is usually kept between 8 to 9 feet which is low as per contemporary building ‘standards and as adopted in new buildings. symmetrically located small openings (generally one window for each room) are provided to have daylight and ventilation which result in low illumination level inside the buildings. but, these buildings with ‘symmetrical small windows have better seismic response than most of the contemporary buildings with modern materials in hill settlements of north India_ Construction Matesilewsed Building Aeaewhereit is used Characteitice amet Stoneand Wal Shiny Kullu, Kinmaus, Goedaiamic and ee ‘Gea dimen Brel sepenoe good nal Sagi sectheie roe Dias Timber wal Dewari ——stone/md ‘Tanqeptem Timbermnd Wall Kashmir Good seem and ek ‘hema sponte tonthouses Natural stone Wall —Kashmit,jamima, Ged thermal response dressed ot Hime acanand — Sd iin, (il ioe ion and ameapen a = = 16041AA023 LITERATURE STUDY- HILL ARCHITECTURENon-engineered indigenous construction techniques are adopted for construction of buildings which are developed with local materials, have good climatic response, maintain indoor comfort conditions and have very good response against earthquakes. Taaq system TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY- HILL ARCHITECTURE 16041AA023‘Sun dried brick wall Random rubble construction Thathara style TRIBAL INTERPRETATION CENTRE Gi, VSAMAmIeNR LITERATURE STUDY- HILL ARCHITECTURE Aesthetic and facade design Every vernacular style has its own peculiar built form, pattem, materials, colour and decorative elements which impart aesthetic quality to buildings and create interesting, unique and easily distinguishable facades. Varieties of sloping roofs used in vernacular styles help in integration of vernacular buildings into mountainous surroundings along with fulfilling functional needs. Alll buildings in a traditional hill settlement have building facades with similar elements, features and decorative treatment. These practices cannot be directly used for planning and design of buildings in the present context, due to change in living habits, lifestyle and requirement of services for comfortable living 16041AA023= Mami ‘40d su 38 tgsoet Borns Fonsisnywo 700l95 gage ve ated 79% ys ssauggn gab WT aBsss MeNne sncangrnas 20nd 32 SS gue wd ANNI —_—_ gnoiy 2S W258) _Dwer tes 08d Auausassa jos SaTaaTe Ie BIg %anme-swad wy sa sao ast? ay ww pernt savas SHE 30 sinesavend ayy an SANnSLstd OreeAAS ass was gay ansanncasos HF won, o srans }o a ONY soi syngynes G2ddd IF ———— ae . ge SNH Nang sAG od 5 mast ‘wiunany 348 sp weorg vamet 3H> HoH az amayasn 4H 9? nawaisa any 9NroH sv2 DHS 40d “Gavan IDS [7 asians = 4 gavtnnrgs antoied INA - ALL) aw we sivgngsas 3° aovoonyt camepes waeunas: Gh BONE ne "Qn Savy Jo F3NGINHIAL ‘swsyayen ‘ adtoseNet AHS caannwtd Avtosqote7d soe “onary bsne AW adey ONY chet 3s 30 vorer, De gnL anh 03 waday te iatsias wwnofisavay aK va ~~ ¥ 16041AA023 12 TRIBAL INTERPRETAT! ION CENT IN SAPUTARA HILL STATION rae LITERATURE STUDY- HILL ARCHITECTURE &Vernacular v/s Contemporary construction Vernacular Contemporary Ground coverage Vernacularitraditional buildings have compact planning, small footprints and low built to open ratio, ‘especially in lower Himalayan regions and lot of space is kept open around buildings which can be used for different activities and/or for growing vegetation. This helps in minimising the impact of development on surrounding environment. contemporary buildings in hilly areas are designed with high foot prints and ground coverage and have high built to open ratio. This pattem of development results in less space around buildings which is often inadequate for growing vegetation and/or its use for different activities Material regulation Vemacular practices are developed with locally available, easily workable, and natural building materials which are mostly renewable in nature (like timber, thatch, mud and bamboo), have good climatic response, and have no adverse effect on the health of residents and little or negligible impact on environment of hill settlements. Though cutting of trees for obtaining timber will result in loss of precious vegetation, it needs to be suitably augmented by plantation of new tress in hilly areas. Contemporary materials are manufactured from raw materials, which are available on particular locations and are transported to different parts of the country after manufacturing. These materials have high embodied energy and cause lot of pollution during manufacturing and transportation, and are mostly inappropriate to the context of hill settlements Slope stabilisation and protection Natural materials like stone, bamboo, tree branches obtained from pruning of trees, thatch, pine leaves etc. are used for slope stabilisation and protection in traditional hill settlements. These materials merge well with surroundings and these protected portions do not appear different from surrounding areas. In contemporary practices, improvement of aesthetics/visual quality of reinforced concrete retaining walls used for slope protection is a critical issue, which affects the aesthetic value of hill settlements Space standard Floor to ceiling height usually varies from 2.40 m to 2.70 m. Maximum height of the door is 1.80 m Floor to ceiling height for a contemporary building is usually considered as 3.0 m. Height of the door (inte! level) is generally considered as 2.10 m above floor level Earthquake resistant Many vernacular practices like dhajji wall, kath-kuni, koti-banal, taaq and wooden buildings have good response during previous earthquakes. Presently adopted construction practices in hilly areas do not have good earthquake response and may result in serious damage and loss of precious human life and resources during occurrences of earthquake. Fire resistant Materials like timber and thatch used in traditional buildings are vulnerable to fire and termite attack Materials like steel! and aluminium are durable and fire resistant. TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT ae. LITERATURE STUDY- HILL ARCHITECTURE 13) 16041A8023ANALYSIS, + Open space between buildings