GOVERNMENT POLYTECHNIC

FOR WOMEN
SIRSA
THESIS REPORT
Major Project Topic: ART AND CRAFT VILLAGE

Submitted By:
Submitted To: MUSKAN KAMBOJ
Ar. Parmod Kamboj 200120200026
Ar. Twinkle 3rd Year
Table of Contents

 Declaration

 Certificate

 Acknowledgement

 Abstract

 Introduction

 Location

 Requirement

 Case Study -1

 Case Study -2

 Case Study-3
DECLARATION

 MUSKAN KAMBOJ , Roll Number, 200120200026, hereby

declare that the thesis titled “MEDITATION CENTER" is
submitted by me, in partial fulfilment of the requirement of
the curriculum of Diploma in Architecture as per the
university norms. Government Polytechnic For Women, is a
record of my original work with credits given for information
collected from any other source.
CERTIFICATE

 This is to certify that the dissertation titled “ ART AND

CRAFT VILLAGE“ submitted in partial fulfilment of the
requirement of the curriculum of Diploma in Architecture
is the work of MUSKAN, Roll Number 200120200026,
who carried out research work under our supervision in
Gateway College of Government Polytechnic For

Women, Sirsa, Haryana.

 AR. PROMOD KAMBOJ

 Signature of the guide
ACKNOWLEDGEMENT

 It would be my utmost pleasure to express my sincere

thanks to my teacher Ar. Twinkle in providing a helping
hand in this project and even thanks to my HOD Ar.
Promod Kamboj. His valuable guidance, support and
supervision all through this project are responsible for
attaining its present form. I would also like to thank
my parents as they encouraged me to put forward my
project.
 ABSTRACT

A craft is a branch of profession that requires some particular

kind of skilled work. In historical sense, particularly as
pertinent to the Medieval history and earlier, the term is
usually applied towards people occupied in small-scale
production of goods. The meaning of craft and its values are
ever-changing with development of new techniques and
methods. Craft village is a one-stop craft destination which
offers visitors a unique variety of craft-related activities and
programmes. It is intended to be a “must visit" tourist
destination. In this village, visitors will learn about Punjabi
handicraft through craft demonstrations & hands-on
interactive sessions. Visitors will experience the interactive
handicraft making besides viewing the techniques in which
they make such fine masterpieces. It also accommodates
various trading units. This project intends to provide spaces
with forms and functions to foster the development of crafts
that Punjab is known for. The art and craft gallery housed in
its premises displays wide collections of handicraft
products/artefacts based on time-honoured Punjabi craft
traditions. The core concept of the Craft gallery is education
and highlights the craft heritage of Punjab and local
handicraft production technologies.
 Introduction
•What is art and craft village

The village was conceived with an idea to create an

environment for the preservation of traditional crafts. It aims
at providing encouragement to the needy artists from allover
the state in order to sustain and preserve the rich heritage
of Punjab.

Punjab Arts & Crafts is highly acclaimed the world over.

Punjab is a culturally rich north western state of India. The
Arts and Crafts of Punjab include the variety of handiworks.
The artisans of Punjab are skilled and dexterous. The women
of the villages are mainly involved in carrying out the Punjab
Arts & Crafts. The Mud Works is an ancient practice in
Punjab. Generally it is a trend in Punjab to plaster the walls
of the house with mud and then create different motifs and
designs on them.
 

Objectives
 
 Create a wholesome experience for the tourists
through providing them afeeling of vernacular culture
of the state.
 
 Promote the rich ethnic inheritance of the city and
develop art and craft activity of Punjab.
 
 Create a space and environment to preserve the
traditional art and craft of thestate for the tourists.
  
 Promote the talents of local artists, artisans and
craftsmen though giving them aplatform to exhibit
their painting, art work and piece of craft via
exhibition,studio, open air stalls.
 
 Encourage entrepreneurship and livelihood
opportunities for the locals.
 
