PROJECT NAME :

ARTIST & TOURIST CENTRE

Prepared by : ISAA.F.JATU

BHAGWAN MAHAVIR UNIVERSITY,

BHAGWAN MAHAVIR COLLEGE OF ARCHITECTURE
2023 (JANURARY - APRIL)
Contents

• Introduction
• Aim, objective
• scope & limitation
• Methodology
• Site
• Case study
1-INTRODUCTION

• ART CENTRE IS A FUNCTIONAL COMMUNITY CENTRE WITH A SPECIFIC REMIT TO ENCOURAGE ART PRACTICE AND TO PROVIDE FACILITIES.

• ART CENTRE PLAY AN IMPORTANT ROLE IN MAINTAINING AND STRENTHENING CULTURAL PRACTICES .

• IT IS A CENTRE WHICH WILL SHOW CULTURE-HERITAGE,ARCHITURE LANGUAGE , & ART OF CITY.

• ITS A CENTRE FOR ARTIIST WHERE THEY CAN LEARN NEW TECHNIQUES & WHERE THEY CAN SELL THEIR PRODUCTS .

• PLATFORM WHICH HIGHLIGHT THE ROLE OF ARTIST.

IT WILL TEACH PEOPLE ABOUT A CULTURE THROUGH EVENTS ,FESTIVAL,& WORKSHOP

1.1-IMPACT OF ART & CRAFT INDUSTRY IN INDIA

• Major economic part of India is dependent on the small scale cottage industries after agriculture, to sustain their livelihoods. Majority
of these cottage industries are into production of these handmade crafts or handicrafts.

• These crafts are highly influenced by our culture and traditions, which in turn is shaped by the Geography as well as the climate.
Handicrafts are spread over the lengths and breadths of the nation, in each different state, different types of handicrafts are
practiced. These handicrafts, which were an integral part of life, are now considered as a part of our cultural heritage.

• Industrialization led to urbanization, which further led the need to facilitate mass production. Due to which handmade was replaced
by machine made. It had a adverse effect on the handicraft industry. There felt a need to protect the industry, which eventually
would preserve the cultural heritage

• Hand made crafts in India were made to fulfill the daily day needs of the people. With the time, artisans started making these
crafts to earn a source of income to sustain their livelihood. After agriculture these crafts were practiced during the leisure time in
rural areas.
 • These handmade crafts or handicrafts had a cultural, religious and influence of various empires who ruled India for that time period. Availability of
resources in a particular region also had a major impact on evolution of these crafts. In each state of India different types of crafts were practiced
depending upon the locally available resources, and cultural influences. These handicrafts are considered as a part of our cultural heritage. Skills,
traditional knowledge and intellect are considered as intangible part of our heritage, where as the product (handicraft) is considered as the tangible
heritage.

• The Textile Industry is one of the largest industries in India. It encompasses a vast variety of stakeholders from the growers and the weavers to the
designers. The rich handwoven materials are preferred worldwide but the state of its primary stakeholders the weavers are at risk.

• The handloom industry is heavily suffering from globalization and lack of upgradation’

• For an Architectural solution it is important to first understand the trend of the occupation and issues that the industry faces today.

1.2 – ECONOMY FACTOR OF CRAFT AND HANDLOOM INDUSTRY IN INDIA

• With this wide range of craft skills and the number of artisans in the country, India has the potential to make this sector a multi-billion-dollar
industry. 
• Handicraft exports from India reached Rs. 25,706.3 crore (US$ 3.5 billion) in 2019–20.

• Exports of various handicrafts segments are listed below:

• Woodwares at Rs. 3,061 crores (US$ 420.45 million)

• Embroidered & crocheted goods at Rs. 2,334 crores (US$ 320.51 million)

• Miscellaneous handicrafts at Rs. 3,770 crores (US$ 517.68 million)

• Handprinted textiles and scarves at Rs. 1,128 crores (US$ 154.96 million)

• Imitation jewellery at Rs. 6,850 crores (US$ 94.08 million)

• Art metal wares at Rs. 1,824 crores (US$ 250.52 million)

• The US, the UK, the UAE, Germany, France, Latin American countries, Italy, the Netherlands, Canada and Australia are the key countries that import
handicrafts. India stands to gain exponentially as the handicraft sector expands and gains momentum.
 1.3 - BACKGROUND

• The history of Indian handicrafts goes back to five thousand years from now.