for landscaping and vegetation can be incorporated to reduce the impact of new development on environment of hilly areas | Open space as interaction space. + The size of open space and height of buildings are so decided that one building does not cast shadow over others. + Adoption of locally available building materials with new construction technologies will result in better climatic responsiveness, lower consumption of energy and reduction in environmental degradation. + IDENTITY/CHARACTER OF AREA - Though, all buildings generally represent similar vernacular style, building of different communities varies from each other in terms of size, organisation of rooms, elevation/facade treatment, extent of detailing, decoration and ornamentation and colours. Similar principle can be adopted for planning and design of new buildings in different areas/zones in hill settlements which can impart distinct identity to different areasizones and at the same time different buildings of various communities should be woven | together to form holistic image of a scenic hill. + COMPACT SIZE AND OPENING ALONG LONGER DIRECTION - Similar to vernacular buildings, new buildings should be compact, having small foot print and most of the openings/windows should be provided along the length of building (longer side) and shorter side of building (width) should be kept intact without openings to have better seismic response. + Various concems that affect a building- Slope Stabilization methods , Foundation types, Retaining walls, Roofing types, Roofing structures, Fenestration types Use of natural materials as finishing surface for retaining structures. Adoption earthquake resistant practices with durable and fire resistant materials can be made. Same is witnessed in Pehalgam hotel, Srinagar, which is, constructed in dhajji wall style with modern materials like bricks and steel Pehalgam hotel Site selection - on southem slopes to have adequate solar exposure; on leeward side of hill to have sufficient protection from cold winds and stable and firm ground/terrain | ak Np TRIBAL INTERPRETATION CENTRE - ae IN SAPUTARA HILL STATION GUJARAT (14) 4604144023 LITERATURE STUDY- HILL ARCHITECTUREWILL ARCHSTECIURE ANANSSS. OPEN Space. BETWEEN QREN SPACE > BUELDINGS FOR LANDSCAISNG AND NEGETMION CAN BE SneorropAfeD 10 Reduse THE EMPef OF NEW DeUBOMENE (ON ENNDRONMENT ~ + OPEN srace ~ sNTERACIEON srk. f FINSSHING SuRvRCes Lg + USE OF NATURAL MAERSALS AS FSNSSHSNG & 7 SURERCE 5 Ee + RDOPTSON OF LOCRULY AVASLABLE MATERIAL SLE “+ON SOUTHERN SLOPES 0 HAVE ADEQUME SOIR EXPOSURE AND SUPFSCTENT profgerson From TERRAIN corp Suns. - INIEGRATENG ThE TERRKEN wet DESIGN. + CHOOSE STABLE AND FERM GROUND. vet ans ReragnsnG WANS t Afobre alk ‘, NOT the Hoyo LARmE POOF OVERMANGS AND CONISYE VEG fo REDUCE MASE PINT, TRIBAL INTERPRETATION CENTRE IN SAPUTARA HLL STATION-GUJARAT 15) UTERATURE STUDY- HILL ARCHITECTURE 16041AA023LITERATURE STUDY — TRIBAL INTERPRETATION CENTRELITERATURE STUDY — TRIBAL INTERPRETATION CENTRE Tribal Interpretation centers are a kind of new-style museum, often associated with visitor centers or ecomuseums, and located in connection to culture and history of local tribes. | Admin areas Reception Waiting lobby Registration room Managers room Staff room Meeting room J Cultural areas Auditorium Conference room Multipurpose halls Open air theatre Gathering — Interpretation areas Exhibition area/museum Audio visual rooms Library Workshop areas Amenities Restaurant Cafeteria Recreational spaces Accommodatio n for tourists Stalls Circulation Corridors Bridges Courtyards Services Parking Storage Washrooms spaces Seminar halls People should have an experiential visit which is evoked through good lighting, sound/music, recorded material, interactive spaces and audio-visual footage to enhance the ambiance. 1. The building's ambience should be maintained inside as well as outside. Landscaping around the building should be developed in a way that it complements the experience within the museum 2. Aesthetic choices support and reflect the e theme and tone of the exhibition 3. Orientation, spatial organization, and traffic flow are appropriate to the goals of the exhibition. 4. The physical space (such as layout, lighting, flooring) is created in such a way that audience members of varying physical sizes and abilities are able to navigate and interact with the exhibition. 5. If required audio-visual footage, voice recordings, ambiance music etc. may also be used for creating a complete experience Entrance Experience Preserve Shop TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT & 16) 46041AA023 LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,Reception + Reception need to accommodate the reception desk a minimum of 2 people inside Lobby + Since the lobby is a transition space from outside to indoors it should be brighter and wide enough to accommodate the larger number of occupants. Providing a clear path of travel between all elements in the room such as a reception counter, literature racks, accessible seating spaces will make it a better experience Auditorium + Anenclosure, covered or open, where people can assemble for watching a performance given on the stage. + An auditorium is a room built to enable an audience to hear and watch performances at venues such as theatres. + The size should be fixed in relation to the number of audience required to be seated. + The floor area of the hall including, gangways (excluding the stage) should be calculated on the basis of 0.6 to 0.9 sq. m per person. + The height of the hall is determined by such considerations as ventilation, presence (or absence) of balcony and the type of performance. The average height may vary from 6 m for small halls to 7:5 m for large halls + Floor plans of various shapes are used, but the one which is considered to give satisfactory results without introducing complications in the acoustical treatment of the hall is the fan-shaped plan cael jp TRIBAL INTERPRETATION CENTRE (Mi, Wasamameusonces LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, (17) 16041aA023Curvilinear concentric seating scheme