 Encourage and promote Private Sector Participation in
the development of tourism sector.
A Punjabi paranda also known as a parandi is a women's hair ornament made of multicolored silk threads
 and decorated with floral (bunches) designs and ornamental tassels. The Pranda is a part of ethnic 
Punjabi clothing and a folk accessory of Punjabi culture. Patiala is famous for its salwars and parandas.

•Material

Parandas are made by interweaving silk threads of different contrast colors.Women in Punjab were making
parandas by themselves as a hobby and art and craft.

•Style

Women braid their long hair with parandas matching their costume, usually ethnic Punjabi clothing. They
wear them during folk dances like the Giddha. Young girls and women embrace it on special occasions
like marriages and folk festivals such as Lohri, Vaisakhi, Teej, Karva Chauth, etc. Pranda is losing its style
with time, and the appearance is drawing to fewer occasions.
Case Study
1. Karnataka
Karnataka State comprises of 30 districts and has been classified
into four divisions namely Bangalore, Belgaum, Gulbarga and
Mysore Divisions. Karnataka has vibrant automobile, agro,
aerospace, textile & garment, biotech and heavy engineering
industries. The state has sector-specific SEZs for key
industries such as IT, biotechnology, engineering, food processing
and aerospace.

Karnataka is the IT hub of India and home to the fourth largest

technology cluster in the world. As of 2014-15, total exports from
the state aggregated US$ 52.02 billion, which is approximately
13.01 per cent of India's total exports. Karnataka has 47 IT/ITeS
SEZs, three software technology villages and dedicated IT
investment regions.

Karnataka boasts of a diverse flora and fauna and a 320 km natural

coast line, which makes it a nature tourist's paradise. Tourist
arrivals in the state increased from 25.2 million in 2005-06 to 111.8
million in 2014-15.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

3. Overview of Art & Craft in karnataka

Karnataka is a land steeped in art and history. Its ancient sculptures and temple
carvings stand testimony to its rich cultural heritage, which has captivated kings and
commoners alike since time immemorial.

The vast range of the State’s arts and crafts that now embellish royal homes of the
past, elite bungalows, and even ordinary hutments, bear testimony to the skill,
aesthetic sensibilities, and decorative abilities of the craftsperson. Many craft
traditions in Karnataka have been handed down from father to son and this continuity
has helped to support a vast variety of handicrafts with their high degrees of
perfection.

The State’s craftsmen received much patronage from the royalty in the past. Today,
the government has set up many agencies and design centres to encourage craft
families to continue making handicrafts and also help them to market their ware. This
has helped keep many craft traditions alive so that their practitioners can cater not
only to the local population but also to the many tourists who visit Karnataka.

Though home to the famous Nritya Gram, a center for dance and martial art forms, the
city, also known as India’s garden city lacks an cultural and ethnic focal point which
could bring together craftsmen, artisans and performers to mirror the rich heritage of
the state as well as its role in the cultural tapestry of the country.

Bangalore, the capital of the state of Karnataka boasts of a vibrant culture. Being a 10
major industrial and commercial centre of the country, Bangalore is also the nerve
centre of India’s software industry, thus attracting people from all over the country
and beyond for meetings, seminars, conferences and exhibitions.

3.1 Industry Overview

Karnataka has a rich tradition of exquisite craftsmanship. Major crafts practiced are
Gudigar works (made of sandal wood and rose wood), inlay work and carvings, bronze
statues, lacquerware toys from Channapattana and Kinhal, Bidriware, batiks and home
decor products.

Handicrafts are made in cottage industries by local artisans of the region, as a means
of livelihood. They are often manufactured and sold in local markets and sometimes
are also sold to the Corporation/ private retails for organized sales.

Karnataka State Handicrafts Development Corporation Ltd (KSHDC), was established

by Government of Karnataka in 1964 with the objective of preserving and nurturing
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

the handicrafts of the State and provide assistance in improving the economic
conditions of the artisans. The Corporation has been promoting handicrafts of the
state through a number of retail outlets popularised by the name of 'Cauvery'. All over
India, the Karnataka State Arts & Crafts Emporium, 'Cauvery', has acquired a unique
brand image for its products which is synonymous with highest quality at competitive
prices.