• Handicrafts are amongst the oldest tradition in the world.

• Pottery is considered to be a known ancient craft, which can be traced back in
civilizations like Indus valley and Harappan. ( one of the oldest civilizations ).

• Apart from pottery sculpture, jewellery, weaving, wood and metal craft are also
considered to be the one of the ancient crafts.

1.3.1 - BRIEF HISTORY OF HANDICRAFT

UNDER BRITISH RULE

POST INDEPENDENCE
PRE-BRITISH INDIA UNDER BRITISH RULE
INDIA
 PRE-BRITISH INDIA :-

• Two types of handmade were produced, one for utility purpose (daily use) and the other for
Kings and Royals people which were luxury crafts.

TRADING TYPES

WHOLE AND DADNI KARKHANAS

JAJMANI
SOLE

JAJMANI SYSTEM :-

• Jajmani system or Yajmani system was an economic system most notable found in villages of India in which lower casts performed various
function for upper castes and received grains or other goods in return

JAJMANS (SERVED CLASS) :-

• Provided Grains, Animals, Cloths etc to Khamins in exchange of services or handicrafts.

KHAMINS ( SERVING CLASS ):

• Provided service or Handicraft to Jajmans ( served class ).
 WHOLE AND SOLE :-

• Craftsman itself played the role of investing into lands, labour and capital to produce the product and eventually selling it into the market.

INVOLVING -
FAMILY
MEMBERS
UPPER CASTES
AVAILABLE PRODUCE SOLD TO
HANDICRAFT
RESOURCES
LOWER CASTES
CAPITAL

DADNI SYSTEM :-

• Under Dadni system Merchant advanced cash to craftsmen on credit for production.
• Under this system profit margin was shared by merchant and craftsmen, but majority of profit was taken by the merchant.

AVAILABLE AVAILABLE AVAILABLE

RESOURCES RESOURCES RESOURCES

KARKHANAS :-

• Karkhanas were Manufacturing units built by the Kings and Royals people of the society for production their luxury handicrafts.
• Master craftsman were hired for producing these crafts in the Karkhanas.
UNDER BRITISH RULE :-

HAND MACHINARY
• British East India company acquired political power in Bengal after the Battle of Plessey in 1757.
• They established Monopoly and forced artisans to supply goods to them at 15 to 40% lesser rate then the market price.
• British East India company acquired established Empires of the period (Kings and Royals) which had a adverse affect on luxury handicrafts
market.
• People starting drifting towards Machine made goods as they were cheaper compared to hand made.
• Due to increase in population Industrialization came in to affect which demanded the need of Mass Production and Machine made goods
were less time consuming compared to handmade.

POST INDEPENDENCE INDIA :-

• Various Government and private organizations were formed to protect and develop the dying industry.

ALL INDIA HANDICRAFT BOARD :-

• The All India Handicrafts Board was established in 1952 to advise the government on problems of handicrafts and to suggest
measures for improvement and development. The Board was also required to study Technical, Marketing, Financial, Organizational,
Artistic and other aspects of handicrafts and to formulate plans on these lines.

HANDICRAFTS AND HANDLOOMS EXPORTS CORPORATION 1958( MINISTRY OF TEXTILES) :-

• Handicrafts and Handlooms Export Corporation of India is an agency of Ministry of Textiles, Government of India established in 1958
with main objective to undertake exports of handicrafts, handlooms products, khadi and products of villages industries from India and
to undertake special promotion measures.
2-AIM & OBJECTIEVES

AIM

• To design a space that will be a

• To study the issues faced by the
culmination of activities for the • .to design a tourist centre while
handloom & handicraftto industry
handlooms & handicraft to be understanding culture strcuture of
and prepare a project proposal that
used as a Teaching, Production, city
will uplift the face of the industry.
Marketing, and Tourist Destination.

OBJECTIVE
 DIVIDE INTO 3 PARTS :

• IDENTIFY :- To study the industry and identify the issues that can be addressed through scope of architecture.

• FORMULATE :- To formulate a project brief with a solution for the identified issues.

• DESIGN :- To design a space that stays within the spirit of the occupation but uplifts the face of the industry.

• To propose and institution to bridge the gap between traditional techniques of production and modern techniques of production.

• To bring traditional textile products and handicraft products to mainstream markets.