i i Circular concentric seating scheme with rectangular stage Circular concentric seating scheme with projecting stage Concentric seating is found to be more efficient in auditoriums instead of straight linear seating 2. Multiple Aisle System of seating is found to be more efficient. + The volume per person required to be provided should normally range between 3:5 to 5.5 cu. m. * Ceiling may be flat but it is preferable to provide a slight increase in the height near the centre of hall. + Suitable volumes for different types of auditoriums are given below but it is recommended that higher values be adopted only in special cases: In the case of musical hall the upper limit is suitable for musical performances while the lower limit may be chosen in the case of small general purpose auditoriums. a. The proscenium may bear any suitable ratio with the height of the hall to suit stage requirements and considerations of visibility. b. The side walls should be arranged to have an angle of not more than 100 degrees with the curtain line. In the case of talking pictures synchronisation of sound with lip movement is most essential. c. Also, in the case of theatres a person with normal vision should be able to discern facial expressions of the performers. In order to satisfy these conditions, it is recommended that the distance of the farthest seat from the curtain line should not normally exceed 23 metres. Cubic Metres per Person Public lecture halls 301045 Cinemas or theatre 401050 Musical hall. or concert halls | 4.0 to 5.5 TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, 16041AA023Rear wall The auditorium rear walls should be either flat or convex in shape This should not be concave in shape, but where it cannot be avoided, the acoustical design shall indicate either the surface to be splayed or convex corrugations given in order to avoid any tendency for the sound to focus into the hall Side wall Where the side walls are non-parallel as in the case of a fan-shaped hall, the walls may remain reflective and may be architecturally finished in any manner required, if sound absorbing material is not required from other considerations. Where the side walls are parallel they may be left untreated to a length of about 7.5 m from the proscenium end. In addition, any of the surfaces, likely to cause a delayed echo or flutter echo should be appropriately treated with a sound absorbing material. Difference between the direct path and the path reflected from side wall. shall not exceed 15m. TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, Linear concentric seating scheme with a projecting stage Linear angled seating scheme with a projecting stage (Prot ton 97 Hal design nes objets hat soar ae reacts, 16041AA023Floor ne: + For good visibility as also for good listening conditions, the successive rows of seats have to be raised over the preceding ones with the result that the floor level rises towards the rear. + The elevation is based on the principle that each listener shall be elevated with respect to the person immediately in front of him so that the listener's head is about 12 cm above the path of sound which would pass over the head of the person in front of him. It is possible to reduce this to 8 cm, if the seats are staggered. + Asan empirical rule the angle of elevation of the inclined floor in an auditorium should not be less than 8 degrees 1.Proportions of an auditorium + These are obtained from spectator’s psychological perception and viewing angles, as well as requirement for good view from all seats + Head movement should be acc. To the following:- i. +30-No movement ane a ii, +60- Slight eye movement nN iii, + 110 - Slight eye and head movement i iv. +150 - Head movement 90 degree rt ec, cease v. +360 - Full head and shoulder movement =—— SEATING CAPACITY: It depends on the format = selected. od LENGTH OF ROWS: Max. no. of 16 seats per aisle. 25 seats per aisle is permissible if one side exit door of 1m width is provided per 3-4 rows. | + EXIT, ESCAPE ROUTES : 1m wide per 150 people (min. width .8m) SIGHT LINES:- + A sightline, sight line or visual axis, is a normally unobstructed line-of-sight between an intended 2 observer (or spectator) and a stage, arena, or 1} monument. I) + For example. Sightlines are a particularly important consideration in theatre and stadium design, road junction layout and urban planning. TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, 16041AA023Exhibition space Exhibit methods Graphics . An exhibition space is needed for the collection and display of various items in an organised way. + The items can be both two-dimensional and three- dimensional; for instance, paintings, prints, drawings, photography, sculptures or any other form of visual art. + Designing an exhibition space requires the knowiedge of the context, the social and cultural aspects of the place, amount of people expected to come, the type of exhibits and other functional aspects. the panels 3 Grit na pati ni SLT et cet pate photographs TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, 16041AA023Three - dimensional 1a Sculpture Diorama Using peop! guided tour lecture, demonstrators or explainers call} TRIBAL INTERPRETATION CENT! (Mi, Wasamameusonces LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, Audio — visual and interactive Tell their stories and to explain their collection in 4 ways: + Asan introduction to a museum or exhibition + To create an atmosphere in a gallery + To explain an object or group of objects + Asan exhibit, to make a particular point They have a variety of uses: + Can create an atmosphere and can generate an emotion in the visitor + Can give a contact of object + Can explain how things were used + Can show how things were made or building and monument were constructed + Can be interactive + Can involve visitor much more than simply through looking RE os (22) 16041AA023Museum Lightning Design considerations Types of natural lighting Lateral lightning Shading systems Sky lights Atriums Roof monitor Vertical windows: Horizontal windows Clerestory windows Window wall * Direct sunlight should