Craftsmen endowed with high skill levels entirely devoted to producing quality
handicrafts are part of 13 craft complexes spread across the State which provide
facilities in terms of raw materials, living cum work-sheds, common facilities centre,
design input and marketing support. The craft complexes located in Karnataka
established by KSHDC are listed below:

a. Sandal wood craft complex, Sagar

b. Sandalwood craft complex, Sirsi
c. Sandalwood craft complex, Soraba
d. Sandalwood craft complex, Kumta
e. Multi craft complex, Mysore
f. Lacquerware craft complex, Channapatna
g. Bidriware craft complex, Bidar
h. Cotton Dhurries complex, Navalgund
i. Pile carpet centre, Mundgod
j. Pottery craft complex, Ramanagar
k. Kinhal Procurement Centre, Kinhal
l. Bronze craft complex, Bangalore
11
m. Stone craft complex, Shivarapatna

2. Regional Profile – Major Handicraft Industries In Karnataka

Handicrafts made in Karnataka are widely sold not just in India but also in other parts
of the world. The regional spread of handicrafts in the State, the manner in which
they are made and their history is discussed in this section.

1. Channapattana- Lacquerware Toys

Channapatna, famous for Lacquer ware toys is located at a distance of 50 km from

Bangalore. Channapattana toys are a particular form of wooden toys (and dolls) that
are manufactured in the town of Channapatna in the Ramanagar district of Karnataka.
This traditional craft is protected as a geographical indication under the World Trade
Organization, administered by the Government of Karnataka. As a result of the
popularity of these toys, Channapatna is known as Gombegala Ooru (which means
“Toy town”) of Karnataka. Traditionally, the work involved lacquering the wood of the
Wrightia tinctoria tree, colloquially called Aale mara (ivory-wood).
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

The origin of these toys can be traced to the reign

of Tipu Sultan who invited artisans from Persia to
train the local artisans in the making of wooden
toys. For nearly two centuries, ivory-wood was the
main wood used in the making of these toys,
though rosewood, sandalwood, rubber, sycamore,
cedar, pine and teak were also occasionally used.

Manufacturing stages include procuring the wood,

seasoning the wood, cutting the wood into the
desired shapes, pruning and carving the toys,
applying the colours and finally polishing the
finished product. Vegetable dyes are used in the
colouring process to ensure that the toys and dolls
are safe for use by children.

As of Oct 2006, more than 6,000 people in Channapatna, working in 254 home
manufacturing units and 50 small factories, were engaged in
the making of these toys. The Karnataka Handicrafts
Development Corporation (KHDC) provides assistance with
marketing efforts. The raw-material used are halewood, Lac,
Lithophon and varieties of colour. With no proper backing or
marketing, the Channapatna toy industry faced a financial
crunch for more than a decade and was almost on the verge of 12
dying out. However, with the help of KHDC, the craft has been
revived and the artisans involved are being trained on changing trends in the industry,
to help them keep abreast of the current scenario. Prototypes designed by master
craftsmen are introduced to the local artisans, who use them to create well-designed
toys and dolls.

The Government of Karnataka has also provided help by constructing a Lacquerware

Craft Complex, which has a manufacturing centre with 32 turning lathe machines, at
Channapatna. Financial assistance to the artisans, with help from the Dutch
Government and the Karnataka Government's Vishwa scheme has also been provided.
Annual export of Lacquerware toys is to the extent of Rs. 5 Crores.

3.2.2 Bidar – Silver Inlay Works/ Bidriware

Bidriware is a metal handicraft that originated in Bidar, Karnataka, in the 14th century,
during the rule of the Bahamani Sultans. The term 'Bidriware' originates from the
township of Bidar, which is still the only town that manufactures the unique
metalware. Due to its striking inlay artwork, Bidriware is an important export
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

handicraft of India and is prized as a symbol of wealth. The metal used is a blackened
alloy of zinc and copper inlaid with thin sheets of pure silver.