• To create awareness and educate about the dynamic textile market and handicraft trends.
 2.1 - EFFECT ON PEOPLE
•  Financial: Arts centers served as economic engines for their communities, leading to increased tourism and new businesses.

•  Social: Arts centers drew family and community members together, with diverse audiences.

• Cultural: Arts centers led to an exposure, demystification, and celebration art and culture, establishment of new art/cultural venues, and support to
other art/cultural organizations.

•  Human: Arts centers programming led to community pride and increased confidence, selfexpression/self-actualization in individuals.

• It will inspire more people towards art industry.

• Usually merchants use to buy a product from artist in bulk form they sell it into market by their name tag so the major buisness model of artist is
B to B whith this centre they will directly connect to consumers b to c.

• with providing a cultural space it will increase tourism in city through which more and more people will know about the art and culture of city .
 3- SCOPE , LIMITATION & HYPOTHESIS

SCOPE

• To study the types of handlooms & arts practiced in Rajasthan.

• To propose infrastructure for the aims of the project.

• To create direct link between artisans and consumers

• Skill upgradation training on designing, material etc.

• Setting up of infrastructure.

• designing a space where annual & seasonal festival .

• to propose a space where artist can exhibit there work .

in form of galleries and museum.

LIMITATION
• To give the proposal to the Government, for the development of the handicrafts industry.

• To limit the perspective of study to the belt of Rajasthan.

HYPOTHESIS

• A space that encourages and supports the craft people and their needs to establish a mark in their fields of experience which can not only uplift the
craftspeople but also influence every individual to contribute to the society to make the country traditionally and culturally rich.
4- METHODOLOGY
4-SITE RAJASTHAN ( JODHPUR )
BLUE POTTERY

FOLK DANCE
ARTS FAMOUS IN JODHPUR

KAMAICH MUSIC INSTRUMENT

MINIATURE PAINTING

BANDHNI / BANDHEJ

WOODEN HANDICRAFT
TOURISM ANALYSIS OF JODHPUR ( FORIEGNERS AND INDIAN TOURIST)
LEATHER WORK

EXISTING ART INSTITUTE / MUSEUM

JWELLERY ART
PUKHRAJ DURRY
CHAUHANS ART GALLERY AND SCHOOL
RAJASTHAN SANGEET NATAK AKADEMI BONE SCULPTURE
UMAID HERITAGE ART SCHOOL

ANNUAL / SEASONAL FESTIVAL OF JODHPUR

KITE NAG NAGAUR

MARWAR
FESTIVAL PANCHAMI FAIR
FESTIVAL
 RAJASTHAN TOURIST CIRCUIT
GOVERMENT FUTURE PLAN
( PUBLISHED IN T.O.I )
In a bid to develop cultural tourism hubs, UNESCO and
Rajasthan Tourism have decided to work together. The aim
is to develop 10 cultural tourism hubs in various Rajasthan
districts, including Jaisalmer, Jodhpur, Bikaner, and Barmer.
These hubs will be adopting the ‘Art of Life’ methodology
and will help 884 Rajasthani performing artists and 594
handicraft artists. The project will also safeguard the
traditional artforms of the state.

The plan is to help develop heritage education and cultural

enterprises by building and facilitating direct marketing for
the Rajasthani artists. The art of puppetry, pottery,
handloom, jooti making, kalbelia dance and music, langas
songs and applique work, along with several other
artforms.
JODHPUR EXISTING LANDUSE PLAN
 SITE : KAILANA LAKE
JODHPUR

TOURIST SPOT NEAR BY

- NATURE
INTERPRETATION CENTRE

- ZOO ( PINJRA )
-MUSEUM 7.8KM
-BLUE CITY WALK &
CAMEL SAFARI 7 KM

JODHPUR DEVELOPMENT PLAN 2031

5-CASE STUDIES

SHRUJAN KUTCH ( PROGRAME AND CLIMATE RELATED )

Climate: Hot and dry climate. up to 49 degrees during

summer and 19.5 degrees during winters. Wind: 12-45
kmph Rainfall: 912mm per annum Accessibility: State
highway adjacent to the site, easily accessible by buses and
cabs. Vegetation: Arid desert vegetation, arcades with
varied fruits. Terrain: Flat land.
Client: Shrujan Campus- Bhujodi Kutch Location: Bhujodi, Dist
Kutch, Gujarat
Project type: Public institution of arts and crafts, trading center
Architects: indigo architects, Ahmedabad
Design Team: Uday Andhare, Mausami Andhare, Arpan Shah,
Pragnesh Patel, Mitesh Panchal
Consultants: Ami Engineers Ahmedabad Site Area: 8 acres
(33000 sqmts)

• Shrujan is a non-profitable NGO that works for the

sustainable livelihoods and craft revival for women in
kutch. Shrujan Trust has been committed to income
generation and craft revival of craftspeople for 50 years.
Every year there are over 4,000 women who work from
their home at their own time and their own pace.