be avoided completely in display spaces. = UV exposure should be limited using UV filters. These filters can be built into glazing and should be specified appropriately. Building orientation Building form Use low rise buildings for greater daylight access Use atria to maximize core daylight Various types of natural overhead lighting rr a) aN CA A i EY TRIBAL INTERPRETATION CENTRE \ Ce IN SAPUTARA HILL STATION GUJARAT 23) deoataanzs LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,pa PRE a” Sky light Clerestory windows Various types of natural overhead lighting Roof monitors TRIBAL INTERPRETATION CENTRE IN SAPUTARAHILL STATION GUJARAT (24) LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, 16041AA023opening painting , 5 4.North ‘opening 90-1.0 Normal opening, shadow Side lighting Favorable lighting from Light from the top on the wall North Naturally lighted museums examples lighting Section of the Civico museum in Torino (Neufert P. et al, 2004) Bottom: Museum of contemporary art in Rio de Janeiro, section (Neufert P. et al, 2004) a 4 National museum of western art in Tokyo, section Kimbell museum, Louis (Neufert P. et al, 2004) Khan, US call} TRIBAL INTERPRETATION CENTRE \ & IN SAPUTARA HILL STATION GUJARAT 25) 1604144023 LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,7? Pada TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE NY Ensuring the visitors’ comfort is always of the prime importance. The comfort of the visitors depends on the organisation of the items, circulation pattern in the galleries and the lighting facilities. Orient the visitors The entry and lobby areas should direct the visitors to the galleries where they can select a starting point and move to it as directly as possible. ‘Apart from the performing arts, the display of visual art requires movement. The galleries and other spaces should be designed in a way so that the viewers experience the organisation of observing the exhibits and consider a sequence of objects. There must be adequate spaces for visitors to move at different speeds. Some may move continuously and some may stop to examine particular objects in greater detail. The ability to survey the gallery area in one sweep will help viewers understand what is on display and decide what they want to see. Providing a pleasant environment . A crowded, warm or noisy environment is never appreciated. Sufficiently roomy corridors, aisles and other traditional areas such as courtyards and skylights should be provided. There should be places to sit down and rest for the visitors Places should be illuminated by daylight. vA (26 16041AA023Seats at appropriate distances from large, important works give the visitors a chance to pause and examine the work without standing for long periods of time. Controlling noise and vibration in the exhibit space is very important. Proper ventilation should also be ensured A low level of ambient lighting in the gallery area can be contrasted with dramatic highlighting Variations in ceiling heights help remove the visitors’ fatigue Natural lighting is achieved through the use of atriums and cut out spaces, especially by north lighting .figure shows the plan and section of various natural lighting arrangements Space per m2 Notes person Exhibition 15 Max visitors concentration of people including staff | Exhibition space | 1.4 Per exhibit stand Circulation per 5 Allowing 3m. stand aisle space Conference 2 Group of round room tables Foyer 06 If based on hall occupancy 0.3 sq.m per person aly TRIBAL INTERPRETATION CENTRE n> ae IN SAPUTARA HILL STATION GUJARAT __ 27) seo41anozs LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,t 1! ' ! ! ' ! 1 1 ! t L Secure AM access 1 ! vera highvsty Pf Leary boundary —>f As this library is a part of tribal interpretation centre it needs to have that essence through visuality to museum or circulation etc. Functional requirements: + book storage and book racks + Librarian room + computers available either on benches and/or table clusters + enclosed small group study space . Provision of study booths Access to USB charging user seating space staff work area space meeting room space tua and article Noise managemeat/ \ 1 ae TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT (28) 1604100028 LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,Restaurant and cafeteria In general, about 35 to 40 percent of your restaurant space will be dedicated to the kitchen and prep area. About 50 percent of your space will be the actual dining area, and the remainder of the space will be other work areas such as offices and storage ‘As a general rule of thumb, for table seating use 25 square feet per seat; Seating zone should be planned considering the view points. Itis common for most restaurants or coffee shops with that have a general menu to average about 15 square feet per person. IN SAPUTARA HILL STATION -GUJARAT ae TRIBAL INTERPRETATION CENTRE LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE, (29) 16041aA023JS Cxrést CORRIDOR 100 ‘CORRIDOR (cena Circulation Designing circulation spaces should be: + Widen corridors beyond the typical 8-9 feet{1.8 -2.1m] currently in use. * Corridors should be able to easily handle two-way traffic. + Break up corridor lengths. This will reduce travel time and also discourage kids from running through the halls. + Keep corridors a consistent width. Corridors that expand and contract create bottlenecks. + Consider rounding or angling corners so there is a sight line to the intersecting corridor. + Blind corners can be a hazard. People who walk at a fast pace or turn corners quickly do not see the traffic in the intersecting hallway. + This can lead to congestion, bumping, collisions, and altercations. Washrooms. Toilets / sanitation requirements for Art galleries , libraries and museums as par Indian Standards IS 1172 : 1993 Staff + 25-50 staff should have 3 toilets and 3 washbasins between them. And 76-100 employees should have 5 toilets and 5 washbasins. + For men only, there should be 1 toilet and 1 urinal for 1-15 employees. This rises to 2 toilets and 1 urinal for 16-30 staff, and 4 toilets