The origin of Bidriware is usually attributed to the Bahamani sultans who ruled Bidar in
the 13th –15th centuries. Abdullah bin Kaiser, a craftsman from Iran was invited by the
Sultan to work on decorating the royal palaces and courts. According to some
accounts, Kaiser joined hands with local craftsmen and gave birth to Bidriware. Since
then, the craft has been handed down succeeding generations mostly among the local
Muslim and Lingayat sects.

Bidriware is manufactured from an alloy of copper and zinc (in the ratio 1:16) by
casting. The zinc content gives the alloy a deep black color. First, a mould is formed
from soil made malleable by the addition of castor oil and resin. The molten metal is
then poured into it to obtain a cast piece which is later smoothened by filing. The
casting is now coated with a strong solution of copper sulphate to obtain a temporary
black coating over which designs are etched freehand with the help of a metal stylus.

This is then secured in a vise and the craftsman uses

small chisels to engrave the design over the freehand
etching. Fine wire or flattened strips of pure silver are
then carefully hammered into these grooves. The
article then is filed, buffed and smoothed to get rid of
the temporary black coating. This results in rendering
the silver inlay hardly distinguishable from the
13
gleaming metallic surface which is now all silvery
white.

The Bidriware is then prone to the final blackening process. Here, a special variety of
soil which is available only in the unlit portions of the Bidar fort is used. It is mixed with
ammonium chloride and water to produce a paste which is then rubbed onto a heated
bidri surface. The paste selectively darkens the body while it has no effect on the silver
inlay. The paste is then rinsed off to reveal a shiny silver design resplendent against
the black surface. As a finishing touch, oil is applied to the finished product to deepen
the matt coating. The finished product appears black with brilliant silver inlay.

The Bidri designs are usually patterns such as the Asharfi-ki-booti, stars, vine creepers
and stylized poppy plants with flowers. Traditional designs include the Persian Rose
and passages from the Quran in Arabic script.

While Bidar in Karnataka and Hyderabad in Andhra Pradesh are the most vibrant
centers, this art is also practiced in few other parts of the country like Purnia in Bihar,
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

5.2 Estimation of Revenues

The revenue income for each of the facilities in the Project has been estimated and
the details of the assumptions made therein are presented below.

i. Art and craft village (Hut)

Sl. No Description Value

1. Built-up area 20,000 sq.ft

2. Area rented 100% of built-up area

3. Rent per month for one hut (Rs.) 10,000

4. Lease per year for one hut (Rs.) 100,000

ii. Food Court

The number of visitors to the food court has been estimated to be the same as those visiting
the art and craft village. As the FEC and retail area proposed would also have a separate
food court, the footfalls in the FEC and retail area have not been considered to estimate the
revenue from the food court.

Sl. No Description Value

22
1. Built-up area 6,000 sq.ft

2. Area rented 100% of built-up area

3. Rent per month for one hut (Rs.) 50,000

4. Lease per year for one hut (Rs.) 500,000

iii. Retail Area

The assumptions for revenue from the retail area are provided in the table below:

Sl. No Description Value

1. Built-up area 20,000 sq.ft

2. Area rented 100% of built-up area

3. Rent (Rs./sq.ft/month) 30

4. Lease (Rs./sq.ft/year) 300

Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

iv. Accomodation

The assumptions for revenue from the accomodation are provided in the table
below:

Sl. No Description Value

1. Built-up area 10,000 sq.ft

2. Area rented 100% of built-up area

3. Rent (Rs./room/day) 500

4. O&M Charges (Rs./room/day) 150

v. Other revenues

The assumptions for other revenues are provided in the table below:

Sl. No Description Value

1. Entry fee for art and craft village (Rs. per person per day) 2
0
(
A
d
u
lt
Price escalation for all the revenues is done by 1% year on year. ) 23
1
0
(
C
h
il
d
)

2. Ampi Theater (Fee Per day in Rs.) 500

Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

5.3 Estimation of Expenses

The assumptions for Operations and Maintainence expenses are provided in the
table below:

Sl. No Description of O&M Expenses Value

1. Art and craft village (Hut) (Rs. Per Hut/year) 10,000

2. Food Court (Rs. Per Shop/year) 5000

3. Retail shops (Rs. Per Shop/year) 5000

4. Accomadation (Rs. Per Room/day) 150

5. Ampi Theater(Rs./day) 100

Sl. No Description of Other Expenses Value

1. Manpower Cost (Rs. Lakhs/year) 20

2. Power Cost (Rs. Lakhs /year) 10

3. Miscellaneous (Rs. Lakhs /year) 5

24
4. Marketing Expenses (Rs. Lakhs /year) 2
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Expected Project Revenues

Rs lakhs

Years 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Revenues

Hut - Lease
5 5 5 5 5 5 5 5 5 5 6 6 6 6 6

Hut - Rentals
12 12 12 12 12 13 13 13 13 13 13 13 14 14 14

Foot court - Lease

15 15 15 15 16 16 16 16 16 16 17 17 17 17 17

Foot court - Rentals

18 18 18 19 19 19 19 19 19 20 20 20 20 20 21

Retail shops - Lease

10 10 10 10 10 11 11 11 11 11 11 11 11 11 11

Retail shops - Rentals

36 36 37 37 37 38 38 39 39 39 40 40 41 41 41

Accomoda 15 15 15 15 16 16 16 16 16 16 17 17 17 17 17
tion -
Rentals
OAT
1 1 1 1 1 1 1 1 1 1 1 1 1 1 1

Footfalls - Gate fee

13 13 13 13 14 14 14 14 14 14 14 15 15 15 15

Total Revenue
125 126 128 129 130 131 133 134 135 137 138 139 141 142 144

25
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Expected Project Expenses

Rs lakhs

Years 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

Expenses

Manpower Cost
20 20 20 20 20 21 21 21 21 21 21 21 21 21 21
26
Power Cost
10 10 10 10 10 10 10 10 10 10 11 11 11 11 11

Maintainence Cost
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

Miscellaneous
5 5 5 5 5 5 5 5 5 5 5 5 5 5 5

Marketing Expenses
2 2 2 2 2 2 2 2 2 2 2 2 2 2 2

Total Expenses
45 45 45 45 46 46 46 46 47 47 47 47 47 48 48

Profit
80 81 82 83 85 86 87 88 89 90 91 92 93 95 96

Tax
28 28 29 29 30 30 30 31 31 31 32 32 33 33 34

Net Profit
52 53 54 54 55 56 56 57 58 58 59 60 61 61 62
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

6. Project Implementation Structure

The mode of implementation of the Project could be through the Public Private
Participation (“PPP”).

This chapter sets out the salient features of the different structuring options for
undertaking the implementation of the project under a suitable PPP model and
recommendation on the most suitable structure.

1. Review of different PPP Frameworks

There are mainly three different frameworks for contracting work under the PPP
model as described below:

1. Service Contract:

A specific service (discrete and clearly defined) is contracted out by the public agency
to a private operator. Payment is usually on fee per package basis. Service contracts
are subject to frequent competition and usually last for shorter term like one year. It
is also common to give out separate contracts for different parts of the project to
more than one operator, thereby enabling comparative competition.

2. Management Contract:

Under this arrangement, the private sector assumes the responsibility for core
activities such as operations and maintenance of units in a specific geographical
sector (which could comprise the whole or only a part of the entire project) or at a
defined level of responsibility. Public entities legally remain the owners of the assets.
A private company may agree to take over the responsibility for managing a service
to specified standards but using the staff, equipment, vehicles and buildings of the
public entity. In such a situation the private company would bring in its
management expertise, however is unlikely to make major capital expenditure under
such a structure.

3. BOT/ Concession Contracts:

The private operator is responsible for financing new investment in entire project
over the life of the contract. The assets are owned by the public entity; however, the
private operator takes over responsibility of managing assets, creating new assets
where required, raising finance for the new investments, providing the service,
operations and maintenance, collection of charges, if applicable. This arrangement
could apply to a specific jurisdiction or geographical area. The private operator

27
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would pay an annual fee or may receive an annual subsidy depending on the
financial circumstances of the service. Such arrangements may apply in respect of
commercial operations owned by an authority where the user charge either covers
or represents a substantial proportion of the total cost.