Shrujan reaches the raw material, textiles and the threads to

their doorstep and settles payments also at their doorstep as
soon as the embroidery is done. The "Living and Learning Design
Centre" in Bhuj is an ambitious 8 acre campus that houses
India's largest crafts museum. The project aims at being a
melting pot of creativity and collaboration for design and craft
work in the years to come, not only in India but globally too.
 KHAMIR KUTCH ( PROGRAME AND CLIMATE RELATED )

SITE
-Location: Kukma, Bhuj, Kutch
-Context: Khamir is located in the outskirts of the city
10 km away from Bhuj. The immediate context is open
lands
-Topography: Gentle contours
-Climate: The average temperature during summer
months can rise up-to 31 deg Celsius. In winters the
temperature drops and average temperature in the
months of winter is about 12 deg Celsius.
Site Area: 8093.71 Sq.m
Footfall: 11000 visitors annually
Distance of 13.7 km from Main town creating a
calm atmosphere in the building and the villages
are around
a proximity of 3 km from the building which helps
the users for easy access to the building

DESIGN CONCEPT
Khamir was designed to create 2500 sq m
facility for the promotion of craft in Kutch.
Concept of planning
this center is derived from the local streetscape
and village pattern noted before earthquake .
UNDERSTANDING EXHIBITION SPACE

• This design aims at opportunities to disseminate the working of the industry to the public. To understand how this can be done, the Kerala Handicraft
Village, Sargaalaya in Vadakara has been studied. The main aspects studied were how they channel the crowd during the annual exhibition held.
SARGAALAYA, VADAKARA :-
• Sargaalaya is a permanent exhibition set up tagged as an art and craft village. It was established in the year 2011. The organization provides
provision for tourists to visit and mingle with artisans and also place order as per their need. It is an initiative by the Department of Tourism,
Government of Kerala and managed by ULCCS Ltd. It was developed as a part of responsible tourism movement. The initiative is to promote
traditional handicrafts of Kerala.

VIEW FROM ENTRANCE VIEW FROM WATERBODY VIEW FROM WATERBODY

EMPORIUM HANDLOOM STALL ROADS AND PARKING

RAAS JODHPUR ( ARCHITECTURE & CLIMATE STYLE RELATED )

• Set in the heart of the walled city of Jodhpur, Rajasthan, RAAS is a 1.5-acre
property uniquely located at the base of the Mehrangarh Fort. The brief was to
create a luxury boutique hotel with 39 rooms in the context of the Old city
quarter of Jodhpur.

• This has been translated into a project where there is a dialogue between the
old and the new. Luxury was about being authentic both in terms materials
and workmanship, and in providing visitors a tactile and sensual experience
within the historical context of the old city of Jodhpur without aping the old.
The property was inherited with three, beautiful period structures (17th-18th
century) which have been painstakingly restored with traditional craftsman in
the original materials such as lime mortar and Jodhpur sandstone.

• nspired by the age old double skinned structures of the region, (the traditional
stone latticed jharokha forms of Rajasthani architecture – which perform
multiple functions of passive cooling and offering privacy to the user) these
buildings act as lanterns framing the site.

• The drama of the stone jaali (lattice) is heightened by the fact that these
panels can be folded away by each user to reveal uninterrupted views of the
fort, or can be closed for privacy and to keep the harsh Jodhpur sun out.

• Crafted by over a hundred regional artisans and master-craftsmen, the

development – building and interiors - is conceived and executed using the
fundamentals of sustainable architecture. 70% of the materials and people
used on site have been sourced locally, most within a 30 km radius.

• Every element is handcrafted with a focus on simplicity, and function – beauty

being the skill and care of the craftsperson that has gone in to creating the
piece. Materials include hand cut stone, poured in situ pigmented cement
terrazzo on floors, walls and as furniture.