and 4 urinals for 91-100 staff Water closet (WC) Requirements for visitors For male public : 1 Per 200 persons up to 400 persons and for over 400 persons add at the rate of 1 per 250 persons or part thereof For Female public : 1 Per 100 persons up to 200 persons and for over 200 persons add at the rate of 1 per 150 persons or part thereof TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT 30) 1604144023 LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,Parking As per CMDA regulations, the minimum size of a car ee parking space is 2.5 m (8'2") wide and 5 m (16'4”) long. Parking ratio on basis of area =z + They ranged from 3.0 to 5.0 spaces per 1,000 a square feet of office space, distributed almost - equally between ratios of 3.0, 4.0, and 5.0/1,000. This new space standard has increased demand bm for parking, making buildings with only 3.2 spaces 1 y per 1,000 square feet difficult to lease. = + Museums and libraries: one space per 250 square | feet. i Fie ot ota Ze plum one for ewe 100 over 1000 Paring Spaces ana AcessAsies TRIBAL INTERPRETATION CENTRE fa IN SAPUTARA HLL STATION GUIARAT 31) 16041AA023 LITERATURE STUDY-TRIBAL INTERPRETATION CENTRE,DESKTOP STUDY - MAPUNGUBWE INTERPRETATION CENTREDESKTOP STUDY — MAPUNGUBWE INTERPRETATION CENTRE Es Architects: Peter rich architects Location: Mapungubwe National Park, South Africa Project Team: Peter Rich, John Ochsendorf from MIT and Michael Ramage, University of Cambridge Interior Décor: Peter Rich Architects Project Year: 2011 | + Mapungubwe, located on South Africa's northern border with Botswana and Zimbabwe, prospered between 1200 and 1300 AD by being one of the first places that produced gold, but after its fall i remained uninhabited for over 700 years, until it's SCT discovery in 1933. + The society living in what today is UNESCO World Heritage Site, is thought to have been the rm most complex in the region, implementing the first class-based social system in southern Africa + And besides the cultural heritage, Mapungubwe is also home to an immensely rich flora and fauna, including over 1000 years old Baobab trees and a big variety of animal life, including elephant, giraffe, white rhino, antelopes and 400 bird species Tarr + This is an area almost out of touch with the rest of South Africa, an area so full of nature and species that it may as well be untouched in the last 1000years TRIBAL INTERPRETATION CENTRE = IN SAPUTARA HILL STATION GUJARAT (32) = ws) 16041AA023 SKTOP STUDY-MAPUNGUBIVE INTERPRETATION CENTREConcept ae. + The complex rocky landscape was both the inspiration for the design and the source of the materials for the construction of the new Interpretation Centre, resulting in a composition of structures that are authentically rooted to their location. + Timbre vaulting, a simple expression of natural forces and materials, is used to construct dramatic cave like spaces. From a distance the undulating rock clad vaults blend into the landscape. On approach the thin arched edges are exposed and the vaults soar and seem to billow out of the earth. + The building, set at the foot of a mesa at the park entrance, is visually contained by three hollow cairns that evoke rock route-markers commonly found in Southern African cultures. + The basic element of the building is the integration with the landscape with the broader definition of the word, which embraces the cultural landscape, the natural hilly and rough landscape of Mapunqubwe, and finally the historical landscape. + All of the above interact to create an inextricable unity. + Delicate walkways create a zigzagging ramped route through the complex, through exhibition spaces, gently climbing the mesa to the highest point on the site, providing the visitor with a multiplicity of experiences and views, evoking the complex social interactions of the many cultures that have traversed the land. + And because architecture is about statement, impact and cultural philosophies, then Peter Rich touches on these aspects through an archaeological structure that is so firmly rooted to the ground and organic + According to the architect “we turned to nature for inspiration, for reasons of economy, certainly not for aesthetics’. + But this project reveals much more than a struggle to create Architecture that respects the genius loci. It reveals an architect that is also a thinker and sends a message that the role of the architect has always been and should be multiple; to serve those in need, to respect the environment and to be an activist, if one wants to regain the lost ground. TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT 33 DESKTOP STUDY-MAPUNGUBWE INTERPRETATION CENTRE 16041AA023+ Inthis surreal setting Peter Rich has designed a 1,500 sqm visitor's centre which includes spaces to tell the stories of the place and house artifacts, along with tourist facilities and SANParks offices. + The complex is a collection of stone cladded vaults balancing on the sloped site, against the backdrop of Sandstone formations and mopane woodlands. + More specifically, the construction of the vaults uses a 700-year old Mediterranean tradition that was adapted for the southern African context. This ancient building method is being reintroduced as part of the building's identity + The vaults have been designed using a 600 years old construction system to achieve a low economical and environmental impact. + The traditional timbrel vaulting, using locally made pressed soil cement tiles, allows the design to be materialized with minimal formwork and no steel reinforcement. + Inaddition, the ambition was to also integrate local unskilled labor into a poverty relief program by training them to produce the over 200,000 tiles, necessary in the construction of the domes + The Mapungubwe Interpretive Centre in South Africa uses novel design and construction techniques to allow local materials and labour to be used in production. The building is constructed adapting elements of Mediterranean architecture in a structural and symbolic way that respects the African climate + The Mapungubwe Interpretive Centre was realized using latest developments