6.1.4 Review of the requirements for different frameworks

Table 2: Requirements of different PPP frameworks

Framework Technical Managing Operating Capital O&M

Expertise Expertise Efficiency Investment Investment

Service Contract Yes No No No No

Managem Yes Yes Yes No No
ent
ContractBased on the above available frameworks, the following structure has been analyzed
for undertakingYes
Concession the project: Yes Yes Yes Yes

6.2 Implementation Structure

The following would be the salient features of the implementation framework:

a. Handover of the Project site by DoT on execution of the Project Development

Agreement (PDA) to the developer (SPV formed for undertaking the project
under PPP model) along with the grant of development rights for development
of the project as per terms of the PDA. 28

b. The project would be developed by the developer wherein it would be

responsible for designing, financing, development, operation & maintenance
and transfer of the project at the end of the agreement period

c. Annual payments would be made by the developer to DoT against grant of the
development rights.

d. Project implementation would be monitored by a Project Engineer employed by

DoT for overlooking the day to day activities as well as overall performance of
the project

e. The developer would be allowed to levy and collect user charges from the users
of the project facilities

f. On expiry of the agreement period, the developer would hand back the project
site and facilities developed on ensuring that the quality and condition of all the
facilities developed are in good and working condition.
Development of Art and Craft Village in Bangalore, Karnataka
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The following diagram depicts the overall framework of the project execution:

15 Years

DoT

Figure 2: Implementation Framework

6.3 Risks assessment

Under the above framework, following are the risks that would be transferred to the
developer: 29

a. The mobilization of finances would be the responsibility of the private

developer and the risks associated with the financial aspects in terms of
profitability and returns would lie with the developer
b. The risk of adhering to the Applicable Law would be passed on to the private
developer.
c. The risk of time-bound completion of the Project would be passed on to the
private developer. Since the revenue streams for the private developer from
the Project would commence only after completion of the Project, it would be
in the interest of the private developer to complete the Project as early as
possible.

The risk of over-runs in construction cost and operational expenses would be borne by
the private developer.
Development of Art and Craft Village in Bangalore, Karnataka
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6.4 Recommendation
Based on the evaluation of various options for implementation and the Financial
Analysis carried out for the Project, it is recommended to adopt the ‘concession’
structure for successful implementation of the Project. The concession contract
under a Design, Build, Finance, Operate, Transfer framework would be the preferred
option, as DoT would receive higher returns from the Project, with no investment or
revenue risk of the Project.

In lieu of the land being offered by DoT along with the Development rights for the
setting up of the Art and craft village, DoT can seek a Concession Payment on
Annual/half yearly basis with an escalation of 5% every year.

The concession period, based on the Financial Analysis carried out for the
assignment, is 15 years, including the construction period of 1 year. The summary of
the financial viability carried out for the Project is presented in the next chapter.

30
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6.5 Project Layout

0 – Gates 1 – Parking 2 – Sewage Plant 3 – Craft Shops 4 – Managing Office 5 – Toilets

6 – Rest Lounge 7 –Other Handloom/Art Shops 8 – Food courts 9 - AmphiTheater 10 – Activity Lounge 11 – Shops
A – Conference Room B – Meeting Area T –Ticket Counter

31
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7. Recommendations and Way Forward

Travel and tourism, the world’s largest industry, is a key driver of economic
growth. Given this background the development of appropriate infrastructure
facilities for promoting tourism would go a long way in developing the state’s
economy.

The spin-off benefits from this project could be quite substantial, in terms of:

 Employment generation for a large number of artisans.

 Development of facilities which could bring forth rich cultural heritage in

citizen’s conscience.

 Development of Bangalore as a cultural centre.