in structural geometry along with an ancient construction technique, in order to implement a contemporary design, meant to house hundreds of years old artifacts fa TRIBAL INTERPRETATION CENTRE BB) TSA rion enor S44 Desktop STUDY. MAPUNGUBINE INTERPRETATION CENTRE (e ___ (34 16041AA023MAPUNGUBWE SNIERPRETIVE CENTRE. FLOOR PLAN. TRIBAL INTERPRETATION CENTRE & IN SAPUTARA HILL STATION GUJARAT 35) 16041aA023 DESKTOP STUDY-MAPUNGUBWE INTERPRETATION CENTRE+ The vaults convey a symbolic character of a sacred space where the light penetrates the occulus -the circle hole on top of the vault- and opens the building visually towards the sky. Inside the interpretation centre, visitors learn about an ancient civilization that traded gold and other goods on the site ie ‘ TRIBAL INTERPRETATION CENTRE - & IN SAPUTARA HILL STATION GUJARAT (36) 4604144023 DESKTOP STUDY-MAPUNGUBWE INTERPRETATION CENTREANALYSIS. Sustainable structure which satisfies three aspects of sustainability which are: + Economic : As the centre is built by the local material and local labour , the construction turned into a economical output. The planning which pulled the natural light into design helps to cutdown the electricity charges. + Environmental : the materials used in construction are completely eco-friendly. Integration of the terrain with the design + Social : it provided the employment for the local people during construction . The centre turned into a social interaction space ,as it consists open air theatre where people can interact with ease. The overall concept of this interpretation centre is to give the user the dynamic experience through * Building form which follows the context + Circulation which follows the terrain + Play of natural light through different levels of openings + Use of water bodies + Play of volume + Placement of open, semi open and close spaces + Zoning of the centre which involves noisy zone at the entry then interactive zone and finally a silent zone which is exhibition space. + The building of contemporary technology with a cultural essence . call} TRIBAL INTERPRETATION CENTRE & IN SAPUTARA HILL STATION GUJARAT 37) 4enataanzs INTRODUCTIONDESKTOP STUDY — DAKSHINA CHITRA MUSEUM, CHENNAIcall} TRIBAL INTERPRETATION CENTRE & IN SAPUTARA HILL STATION GUJARAT 38 DESKTOP STUDY- DAKSHINA CHITRA MUSEUM DESKTOPSTUDY — DAKSHINA CHITRA MUSEUM, CHENNAI SITE LOCATION Dakshin Chitra occupies ten acres overlooking the bay of Bengal, at Muttakadu ,twenty five kilometres south of Chennai on the east coast road to Mamllapuram, Tamil Nadu, India. Architect : Laurie baker Benny kuriakose Client : madras craft foundation Contractor : Ravindran Built up area :3 acres Construction time :10 years Cost of project: Rs70 iakh + Dakshinachitra is an exciting cross cultural living museum of art, architecture, lifestyles, crafts and performing arts of south India + One can explore 17 heritage houses, amble along recreated streetscapes, exploring contextual exhibitions, interacting with typical village artisans and witnessing folk performances set in an authentic ambience. * Dakshinachitra literally means —“a picture of the south” + The sprawling ten acres campus is divided into four prominent states of the south-Kerala, Tamil Nadu, Kamataka and Andhra Pradesh further emphasising on their respective culture in terms of house architecture that is re-modelled district wise-brahmin house, potters house, merchant house etc textile and handicrafts found in temples, art exhibitions and more, other activities at the centre include performing arts, music, research and educational programs with workshops and heritage trips which connect the neighbouring villages at the centre + Here the states are clustered together but their diversities are kept alive + Dakshinachitra is more than just a venue-it is a heritage village, a place where contemporary art, music and dance forms of the south finds its manifestation into a journey of discovery and self- learning 16041AA023GENERAL + Reception centre + Craft shop + Seminar hall orientation film + Gallery for temporary exhibitions + Restaurant + Library and archives + Mandapam Restaurant + Canteen Craft bazaar Amphitheatre Activity hall AMENITIES + Guest house + Artisans quarters + Lathe workshop * Driver's shed Library Craft shop Craft bazaar + Parking + Gallery and stores + Tea shop BH Dakshinachitra TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT 16041AA023 DESKTOP STUDY- DAKSHINA CHITRA MUSEUMThe entry to Dakshinachitra is very cosy and small like entering a south indian home + The various play with brick at the entrance compound wall fagade etc. bore witness to the involvement of brick master in the design + There were the archetypal chocolate pillars , thatched roofs and richly carved doors which effectively restricts the view into the interiors thus leaving the imagination tous * And the inside art is well worth hiding ,once you enter the village the world is entirely different from the urban setting Vehicular flow + The vehicular flow is restricted at the entry plaza itself + The parking sheds are also provided in traditional style roofing Pedestrian flow + All pedestrian paths were paved by stones with trees on either side + The pedestrian flow was clearly demarcated from the paths used for commercial purposes + The pedestrian flow gets branched out from the entrance to various state's houses Vegetation + Trees are seen in dense near the parking area, guest houses ,Kerala section and Karnataka section + Trees are seen in other parts of site also along the pathways + Palm trees , coconut trees were majorly seen + The artificial pond runs from the oat long the Tamil Nadu section Kerala complex and artisans complex, + The flow of water bodies are bounded with stones + Wooden bridges run above the water bodies connecting the children’s play area and the Tamil Nadu section These ponds get filled during rainy season as these ponds serve as a collecting point for the entire site. These ponds get dried during other times and it gives a barren view from the Tamil Nadu section and play area call} TRIBAL INTERPRETATION CENTRE Ge, Tadmameusences DESKTOP STUDY- DAKSHINA CHITRA MUSEUM (40) 16041AA023Tamil nadu section + Merchant house chettinadu , putukotai district + Agriculturists house + Potters house + Basket weavers house + AyyaftaN@ANAs houses + Weavers house + Textile exhibition + Agraharam brahmin house + Art exhibition Weavers house from kanchipuram This house had one functional pit loom used for weaving Kanchipuram saris, along with a kitchen, a puja room and a front hall. + Mostly, tamil houses have an inner courtyard which is used for drying grains, shelling pods and for functions. + There will be a raised veranda or small seating area in the front of the house, called a tinnai. + The houses from Tamil nadu at dakshinachitra were typical houses found in many villages throughout Tamil region + The weaver's house had a large paved open area in the back that served as a utility area with toilets, bathing area, and facilities for washing clothes and kitchen vessels. Karnataka section Weaver's houses from ikal This cluster from likal, Bagalkote district represents an urban settlement pattern and is typical of weavers’ houses in the northern region of Kamataka. + The wooden gateway, stone and wooden window mark the entrance to the Kamataka section are the remnants of a house which was builtin the 18th century and belonged to one of the oldest known families in the town. + Almost all houses in northern Kamataka are built of stone. Each area has its distinctive stone.. The colours vary from area to area as does the way the stone is quarried and the preferred shapes and sizes used for construction. In llkal, the stone is granite TRIBAL INTERPRETATION CENTRE Gi, WSAMAmieNe DESKTOP STUDY- DAKSHINA CHITRA MUSEUM 16041AA023Andhra pradesh section Andhra section weaver's houses from Nalgonda district j + Most weavers’ houses and other village houses in Nalgonda and Warangal district follow a style locally known as bhawant. ‘The plan used commonly is the chitra sala, with three bays or sections and a small courtyard in the middle. The building materials include bamboo reapers, palmyra beams and semi- circular roof tiles. + This was a residence and of work where ikat weaving is done + Ikat is the technique of dyeing the yarn with patterns before the weaving begins “kat weavers house + Coastal Andhra thatch house;cattle shed and granary Coastal Andhra thatch house + Ina cyclone-prone area, fishermen and agricultural farmers build circular houses which nestle closely to form clusters. + The shape and the positioning help the houses battle against the raging winds. + The house consists of an inner circular room which is enveloped by another circular space that serves as the kitchen on one side and a store at the other end. + There is also a cooking area or vantasala just outside the house. + The walls were built by the cob wall technique that places balls of mud to make an 18” thick wall + Palmyra timber was used for rafter, palmyra thatch for the roof and lime wash for the wall finish + There was a flat mud roof and timber roof under the sloping thatched roof to protect the belongings in case ofa fire. call} TRIBAL INTERPRETATION CENTRE \ & IN SAPUTARA HILL STATION GUJARAT 42) sepa1aanos DESKTOP STUDY- DAKSHINA CHITRA MUSEUMKerala section + The architecture, environment and culture of Kerala stand in marked contrast to that of Tamil Nadu + Unlike the Tamilian, the Keralite prefers to live isolated from neighbours in the middle of a plot of land, with privacy and beautiful tropical vegetation. + In Kerala houses, technique, form and materials are basically the same for all classes and economic levels. Only size or the addition of more buildings to a compound separate the rich from the poor. + Kerala section in Dakshinachitra is punctuated in form by the religious architecture of its three communities - the Hindus, Christians and Muslims. + While the domestic architecture of the three communities is similar, small details such as a cross or a gable distinguish one type from another. Hindu house-trivandrum district + Hindu house-trivandrum district + Cattle shed + Hindu house-calicut district + Granary and textile exhibition + Syrian Christian house-puthupally + Small pavilion padipura TRIBAL INTERPRETATION CENTRE Gi, WSAMAmieNe DESKTOP STUDY- DAKSHINA CHITRA MUSEUM (43) 160414023CASE STUDY — INDIRA GANDHI RASHTRIYA MANAV SANGRAHALAYA (IGRMS)CASE STUDY - INDIRA GANDHI RASHTRIYA MANAV SANGRAHALAYA (IGRMS) Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) or National Museum of Humankind or Museum of, Man is an anthropology museum which presents an integrated story of the evolution of man and culture with special reference to India Location - Museum lies in a prehistoric landscape. It is located at Bhopal, the capital city of Madhya Pradesh in the central province of India. Bhopal's upper lake. Accessibility By Air — Bhopal is air-linked with flights from Delhi, Mumbai, Chennai, Hyderabad, Kolkata and Indore. By Rail -Being located in Central India, Bhopal is, directly connected to major metro-cities of India like Delhi, Mumbai, Chennai, Kolkata, Bengaluru and Hyderabad Local Accessibility - Rashtriya Manav ‘Sangrahalaya’ can be accessed either from Lake View Road or from another road near Demonstration School Site context + The two other museums located near to site at a distance of 500m. + The museums are Tribal museum Bhopal and State museum Bhopal . + Indira Gandhi Rashtriya Manav Sangrahalaya (IGRMS) spreads over an area of about 200 acres on the Shyamla Hills in the city. + This museum depicts the story of mankind in time and space. Indira Gandhi Rashtriya Manav Sangrahalaya TRIBAL INTERPRETATION CENTRE i IN SAPUTARA HILL STATION GUJARAT (44) 1604104023 CASE STUDY- IGRMS.