Being on the outskirts of a major city, the project has good potential to effectively
channellise tourism promotion efforts of the state. The landmark project with
appropriate encouragement from the Central and State Government could go a
long way in establishing this as not only a tourist attraction but a boon to artists
and performers giving fillip to the arts community in the country.

Based on the financial analysis carried out for the project, the project could
generate sufficient revenues, meeting the operations and maintenance costs of
the project. 32

The project would require extensive and regular maintenance and it is

recommended that a major part of day-to-day management and maintenance of
the project is handed over to a professional agency upon commissioning of the
project.

Co-opting artists to the trust managing the art and craft village could ensure that
the development of the project would be able to meet the aspirations of the local
artists, since such a forum could provide feedback on the activities planned or
carried out by it.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Annexures

33
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Annexure 1

Assumption Sheet

General/Macro Assumptions

Tax rate : 35%

Inflation Rate : 5%

Project Assumptions

Project Duration : 15 years

Start date : 2016

Completion date : 2017

Construction period : 12 months

Revenue Assumptions
34
Tourists flow

Tourist inflow (weekday) : 500 per day

Tourist inflow (weekend) : 1000 per day

Tourist inflow per year : 234000

Growth rate in tourists per yr : 1%

Amphitheatre/ Music Concert Hall/Performing Centre

Average Rental of facilities per show : 500

Number of shows per year : 200

Development of Art and Craft Village in Bangalore, Karnataka
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Growth in rentals p.a 1% p.a

:

Food and Beverages (Rented and LeasedOutsourced on Revenue sharing basis)

Hours of operations : Full Day

Gate fees

Entry fees per person : Rs 20 (adult) and Rs 10 (adult).

Growth p.a in ticket fee : 1%

Cottages

Number of cottages : 10

Rate per cottage per day : Rs 500.

35
Occupancy of cottages : 300 days

Growth rate in cottage charges p.a : 1% p.a

Development of Art and Craft Village in Bangalore, Karnataka
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Annexure 2

Dilli Haat

Dilli Haat is a treasure house of Indian

culture, handicrafts and ethnic cuisine, and
from a variety of cultural traditions of India.
Unlike the traditional weekly market, the
village Haat, Dilli Haat is permanent. It is
located in the commercial centers of South
Delhi, opposite INA market. The 6 acres of
land on which this complex is situated was
salvaged as part of a reclamation project and transformed into a plaza. Extensive
foundation work, small thatched roof cottages and kiosks give the plaza a village
atmosphere. Some shops are permanent but other sellers are rotated, usually for
fifteen days.

Products offered may include rosewood

and sandalwood carvings, embellished
camel hide footwear, sophisticated fabric
and drapery, gems, beads, brassware, metal
crafts, and silk and wool fabrics. A number
of shows promoting handicrafts and
handlooms are held at the exhibition hall in 36
the complex. To sell wares, there is an
application process and spaces are
allocated according to which state the seller is from. In all, Dilli Haat, INA Market
has 62 stalls allotted on a rotational basis to craftsmen a payment of INR 100 per
day for a maximum period of 15 Days.

Dilli Haat INA is open to public, 10.30 am to 10.00 pm., seven days a week, at a
nominal entrance fee, Rs. 20 for Adults, Rs.10 for Children, Rs. 50 for foreigners.

The craftsmen who are registered with

D.C.Handicrafts are the ones who are
eligible to find a place at the Dilli Haat.
This ensures that visitors get to buy
authentic wares at prices that have not
been inflated by high maintenance costs.

Step inside the complex for an altogether

delightful experience by either buying
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

inimitable ethnic wares, savouring the

delicacies of different states or by simply
relaxing in the evening with the entire
family.

DILLI HAAT transports you to the magical

world of Indian art and heritage presented
through a fascinating panorama of craft,
cuisine and cultural activities.

DILLI HAAT is not just a market place; it has been visualized as a showpiece of
traditional Indian culture- a forum where rural life and folk art are brought closer
to an urban clientele. It is here that the crafts persons find an opportunity to
demonstrate their artistic skills to thousands of visitors everyday.