+ Conceptually the presentations in open-air and indoor galleries are complementary to each other. + The objectives of these exhibitions are to present the cohesive life styles of various Indian communities in different eco-climatic zones of the country, their aesthetic values, religious expressions, and socio- economic philosophies for living Open air 0 ei IGRMS Open- Indoor galleries Periodical’ exhibitions, (Veethi-Sankul and Temporary Bhopal Gallery) exhibitions. Indoor museum Site: Site orientation - longest axis along north — south terrain - sloped Road net works: + The total length of the road net work in the museum campus measures approximately 3 kms. + Provided with the foot path on both the side of the road up to 600 meter length from entrance gate no.1. Terrain — sloped + Tribal habitat in IGRMS IS 88m high from lake shore Water supply schemes: + The Sangrahalaya is having two sources of water | stbpy + The first one is the supply of water from the PHE water pipe line at the 1.5 Lacs litre capacity sump well situated at Gate no.1,. The Second Source of water is from three tube wells located at the lake side + The emphasis is to highlight their richness and diversities of India’s cultural patterns and the | underlying unity. cael jp TRIBAL INTERPRETATION CENTRE 4 Ge IN SAPUTARA HILL STATION GUJARAT (45) s@041ano23 CASE STUDY- IGRMS.Seven JIN @ dvs @ aNAwd @ ¥ 16041AA023 ang 0 F-31025 46 TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT CASE STUDY- IGRMS NYW 40 WoasnW- AMdQHE " MANWYHONYS AYN MASULHSWE SHGNND VETHONS ne &Avriti bhawan:- + Temporary Exhibition Building : This building located near the lake view side of the campus: with plinth area of 868.92 sq.meter was constructed in the year 1989-90 for Periodical Exhibitions. + The structure was constructed by Madhya Pradesh Housing Board, a Govt. of M_P. undertaking on deposit works basis. Tribal habitat + Veethi Sankul - Central reception Coastal village Avriti bhawan centre entrance indoor galleries: and information 4 +: + centre \ ' Traditional Desert village ' ' technology park ’ v Tribal habitat centre Interpretation |» Traditional gateway information centre of Himachal Pradesh TRIBAL INTERPRETATION CENTRE is IN SAPUTARA HILL STATION GUJARAT ___ (47) 4604148023 S CASE STUDY- IGRMS.32°UO@ WIM ANDINIHG @ —HOWOYdaY JiBNMOOM Z==S AIUY NOP LALHKS AML BQTSNI a¥ou ONSANIT ~~ |e govema penne 3)N3D WW\SeWH Watd), 16041AA023 48 TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT CASE STUDY- IGRMS &nod” (aaa -a0de, _ yodisie7 AgIMYY AyaLmcosINT | SMOLTENER apAaTO \ |e 16041AA023 49 TRIBAL INTERPRETATION CENTRE IN SAPUTARA HILL STATION -GUJARAT CASE STUDY- IGRMS a” Seaigl Boa SoHE BBINID WLS yt “Way &+ To begin with, life style of the people living in tribal hamlets, coastal Indian regions along the lengthy sea coastlines, Himalayan regions, River Valleys, Deserts & Arid zones are presented through the exhibitions. + To show the richness and diversities, different clusters of traditional house-types from different regions are either transplanted or re-created in the open-air exhibitions. + Care has been taken to create appropriate environment around these house-types. OPEN AIR EXHIBITIONS The following open-air exhibitions partially developed and opened for the public: Tribal Habitat. Coastal Village, Desert Village, Himalayan Village, Mythological Trail, Traditional Technology park. Toda house and shrine Tamil nadu PR PON = + The most striking feature of the open-air exhibitions is that the exhibits are life-size dwellings built by different tribal communities themselves. + The materials which are traditionally used for construction in their respective regions, were specially transported to Bhopal for creating the replica. + To create the ambiance, concemed tribal groups did their own home-work by surveying their regional hamlets to understand the intriguing patterns of structural designs, placement of household objects in each locations within and outside the house, collect the sacred flora and ritualistic objects to be planted outside the house-types Naga gate nagaland GL TRIBAL INTERPRETATION CENTRE Pi ZW SAPUTARA ILL STATION-GUJARAT (50) 46041AA028 Shed CASE STUDY- IGRMS.Tribal habitat Spread over about forty acres of land, Presently, there are about forty house-types, youth dormitories, shrines and other centres of cultural interactions clustered together in this section. These dwellings represent the | 4. Wari community of Maharashtra, 2. Kutia Kondh, Saora and Gadaba communities of Pathways showing the vernacular Orissa, a methods of pavement [ stone ]. 3. Rathwa and Chodhri tribes of Gujarat, 4. Bodo Kachari, Mishing and Karbi tribes of Assam, 5. Agaria and Bhil communities of Mahya Pradesh, 6. Kars and Rajwars of Chhattisgarh, 7. Santal tribe of Jharkhand 8. Jatapu tribe of Andhra Pradesh, 9. Bhumij from West Bengal, 10. Tangkhul and Kabui Nagas from Manipur, 11. Chakhesang Naga of Nagaland, 12. Reang tribe of Tripura, and 13. Toda and Kota communities of Tamil Nadu. Isolated exhibits connected through nature Veethi sankul - indoor galleries + This is constructed in about 12,000 sqm. area with spacious 1. Exhibition halls, 2. Reference library, 3. Indoor & outdoor auditoriums + The various exhibition halls and auditoriums have been constructed on approximately 16 levels. + Approximately 7000 sq.mt. floor area is utilized for exhibitions, in 10 galleries + An important aspect of these galleries are the active involvement of different community groups in developing the exhibits, and their presentations in appropriate environment. + Another special feature is the life size displays and visitor friendly approaches for visitors’ convenience. Indoor museum IN SAPUTARA HILL STATION -GUJARAT ae TRIBAL INTERPRETATION CENTRE CASE STUDY- IGRMS. (51) 160418023The structure is unique in its architecture, SS constructed on a rocky terrain incorporating difficult levels of the sloppy land. There is a 4m level difference from point A to} point B The provision for access by _ physically challenged person into the Exhibition Building has been made by providing ramp wherever __‘Thefe is a 3m level difference from point B to needed. point C ti The structure is covered with Dholpur sand-stone cladding from all sides, and the flooring is made with Kota stones. » Amphitheatre Formal __ sessions happen here rather than cultural events Large courtyard with tress in between call} TRIBAL INTERPRETATION CENTRE —~ & IN SAPUTARA HILL STATION GUJARAT 52) 1604144023 CASE STUDY- IGRMS.