Since its inauguration in the month of March 1994, Dilli Haat has been home to
thousands of handicraft and handloom artisans.

The complex is not only artistic, but also recreational in nature where the entire
family can have a good time.

There are stalls dishing out sumptuous delicacies from different States and Union
Territories; an Exhibition Hall; a Souvenir shop selling an assortment of small gift
items; an open stage for cultural programmes and a playing area exclusively
earmarked for children.
37
The architectural features of the complex have been especially designed in the
traditional north Indian style, with brickwork jail (lattice) and stone roofs.

A hall in the complex specifically caters to exhibitions of the handlooms and

handicrafts. A souvenir shop, also displays attractive ethnic products.

The small thatched roof cottages and kiosks, without any concrete structures
provide a village atmosphere.

The shops are set up on platforms, which act as a link in the Bazar design. The
courtyards between the shops are paved in
stone and interspaced with grass to retain a
visual softness.

The landscaping of the area incorporates

colourful flowering shrubs and trees, thus
the entire complex is in harmony with the
environment.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Dilli Haat Layout

38
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Annexure 3

Shilparamam, Hyderabad, Telengana

Shilparamam is an arts and crafts village which is located in Madhapur, Hyderabad,

Telengana. Shilparamam was developed in 1992, with an idea of preserving the
traditional art of Telengana. There are ethnic festivals all over the year. Spreading over a
65 acres of land, the art & craft village is only a few kilometers away from the main
city of Hyderabad.

39

Situated in the of hi-tech hub city of India, Shilparamam gives a scenic ambience of
tradition and cultural heritage. For promotion and preservation of Indian arts and crafts
and to motivate the artisans, the state government established this platform.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

Enchanting the blend of arts and artifact, epitomizing the true legacy with the diverse
natural beauty of rural India; Shilparamam is tribute to Telengana. Exhibiting the rustic
richness and creativity of Hyderabad, it has captivated the imagination of visitors.

The lush and serene environment of Shilparamam is sculpted with woodwork, jewellery,
cloths and local crafts of each region of the country. Showcasing a plethora of artistic
ethos, Shilparamam is set amidst gardens, cascading waterfalls and natural rock heights.

Facts & Figures:

Visiting Hours 10.30 am to 8 pm

Entry Fee Adult: Rs. 40

Children: Rs. 20

Villageing Available

Villageing Fees 4 wheelers: Rs. 20 for first 3 hrs, Rs. 10 per hr

or part thereof.
2 wheelers: Rs 10 for first 3 hrs, Rs. 5 per hr
or part thereof.

Major Attractions:
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The Rural Museum:

The rural museum, surrounded by trees, is a miniature depiction of typical Indian village.
Over 15 life-sized huts, authentically constructed out of baked clay and thatch, depict rural
and tribal lifestyles and the life of various artisans. It provides a window to rural life for city
dwellers and those who have never visited a village before. The museum houses sculptures
and life size models depicting the day-to-day activities of the rural artisans.
Development of Art and Craft Village in Bangalore, Karnataka
GOVERNMENT OF KARNATAKA INITIATIVE

The Rock Museum:

Artist Subroto Basu from Shantiniketan has fashioned a rock garden here by blending his own
rock collections with the natural and picturesque rock formations found in the village. The
natural formations stand unswayed in a scenic form in Rock Museum. This Rock Museum
adds a fantastic ecological side to Shilparamam.

41

Recreation Zone:

Boating

Shilparamam has a beautiful lake which also offers the delight of boating in it. Both rowing
and paddle boats are available.

Shopping

Shilparamam has hundreds of stalls. There is a wide range of handicrafts available for
shopping, right from toys to carpets. Here visitors can buy hand made sarees and textiles of
different states. Textiles ranging from Tangail, Sambhalpur, Paithni, Kashmiri to Kanjeevaram,
Dharmavaram, Tanjavur, Madurai, Peddapuram, Bandar, Guntur and other sarees. It also has
salwaar kamiz, ghagras, kurta, carpets, etc. Here a special Artisan Bazar is also there providing
the original art forms directly from the makers.